During the same period, Angell's research reveals, there were cases of 'outre mental illnesses and outbreaks of group folly or mania' around the world - from Paris and London, Africa and South America, Haiti and the Philippines, western Ireland and India. Wilcox's dreams began on March 1, 1925, culminating in a period from March 23 until April 2 when Wilcox was in a state of delirium.

The sculpture turns out to be the work of Henry Anthony Wilcox, a student at the Rhode Island School of Design who based the work on his dreams of 'great Cyclopean cities of Titan blocks and sky-flung monoliths, all dripping with green ooze and sinister with latent horror.' These images are associated in the dreams with the words Cthulhu and R'lyeh. 'The Horror in Clay' concerns a small bas-relief sculpture found among the papers, which the narrator describes: ' my somewhat extravagant imagination yielded simultaneous pictures of an octopus, a dragon, and a human caricature A pulpy, tentacled head surmounted a grotesque and scaly body with rudimentary wings.' In the text, Thurston recounts his discovery of notes left behind by his grand-uncle, George Gammell Angell, a prominent professor of Semitic languages at Brown University in Providence, Rhode Island, who died suddenly in 'the winter of 1926–27' after being 'jostled by a nautical-looking negro.' 'The Horror in Clay' 'The Call of Cthulhu' is presented as a manuscript 'found among the papers of the late Francis Wayland Thurston, of Boston'.

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