New book: An Imp of Aether
26 Friday Jul 2019
26 Friday Jul 2019
26 Friday Jul 2019
Posted Historical context, Picture postals
inThis is the concluding part of Friday ‘picture postals’ from Lovecraft: Newburyport – part one, looking at new views of Newburyport. Which was Lovecraft’s key model for Innsmouth.
Below are maps and postcards not seen before in posts on this blog (these posts have included part one, and Along the Innsmouth shoreline among others).
Maps:
“the youth drew for my benefit a rough but ample and painstaking sketch map of the town’s salient features.”
The Joppa clam shanties and Joppa landing:
“Not a living thing did I see, except for the scattered fishermen on the distant breakwater, and not a sound did I hear save the lapping of the harbour tides …”
Clam men at work:
“Once or twice I saw listless-looking people working in barren gardens or digging clams on the fishy-smelling beach below …”
The town:
A Lovecraft-a-alike figure heads to the Innsmouth-type hotel. “Despite what I had heard of this hotel [the Gilman House] in Newburyport, I signed the register, paid my dollar, let the clerk take my valise, and followed that sour, solitary attendant up three creaking flights of stairs past dusty corridors which seemed wholly devoid of life.”
“a curious sort of buzz or roar seemed to be increasing in the direction of Town Square.”
A Lovecraft-a-alike figure on the bench. “The open space was, as I had expected, strongly moonlit; and I saw the remains of a park-like, iron-railed green in its centre.”
“There would, I knew, be plenty of deserted doorways to shelter me in case I met any person or group who looked like pursuers.” As we can see here, one could hop over the fence either side of the door and down into the scraggly plants or let-down behind.
“The public first learned of it in February, when a vast series of raids and arrests occurred [in Innsmouth], followed by the deliberate burning and dynamiting — under suitable precautions — of an enormous number of crumbling, worm-eaten, and supposedly empty houses along the abandoned waterfront.”
MISSING CARD.
Scary driveway/entrance to the ‘homeopathic’ hospital.
“Complaints from many liberal organisations were met with long confidential discussions, and representatives were taken on trips to certain camps and prisons. As a result, these societies became surprisingly passive and reticent.”
The “Devil’s Den”, a name which some have noted is akin to Innsmouth’s offshore “Devil Reef”.
25 Thursday Jul 2019
Posted Lovecraftian arts
in11th-31st August 2019 at the Providence Art Club, Rhode Island. Update: full list of exhibitor names for 2019.
25 Thursday Jul 2019
Posted Unnamable
inSahara Expedition 2020. It’s fascinating to learn that there may be a Lovecraftian medium-budget tourism industry emerging in Europe, what with this and CarcosaCon (RPG in a castle) and probably others…
a high-budget live action roleplaying game for 60+ players set against the most fascinating Sahara Desert and inspired by the Cthulhu Mythos of H.P. Lovecraft
You actually fly to Tunis and trek into the desert. Presumably on a camel, and packing a concealed-carry copy of the Necronomicon.
It has various dates but seems to be completely sold out through into 2020. I imagine that, as the world enters the era of the Great Abundance, this sort of upmarket ‘big treat in a small niche’ thing can only become more common.
24 Wednesday Jul 2019
Posted Historical context, New discoveries
inLovecraft must surely have noted this letter from his beloved Marblehead in Weird Tales for August 1926.
The idea of the high lonely house which “overlooks the ocean”, and in which the inhabitant opens the pages to let in weird imaginings, rather resembles Lovecraft’s “The Strange High House in the Mist”. Which was written 9th November 1926.
I can find nothing about a John Paul Ward in terms of his later activities. But it would be delicious to imagine that, perhaps one summer’s day in 1927, he might have had a knock at the door and found Mr. Lovecraft standing there proffering a personal copy of his new story (Weird Tales having turned the tale down in July 1927).
In 1931, recalling his vague ensemble of inspirations for the topography of the story, Lovecraft noted that “Marblehead has rocky cliffs — though of no great height — along the neck to the south of the ancient town.” (Selected Letters II). The house of a “J.M. Ward” is marked on an 1884 Map of Marblehead, out on ‘the neck’ near the lighthouse, facing out to the wild sea and in exactly the right position to be the home of the writer of such a letter. Could J.M.’s son or grandson have been J.P. Ward who wrote to Weird Tales, and perhaps inspired an H.P. Lovecraft story?
We know Lovecraft had been out on the Neck before summer 1927, since it is implied in a July 1927 letter to Moe about taking Wandrei there…
“took the ferry across to the Neck, where Wandrei communed with his beloved and newly-discover’d sea from the rugged cliffs. You didn’t visit the Neck…” (letters to Moe, page 154).
Lighthouse on the Neck, showing the scale of the sea-cliffs there.
24 Wednesday Jul 2019
Posted Lovecraftian arts
inNow on Spotify and 2019 CD, the excellent and major new orchestral work by Guillaume Connesson: “The Cities of Lovecraft”, aka “Les Cites de Lovecraft”, aka “Les Trois Cites de Lovecraft”.
Also being played on three nights live in Houston, USA, later this year with the Houston Symphony Orchestra…
23 Tuesday Jul 2019
Celebrating H.P. Lovecraft’s interest in our fascinating felines.
Louis Wain, “The Cats’ Party”. Unknown date, but perhaps 20 years before “Ulthar”. Original was perhaps in colour?
Early in Lovecraft’s Commonplace Book, item #11…
“Odd nocturnal ritual. Beasts dance and march to musick.”
Later used in “Ulthar”, minus the musick…
“… little Atal, the innkeeper’s son, vowed that he had at twilight seen all the cats of Ulthar in that accursed yard under the trees, pacing very slowly and solemnly in a circle around the cottage, two abreast, as if in performance of some unheard-of rite of beasts.” — H.P. Lovecraft, “The Cats of Ulthar”.
Wain was enormously popular and there was a 1-shilling Louis Wain’s Annual each Christmas in Great Britain from 1901 (Lovecraft aged 11) onward, interestingly. And Lovecraft was of course a great cat-lover. Though, so far as I’m aware, Lovecraft never mentions Wain.
23 Tuesday Jul 2019
Published this week from McFarland, Weird Tales of Modernity: The Ephemerality of the Ordinary in the Stories of Robert E. Howard, Clark Ashton Smith and H. P. Lovecraft.
22 Monday Jul 2019
Posted Lovecraftian arts
inA new stage adaptation of Lovecraft’s “The Hound”, in review. The very positive review has details of this successful adaptation’s changes and staging…
Bodine improves the story at its beginning and end, setting up the narrative’s frame with a phone call to Carter and adding a dramatic event to make the story’s inexplicable conclusion more plausible. When the hound finally does arrive, though he is not on stage, we see him, in Farnsworth’s terrified expression and in the hellish green light which emanates from a doorway.
22 Monday Jul 2019
Posted Lovecraftian arts
inOn the island of Malta this summer, through to Christmas…
“The Other Side is divided into a number of sections reflecting some of the most captivating and long-standing themes of the collective imagination, such as ghosts and hauntings, vampires, witchcraft and magic, uncanny depictions of lunacy and erratic behaviour, but also utopian and, more often, dystopian visions of the future, the familiar otherness of extraterrestrial encounters, and imagined technologies of tomorrow. In re-launching the [revamped and extended] exhibition, the curators, in addition to the room entirely dedicated to H. P. Lovecraft’s legacy, devoted a new section to the seminal work of Edgar Allan Poe.”
21 Sunday Jul 2019
Posted Astronomy, Lovecraftian arts, Odd scratchings
inAnother possible public-domain cover for a Lovecraft book on his astronomy. Trouvelot’s “The great comet of 1881”. Taken from the largest .TIF, and tightly cropped from its white frame, and then given a slight edge-fix and clean in Photoshop. Saved to a less unwieldy .JPG with only slight compression while maintaining 300dpi. Again, it’s of a large enough size to be a front/back cover for a 6″ x 9″ Lulu POD book.
The Lovecraft connection is a little lacking, though. 1881 rather than his birth-year of 1890, and an observatory unlike that of the Ladd at Brown. Still, if historical veracity wasn’t a concern then one might paint out the door, and paint in a backlit HPL silhouette standing in the doorway.
21 Sunday Jul 2019
More Joshi-tastica from Necronomicon Press. Alongside the ‘best of the essays’ volume recently noted here, he’s also assembled a new $20 selection of the best of Lovecraft’s poetry. To a Dreamer: Best Poems of H. P. Lovecraft appears to be newly available now in simultaneous hardback and paperback….
This volume provides a cross-section of the very best of Lovecraft’s poetry. While his weird poems take pride of place, other bodies of work are not neglected. In particular, Lovecraft was skilled at satirical poetry, inspired by the pungent work of John Dryden and Alexander Pope. He condemned contemporary poetry in ‘Amissa Minerva’ and also wrote an exquisite parody of T. S. Eliot’s ‘Waste Land’, titled ‘Waste Paper.’ He even satirized himself in ‘The Dead Bookworm’ and other verses.
Quite substantial at 228 pages, but less of a wrist-strainer than the latest 600+ oversize pages of the latest edition of The Ancient Track: The Complete Poetical Works of H. P. Lovecraft. Which, incidentally, is also big as well as heavy and gets annoyingly floppy with use — a scholar will likely want to go for the hardcover before its gets really expensive, if you can afford it.