{"id":20,"date":"2026-09-06T00:33:35","date_gmt":"2026-09-06T00:33:35","guid":{"rendered":"https:\/\/tnf.ola.mybluehost.me\/coreopsis\/autumn-2026-issue\/?page_id=20"},"modified":"2026-09-25T05:00:52","modified_gmt":"2026-09-25T05:00:52","slug":"mythical-kings-no-iguanas-an-analysis-of-the-annotated-king-in-yellow","status":"publish","type":"page","link":"https:\/\/societyforritualarts.com\/coreopsis\/autumn-2026-issue\/mythical-kings-no-iguanas-an-analysis-of-the-annotated-king-in-yellow\/","title":{"rendered":"Mythical Kings, No Iguanas An Analysis of the Annotated King in Yellow"},"content":{"rendered":"\n<style data-wp-block-html=\"css\">\n.intro, .authorBio {\n display: flex;\n}\n.intro .left {\n margin: 0 24px 24px 0;\n max-height: 320px;\n width: auto;\n object-fit: contain;\n}\n.type {\n padding-bottom: 32px;\n}\n.authorBio .left {\n  max-height: 180px;\n  padding-right: 24px;\n  width: auto;\n  object-fit: contain;\n  z-index: 1;\n}\n.authorBio .right {\n   background: linear-gradient(#a2a987, #91a58a);\n   border-radius: 32px;\n   margin: 0 0 0 -48px;\n   padding: 12px 24px 12px 60px;\n}\nh1 {\n margin-block-end: .25em;\n}\nh2 {\n margin-block-end: 1.75em;\n margin-block-start: .35em;\n}\nh1, h2, .intro .right {\n text-align: center;\n}\nh1, h2, h3 {\n font-weight: 700;\n}\n.content p {\n text-indent: 32px;\n}\n\n@media (max-width: 640px) {\n .intro, .authorBio {\n  display: block;\n }\n .authorBio .left {\n   margin: 24px auto;\n }\n .authorBio .right {\n   margin: 0;\n   padding: 12px;\n }\n .intro .left {\n   margin: 24px auto;\n }\n}\n<\/style>\n\n<meta property=\"og:title\" content=\"Mythical Kings, No Iguanas\">\n<meta property=\"og:description\" content=\"In modern times The King in Yellow Mythos has taken on a life of its own, in much the same way that H.P. Lovecraft\u2019s Cthulhu Mythos has done. There is one big difference, however: while Lovecraft championed other writers playing in his sandbox, so to speak, we cannot say the same of Robert W. Chambers, the author of the stories in The King in Yellow (KIY) (1895) collection..\">\n<meta property=\"og:image\" content=\"\/coreopsis\/autumn-2026-issue\/wp-content\/uploads\/2026\/09\/Coreopsis-Journal-Autumn-2026.webp\">\n<meta property=\"og:url\" content=\"\/coreopsis\/autumn-2026-issue\/mythical-kings-no-iguanas-an-analysis-of-the-annotated-king-in-yellow\/\">\n<meta property=\"og:type\" content=\"article\">\n<main class=\"story\">\n   <div class=\"topLinks\">\n    <div class=\"left\">\n      <h3><a href=\"https:\/\/societyforritualarts.com\/coreopsis\/\">Journals Home<\/a><\/h3>\n    <\/div>\n    <div class=\"center\">\n      <h3><a href=\"\/coreopsis\/autumn-2026-issue\/table-of-contents\/\">Table of Contents<\/a><\/h3>\n    <\/div>\n    <div class=\"right\">\n      <h3><a href=\"\/coreopsis\/autumn-2026-issue\/creative-sparks-in-a-time-of-war\/\">Next<\/a><\/h3>\n    <\/div>\n  <\/div>\n<h1>Mythical Kings, No Iguanas,<br>An Analysis of the <i>Annotated King in Yellow<\/i><\/h1>\n<h2>Reviewed by Rev. Denise D. Dumars, MA, Professor of English, retired, Los Angeles Harbor College<\/h2>\n<div class=\"intro\">\n\t<img decoding=\"async\" loading=\"lazy\" class=\"left\" src=\"\/coreopsis\/autumn-2026-issue\/wp-content\/uploads\/2026\/09\/Coreopsis-Journal-Autumn-2026.webp\">\n\t<div class=\"right\">\n\t\t<h3>King in Yellow<\/h3>\n\t\t<h4>By Robert W. Chambers, Annotated by Kenneth Hite<\/h4>\n\t\t<p>I have flown to star-stained heights<\/p>\n\t\t<p>On bend and battered wings<\/p>\n\t\t<p>In search of mythical kings,<\/p>\n\t\t<p>mythical kings<\/p>\n\t    <p>&#8211;Dory Previn, \u201cMythical Kings and Iguanas\u201d<\/p>\n    <\/div>\n<\/div>\n<div class=\"content\">\n\t<p>In modern times The King in Yellow Mythos has taken on a life of its own, in much the same way that H.P. Lovecraft\u2019s Cthulhu Mythos has done. There is one big difference, however: while Lovecraft championed other writers playing in his sandbox, so to speak, we cannot say the same of Robert W. Chambers, the author of the stories in <i>The King in Yellow<\/i> (KIY) (1895) collection. And the obsession with Chambers\u2019 KIY stories which has engendered other fiction, film, television, games\u2014not to mention extensions of and revisions of the actual <i>King in Yellow<\/i> play itself\u2014is most likely due to Lovecraft\u2019s involvement with it, and August Derleth\u2019s continuing involvement with it after Lovecraft\u2019s death. Chambers was still alive when Lovecraft was adding elements of the King in Yellow world to his own mythos; we do not, however, know whether Chambers had any knowledge of this; although he is listed as publishing three collections of weird tales (Hite 2019), they were but a small portion of his literary output (p.236). Most scholars seem to believe that he didn\u2019t read <i>Weird Tales<\/i> or similar magazines and was not acquainted with the Lovecraft mythos or its proponents (John Linwood Grant, personal communication, August 16, 2026). Others known as scholars in the field concur (Katrin Pulver, personal communication, August 17, 2026).<\/p>\n\t<p>Just as nothing occurs in a vacuum, the stories that fit within the KIY universe in Chambers\u2019 collection owe their existence in part to already-existing work. Ambrose Bierce gave us Carcosa, Hali, and Hastur, which Chambers references in his own way (Morales 1996-2026). The author of <i>The King in the Golden Mask<\/i> might have been an influence on Chambers, having first been published in 1892, three years before the first printing of <i>The King in Yellow<\/i>. Riffing on Lovecraft\u2019s mention of Hastur, the Lake of Hail, and the Yellow Sign in his tale \u201cThe Whisperer in Darkness,\u201d (1931) August Derleth morphed Chambers\u2019 and Bierce\u2019s references (Hastur as a half-brother of Cthulhu, for example) to fit within his own monstrous universe (1939). After all, Lovecraft had encouraged others to build upon his work, and he mentioned many other authors, including Chambers, in his essay \u201cSupernatural Horror in Literature,\u201d (1927) which Lovecraft spoke of after he had read his work in the same year. It is doubtful that Chambers knew anything about what Lovecraft, Derleth, and other writers of horror and science fiction at the time were doing in regard to his work as he was not part of that group of writers (Jean-alain Moens Puyaubert, personal communication, August 16, 2026).<\/p>\n\t<p>It helps that the play <i>The King in Yellow<\/i>, which famously drives one mad, isn\u2019t finished in the tales; I know at least one thespian who has done a revision and expansion of it (Michael Eastman, personal communication, August 2nd, 2025). That the tales themselves seem fragmentary and not consciously building upon a mythos seems to make fans want to delve deeper in order to find connections to these tales and to help explain them\u2014assuming that they do exist. The fact that the most common edition\u2014published by Dover (1970)\u2014does not contain the same stories as the annotated Hite edition (2019) and the Horror Writers Association edition (2021) adds to the confusion. Until I got the Horror Writers Association version and the Hite version, I was surprised to see that the listed tales were not the same as in the Dover edition, which I had been reading all along and had assumed were correct.<\/p>\n\t<p>This is not the only book to annotate the collection (Unfading Pages 2024) and won\u2019t be the last. There are different approaches to annotation, and the approach taken here is sometimes to speculate upon origins and ideas of a variety of possible sources and meanings, not just to explain or add to what the author has to say in his works. Again, not the first time this has happened, but as each annotator brings their own approach to the work, this volume should be of great interest to those who want to teach the tales, understand outside work in the KIY mythos, write some KIY fiction themselves, or just enjoy these stories more. As such, this volume is highly recommended with only some slight qualification.<\/p>\n\t<p>For example, in discussing the lyrics of Cassilda\u2019s Song (p. 9) Hite (2019) opines that King Lear and his daughter Cordelia may have been the inspirations for the King in Yellow and Cassilda (p. 11), but I see no objective evidence for that assumption. Rather, there is an historic king who was masked: his name was Baldwin IV of Jerusalem, known as \u201cthe Leper King.\u201d He wore a mask to hide his disfiguring illness (Seaver, 2024). If you have seen the 2005 film <i>Kingdom of Heaven<\/i>, then you have seen this king (who wears a gold mask) portrayed by Edward Norton. And Hite (2019) does mention that some of the ideas in the stories might have been inspired by Marcel Schwob\u2019s <i>The King in the Golden Mask<\/i> (1892). Hite (2019) also mentions a St. Casilda of Toledo and other uses of the name in Spanish culture and literature (p. 11). Although I have never met a woman named Casilda spelled either way despite a lifetime in California, it would be not much of a leap of faith to assume that it was once a popular name in Spain if not here in New Spain. Since many if not most of Chambers\u2019 characters are francophone, the inclusion of a Spanish name amongst the French does not in any way refer to the Briton known variously as King Lear or King Leir (Morris, 2020, May 26).<\/p>\n\t<p>If I have one main problem with the Hite edition it is that the annotations are microscopic, possibly 2-4 pt. With a lot of wasted white space on each page, the typesetter could have formatted the book differently which would have made the annotations more readable. They crawl alongside the text rather than the standard formatting which usually has the annotations at the bottoms of the pages. This became a genuine problem at times when I tried to match footnote number with footnote text, both of which were extremely difficult to read.<\/p>\n\t<p>Scholars such as PhD&amp;D (2026, February 18) are fond of the Hite (2019) annotated edition. The annotations do tend toward the comprehensive, meaning that they address not only the requisite explication of the stories, but also the objective and sometimes speculative explanations of real places and events that are noted within the stories. For example, in the tale \u201cIn the Court of the Dragon\u201d Hite (2019) tells us that Rue Saint-Honor\u00e9 is a real street in Paris and outlines its importance to the time and place of the story and also its importance in the history of Paris (p. 71). As such these types of annotations may seem like side quests, yet for scholars and completists they can prove valuable.<\/p>\n\t<p>Another valuable component of Hite\u2019s annotations is in evidence when he links examples and themes. While scholars from all these sources (Black 2024) tell us that yellow was the color of the Decadent movement\u2014the fact that most brands of absinthe are a sickly chartreuse is not a coincidence\u2014Hite (2019) comments on the color in several places. \u201cIn the Court of the King\u201d he compares the yellow jonquils at the story\u2019s flower market to what he calls the \u201cdual nature\u201d (Hite 2019) of the color yellow (p. 71).<\/p>\n\t<p>In another example, the almost ubiquitous \u201cPallid Mask\u201d (Hite 2019 p. 58) as mentioned in the story \u201cThe Mask\u201d gets the full treatment of footnoting (p.57) as Hite (2019) lists its appearance not only in \u201cThe Mask\u201d but also in the story \u201cthe Yellow Sign\u201d and in the King in Yellow play itself. He continues by discussing the phrase \u201cthe Pallid Mask\u201d as it appears in unrelated authors\u2019 works including William Smart\u2019s 1829 translation of the Satires of Juvenal and other sources that Chambers may have read (p.57).<\/p>\n\t<p>Annotations can be helpful in illuminating an author\u2019s pop culture references that may mean nothing to us a century and a quarter in the future. For example, there\u2019s a quote that doesn\u2019t make much sense unless you know the reference in \u201cThe Yellow Sign\u201d (Hite 2019): \u201cI prayed inwardly that fate would keep her away from men like me and throw into her path nothing but Ed Burkes and Jimmy McCormicks\u201d (P. 87), states the doomed artist of his equally doomed model. Hite (2019) informs us that, according to scholar S. T. Joshi, he must have been referring to popular 19th century baseball players of the same names, which are likely forgotten by all but baseball historians (87). This mention would perfectly align with what we know of Chambers himself.<\/p>\n\t<p>In addition, the book contains three appendices (Hite 2019): Appendix I: Robert W. Chambers, (pp. 234-238); Appendix II: The King in Yellow, (pp. 239-247); and Appendix III: Three Names from Bierce (pp. 249-254). I found these very helpful in tracking the publication of the work, the character of the author, and the background information on the Ambrose Bierce contributions to what has become the King in Yellow Mythos. Nothing exists in a vacuum: This annotated volume helps the reader see the genesis of important elements of the work and how they come to have meaning in the history of the larger context of the King in Yellow.<\/p>\n\t<p>In her song \u201cMythical Kings and Iguanas\u201d (1971), Dory Previn decries our focus on lofty things, be they mythical royalty, intellectualism, or mysticism, when such a focus takes us away from the more grounded world, as in the example of the titular lizards, which are perfectly adapted to several diverse ecosystems and therefore provide a great example of the success of earthly life. As we go chasing off for lost Carcosa and drive ourselves mad perhaps at trying to understand exactly who and what the King in Yellow really is, perhaps we need to take a step away, and remember that Chambers loved the sunshine, sports, and the natural world and stated vociferously that he was not part of the Decadent movement (PhD&amp;D, 2026). I\u2019m sure he\u2019d be peeved to find himself listed as one of the Decadents in the New World Encyclopedia (n.d.)! Perhaps the real mystery is how someone who presented as the very model of wholesome American manhood managed to creep into our imaginations with ideas that are the very opposite of his reality. Or perhaps I should paraphrase <i>Mystery Science Theater 3000<\/i>: They\u2019re only stories, and we should really just relax and enjoy them.<\/p>\n<\/div>\n<h3>References<\/h3>\n<p>Bierce, Ambrose. (1984). <i>The Complete short stories of Ambrose Bierce<\/i>. Bison. (Original work published 1909-1912).<\/p>\n<p>Black, Jon. (2024, October 13). Yellow signs: the decadent movement and its influence on weird fiction. <i>Jon Black Writes<\/i>. <a href=\"https:\/\/jonblackwrites.com\/2024\/10\/13\/yellow-signs-the-decadent-movement-and-its-influence-on-weird-fiction\/\">https:\/\/jonblackwrites.com\/2024\/10\/13\/yellow-signs-the-decadent-movement-and-its-influence-on-weird-fiction\/<\/a><\/p>\n<p>Chambers, Robert W. (2024) <i>The king in yellow (annotated)<\/i>. Unfading Pages. (Original work published 1895).<\/p>\n<p>Chambers, Robert W. (2019) <i>The king in yellow: annotated edition<\/i>. (Kenneth Hite, Annotations). Arc Dream. (Original work published1895)<\/p>\n<p>Chambers, Robert W. (1970). <i>The king in yellow and other horror stories<\/i> (E. F. Blieler, Ed.)<\/p> \n<p>Dover. (Original work published 1895, 1896, 1897, 1904)<\/p>\n<p>Chambers, Robert W. (2021) <i>The king in yellow<\/i>. (Eric A. Guignard and Leslie S. Klinger, Eds.) Introduction by Nic Pizzolato. Horror Writers Association.<\/p>\n<p>Decadent Movement. (n.d.) <i>New World Encyclopedia<\/i>. <a href=\"https:\/\/www.newworldencyclopedia.org\/entry\/\">https:\/\/www.newworldencyclopedia.org\/entry\/<\/a>Decadent_movement<\/p>\n<p>Derleth, August. (1998). The return of Hastur. <i>The Hastur Cycle<\/i>. <a href=\"https:\/\/lovecraft.fandom.com\/wiki\/The_Return_of_Hastur\">https:\/\/lovecraft.fandom.com\/wiki\/The_Return_of_Hastur<\/a> (Original work published 1939)<\/p>\n<p>Lovecraft, H. P. (2011). <i>Supernatural Horror in Literature and other Literary essays<\/i>. Wildside. (Original work published 1927)<\/p>\n<p>Lovecraft, H.P. (2016) The whisperer in darkness. <i>The complete fiction of H. P. Lovecraft \u2013 Vol II: The whisperer in darkness and other tales<\/i>. Chartwell. (Original work published (1931).<\/p>\n<p>Morales, Joseph F. (1996-2026) AB: Ambrose Bierce. <i>The Cthulhu Mythos: An annotated bibliography.<\/i> <a href=\"https:\/\/cthulhufiles.com\/biblio\/cthabib_bierce.htm\">https:\/\/cthulhufiles.com\/biblio\/cthabib_bierce.htm<\/a><\/p>\n<p>Morris, Mathew. (2020, May 26). Leir of Leicester: The archaeology behind the legend. ULASNEWS. (<a href=\"https:\/\/ulasnews.com\/2020\/05\/26\/leir-of-leicester-the-archaeology-behind-the-legend\/\">https:\/\/ulasnews.com\/2020\/05\/26\/leir-of-leicester-the-archaeology-behind-the-legend\/<\/a><\/p>\n<p>Mystery Science Theater Theme song (2026) Mystery science theater 3000 theme song lyrics. <i>Lyrics on Demand<\/i>, <a href=\"https:\/\/lyricsondemand.com\/tvthemes\/mysterysciencetheater3000lyrics.html\">https:\/\/lyricsondemand.com\/tvthemes\/mysterysciencetheater3000lyrics.html<\/a><\/p>\n<p>PhD&amp;D. (2026, February 18) What unites &#8220;The King in Yellow&#8221; (1895)&#8217;s tales? Decadence, true love, and Robert W. Chambers&#8217; life. YouTube. <a href=\"https:\/\/www.youtube.com\/watch?v=hvSg_Q-6Zck&amp;t=171s\">https:\/\/www.youtube.com\/watch?v=hvSg_Q-6Zck&amp;t=171s<\/a><\/p>\n<p>Previn, Dory. (1971). Mythical kings and iguanas [Song]. On <i>In search of mythical kings: the UA years<\/i> [Album]. Capitol.<\/p>\n<p>Schwob, Marcel. (2017) <i>The king in the golden mask<\/i>. (Kit Schulter Translator). Wakefield. (Original work published 1892)<\/p>\n<p>Scott, Ridley. (Director). (2005) <i>Kingdom of heaven<\/i> [Film]. 20th Century Fox.<\/p>\n<p>Seaver, Carl. (2024, December 10). The life of Baldwin IV of Jerusalem, the leper king. History <i>Defined.net<\/i>. <a href=\"https:\/\/www.historydefined.net\/baldwin-iv-of-jerusalem\/\">https:\/\/www.historydefined.net\/baldwin-iv-of-jerusalem\/<\/a>.<\/p>\n<p>For further reading:<\/p>\n<p>Barrass, Glynn Owen, Ed. (2014) <i>In the court of the yellow king<\/i>. Celaeno.<\/p>\n<p>Barrass, Glyn Owen, Ed. (2025 Spring) <i>Weird fiction quarterly: The king in yellow<\/i>. Weird Fiction Quarterly LLC.<\/p>\n<p>Chambers, James, Ed. (2021) <i>Under twin suns: alternative histories of the yellow sign<\/i>. Hippocampus.<\/p>\n<p>McLaughlin, Mark and Michael Sheehan, Jr. (2020) <i>The Prisoner of Carcosa<\/i>. Privately published.<\/p>\n<p>Price, Robert M., Ed. (1997) <i>The Hastur Cycle<\/i>. Chaosium.<\/p>\n<p>Rawlik, Peter, Ed. (2019). <i>The Chromatic court<\/i>. 13th Wall.<\/p>\n<p>Shirley, John. (1988). <i>The Black Hole of Carcosa<\/i>. St. Martin\u2019s.<\/p>\n<\/main>\n<section class=\"authorBio\">\n\t<img decoding=\"async\" loading=\"lazy\" class=\"left\" src=\"\/coreopsis\/autumn-2026-issue\/wp-content\/uploads\/2026\/09\/Dumars.jpg\">\n\t<p class=\"right\">Throughout her prolific writing career Denise Dumars has written and published poetry, short stories, articles, and reviews in journals such as Terra Incognita, Cinefantastique, and Talebones. She is a columnist for Star*Line, the journal of the Science Fiction Poetry Association, and a peer reviewer for Coreopsis: A Journal of Myth and Theater. She has also published two collections of short stories; two non-fiction books, including The Dark Archetype (with Lori Nyx), and numerous chapbooks of poetry, the most recent of which is Letting in the Dark (Yellow Bat Press). Denise teaches a variety of English courses in Southern California colleges.<\/p>\n<\/section>\n<section class=\"donate\">\n  <a href=\"https:\/\/ko-fi.com\/rwfiction\">\n  <img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.societyforritualarts.org\/coreopsis\/autumn-2025-issue\/wp-content\/uploads\/2026\/01\/buy-us-a-cuppa1-lo-res.jpg\">\n  <\/a>\n  <p>Like what we do? &nbsp; <a href=\"https:\/\/ko-fi.com\/rwfiction\">Buy us a Cup of Coffee!<\/a><\/p>\n<\/section>\n\n\n<div class=\"sfsi_widget sfsi_shortcode_container\"><div class=\"norm_row sfsi_wDiv \"  style=\"width:225px;text-align:left;\"><div style='width:40px; height:40px;margin-left:5px;margin-bottom:5px; ' class='sfsi_wicons shuffeldiv ' ><div class='inerCnt'><a class=' sficn' data-effect='' target='_blank' rel='noopener'  href='https:\/\/www.facebook.com\/coreopsisjournal' id='sfsiid_facebook_icon' style='width:40px;height:40px;opacity:1;'  ><img data-pin-nopin='true' alt='Facebook' title='Facebook' src='https:\/\/societyforritualarts.com\/coreopsis\/autumn-2026-issue\/wp-content\/plugins\/ultimate-social-media-icons\/images\/icons_theme\/default\/default_facebook.png' width='40' height='40' style='' class='sfcm sfsi_wicon ' data-effect=''   \/><\/a><div class=\"sfsi_tool_tip_2 fb_tool_bdr sfsiTlleft\" style=\"opacity:0;z-index:-1;\" id=\"sfsiid_facebook\"><span class=\"bot_arow bot_fb_arow\"><\/span><div class=\"sfsi_inside\"><div  class='icon1'><a href='https:\/\/www.facebook.com\/coreopsisjournal' target='_blank' rel='noopener'><img data-pin-nopin='true' class='sfsi_wicon' alt='Facebook' title='Facebook' src='https:\/\/societyforritualarts.com\/coreopsis\/autumn-2026-issue\/wp-content\/plugins\/ultimate-social-media-icons\/images\/visit_icons\/Visit_us_fb\/icon_Visit_us_en_US.png' \/><\/a><\/div><div  class='icon3'><a target='_blank' rel='noopener' href='https:\/\/www.facebook.com\/sharer\/sharer.php?u=https%3A%2F%2Fsocietyforritualarts.com%2Fcoreopsis%2Fautumn-2026-issue%2Fwp-json%2Fwp%2Fv2%2Fpages%2F20' style='display:inline-block;'  > <img class='sfsi_wicon'  data-pin-nopin='true' alt='fb-share-icon' title='Facebook Share' src='https:\/\/societyforritualarts.com\/coreopsis\/autumn-2026-issue\/wp-content\/plugins\/ultimate-social-media-icons\/images\/share_icons\/fb_icons\/en_US.svg' \/><\/a><\/div><\/div><\/div><\/div><\/div><div style='width:40px; 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Denise D. Dumars, MA, Professor of English, retired, Los Angeles Harbor College King in Yellow By Robert W. Chambers, Annotated by Kenneth Hite I have flown to star-stained heights On bend and battered wings In [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"class_list":["post-20","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Mythical Kings, No Iguanas An Analysis of the Annotated King in Yellow - Coreopsis Autumn 2026<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/societyforritualarts.com\/coreopsis\/autumn-2026-issue\/mythical-kings-no-iguanas-an-analysis-of-the-annotated-king-in-yellow\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mythical Kings, No Iguanas An Analysis of the Annotated King in Yellow - Coreopsis Autumn 2026\" \/>\n<meta property=\"og:description\" content=\"Journals Home Table of Contents Next Mythical Kings, No Iguanas,An Analysis of the Annotated King in Yellow Reviewed by Rev. 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