• About
  • Directory
  • Free stuff
  • Lovecraft for beginners
  • My Books
  • Open Lovecraft
  • Reviews
  • Travel Posters
  • SALTES

Tentaclii

~ News & scholarship on H.P. Lovecraft

Tentaclii

Monthly Archives: March 2021

‘Picture postals’ from Lovecraft: in a typical motor-coach of the early-mid 1930s

19 Friday Mar 2021

Posted by asdjfdlkf in Historical context, Picture postals

≈ Leave a comment

H.P. Lovecraft was a veteran traveller by motor-coach in the 1920s and 30s. Here we have a view as if from the back seat in a typical lower-cost local type of motor-coach of the mid 1930s, as photographed at that time (I’ve enlarged and colorised it).

By the mid 1930s there were, of course, expensive lines of streamlined coaches on the cross-country routes. Some even with reclining sleeper-seats and their own refreshments bar in a cubicle at the back with a white-uniformed server in the hatch. But Lovecraft was… “always seeking the cheapest possible route” on his many travels and so, unless an utter bargain of a long-distance ticket was on offer, he chose the lowest priced options. He would also have encountered many passenger transfer coaches, waiting at railway stations.

With clean glass, a good seat behind the driver (as was his wont) and the right weather, one might…

“traverse the long miles [through New England] by motor-coach, eagerly drinking in the green rolling hills, the fragrant, blossoming orchards, and the white steepled towns” (Dexter Ward).

He also appears to have been keen on the “fragrant” bit — a flow of rural air through the motor-coach — having come to detest the “prepayment suffocation chambers” that were the stuffy and smelly New York City equivalents. Possibly a draught was one of the advantages of being seated behind or beside the driver, who likely had a side-window open in summer. It would also have meant he was not forced to converse with a random fellow passenger, but might (if the driver was not the gruff and silent sort) obtain from the driver occasional names of the sights being passed. It would also enable him to easily signal the driver to stop and left him off, easy enough in those days of relatively little motor traffic. This happened at Salem, for instance…

The coach ride was delightful, giving frequent glimpses of ancient houses in a fashion to stimulate the antiquarian soul. Suddenly, at a graceful and shady village corner which the coach was about to turn, I beheld the tall chimneys and ivy’d walls of a splendid brick house of later Colonial design, and espy’d a sign which proclaim’d it open for publick inspection. Captivated by the sight, I signall’d the driver and alighted … I loudly sounded the knocker and awaited developments. Nothing develop’d. I then knock’d at the side door, but with equal futility. Then I noted a door half open in a miserable ‘ell’ at the back of the house; and believing the place tenanted, made a third trial there. My summons was answer’d simultaneously by two of the most pitiful and decrepit-looking persons imaginable — hideous old women more sinister than the witches of 1692, and certainly not under 80. For a moment I believ’d them to be Salem witches in truth; for the peculiarly sardonick face of one of them, with furtive eyes, sneering lips, and a conspicuously undershot lower law, intensify’d the impression produc’d by their incredible age and gauntness …” (1st May 1923).

Lovecraft may also have liked the hand-made and slightly rustic feel in some of lower-cost motor-coaches found in rural and coastal tourist districts, with (as can be seen here) stitched leather seat-top covers, woven wicker chair-frames and polished wooden arm-rests. This was a hand-crafted modernity, put together by artisanal craftsmen in small workshops.

Once in a new town or resort he also hopped aboard such coaches with his fellow tourists. Tourism was then a relatively ‘new thing’ for many towns, and even in the Great Depression there could be enough of this new breed of antiquarian sightseer to make such things viable. In this “rubbernecking” way he made his quick initial tour and assessment of a new place…

“[a] sort of preliminary touring, the standardised service of the various motor-coach sightseeing companies, and of the street-railway corporation, is strongly recommended as the cheapest and most comprehensive method [of first encountering a place].”

His sense of direction was excellent, even in the labyrinth of New York City, and he would also minutely study maps of a place before visiting. So, even while being spun around on a “rubberneck bus”, he could keep his bearings in a new place.

Poe’s home places and H.P Lovecraft

19 Friday Mar 2021

Posted by asdjfdlkf in Historical context

≈ 2 Comments

A Patreon patron asks a question: “Did HPL visit sites associated with Poe and what did he think of them?”

Lovecraft revered Poe, and entire books could be written on the ramifying connections. Indeed, one such has been. The recent heavyweight The Lovecraftian Poe. Another book could likely be written by tracking down all the times Lovecraft visited a ‘Poe place’, and by gleaning all his sentiments and comments from the letters and poems. That would however be a large task, and must remain beyond the scope of this post.

Nevertheless, I can lay a bit of groundwork for others who may wish to tread further down this path. Firstly, Lovecraft has left us the usefully brisk essay “Homes and Shrines of Poe” (Collected Essays: Travel) which surveyed the homes and lodging houses as Lovecraft then knew them. I’m not in any way a Poe scholar and Poe scholarship may, of course, have finessed some of the dates or addresses or added new ones. But “Homes and Shrines” tells us what Lovecraft knew. His essay was published in The Californian for Winter 1934. Quotes below are from “Homes and Shrines” unless otherwise stated. Collected Essays footnotes “Homes and Shrines” with… “Poe’s residences in Philadelphia, Richmond, Charlottesville, Baltimore, New York, and Fordham, all of which HPL had personally visited.” The Encyclopaedia adds that he had visited “nearly all” the sites noted in the essay.

Here I limit the scope to the homes. There are, of course, a great many other places associated with Poe — including in Providence.


1. Poe was born in Boston at 62 Carver Street, but knew it not and grew up as a foster-son in Richmond. Lovecraft refers to this birthplace as… “the cheap boarding-house in Boston’s South End” and notes it “bears a bronze tablet” with some simple facts, and that the nearby district of his mother’s house was found by Lovecraft to be “very squalid”.

Lovecraft knew Boston well and especially explored the North End which features in “Pickman’s Model”. We have to assume he also took the time to visit the Poe birthplace, but I can find no evidence that he lingered. It appears to have been even more insalubrious and possibly dangerous than the decrepit North End.


2. Poe’s very young boyhood place was the “Allan home” on “Fourteenth Street between Franklin and Main in Richmond”, Virginia. Lovecraft calls this… “a three-story brick house at 14th Street and Tobacco Alley … still standing, though long ago converted into a shop and now deserted and unmarked.”

S.T. Joshi remarks in I Am Providence that Lovecraft include Virginia in his travels of Spring 1929, descending on the region like a whirlwind…

“… for only four days but [he] took in an astonishing number of sites — Richmond, Williamsburg, Jamestown, Yorktown, Fredericksburg, and Falmouth. All were delightful. Richmond [included the] Valentine Museum, which contained the then recently discovered letters by Poe to his guardian, John Allan … He also saw the farmhouse … that formed the Poe Shrine (now the Edgar Allan Poe Museum), which had also opened only recently. Aside from actual furniture owned by Poe, this place had a delightful model of the entire city of Richmond as it was around 1820; this made it much easier for Lovecraft to orient himself and to locate the surviving antiquities. “I never set eyes on the place till yesterday — yet today I know it like an old resident.”

Lovecraft sent Wandrei a May 1929 postcard of “The Edgar Allan Poe Shrine [Oldest House in Richmond]”. He noted however… “The oldest house — preserv’d as a Poe shrine though Poe never inhabited it — dates behind any of the others (estimates vary from 1685 to 1737!); it being a stone farmhouse preceding the urban settlement of the town.”

“In Richmond the chief object of interest for me is the Poe Shrine ­an old stone house with two adjoining houses connected as wings & used as a storehouse of Poe reliques. Here I have spent much time examining the objects associated with my supreme literary favourite.”

“… though Poe never inhabited it”

In his essay “Travels in the Provinces of America” Lovecraft elaborated on the artful deception…

“The ancient stone house and its adjuncts lying in the easterly slum reaches of Main Street and now serving as a “Poe Shrine”. This house, a farmhouse … remains in a sound state of preservation. The space near it has been purchas’d by Poe-lovers and developed with great taste and ingenuity; an exquisite garden … and the two adjacent houses on each side being annex’d as part of a three-building unit. Of these added houses that on the west is colonial, whilst that on the east is a fireproof museum in imitation of the Richmond residence of John Allan, Esq., where Poe was rear’d as an adopted son. I spent an hour in this fascinating place, and saw all manner of Poe reliques — far more than are stor’d in the Fordham cottage I know so well.”

“Poe’s chair, desk, and various personal belongings are there, as well as many architectural details (mantels, a staircase, etc.) from the two Allan houses and the Southern Literary Messenger building [where Poe had been editor], all now demolish’d. One utterly magnificent feature is a gigantick model of the whole town of Richmond as it was during Poe’s boy-hood — about 1820 — in a glass case occupying the entire ground floor space of the colonial house attached to the shrine. This model, made in natural colours and on a scale permitting even the smallest houses to be about an inch square, was constructed a few years ago with the utmost antiquarian accuracy and artistick skill; and is so vivid that one can almost imagine himself in a balloon looking down over the outspread Georgian city. Never have I seen an antient town so miraculously conjured out of the past — I wish someone wou’d do the same for Old Providence!”

Lovecraft returned to Richmond in 1930, on which more later.


3. Poe was taken to live in Britain at a formative time of his life, from 1815-20, aged around 6 to 11. He was schooled in Richmond, then in Surrey and near but not in London.

Lovecraft remarks that the British sites… “are not marked or generally known”. Lovecraft is however known to have made a minute and sustained study of London’s historical topography and thus one wonders if, in part, this was an attempt at a tracing of the young Poe?


4. For a short while on his return to America, a house at Clay and Fifth Streets, Richmond.

Lovecraft states… “This house has vanished, and the site is unmarked.”


5. From 1825 then at the house ‘Moldavia’ at Main and Fifth Streets, Richmond.

Lovecraft notes this is an important site but “demolished without the marking of the site”. See above, for his remarks on the later attempt at recreating this home in Richmond.


6. Rooms at the University of Virginia in Charlottesville. Lovecraft notes this is “fortunately, well commemorated. His room at 13 West Range is fitted up as it was during his tenancy”.

Collected Essays notes that Lovecraft had visited Charlottesville, and presumably an account of the visit is somewhere in the Letters.


7. Various military sites associated with his time as a soldier. Lovecraft notes many of the key military sites “survive, though without Poe tablets” to mark them. Also that “no marker remains to record his sojourn in Room 28, South Barracks” at West Point.

Possibly Lovecraft recalled some of these regions via his boyhood travels with his grandfather.


8. Mechanics Row, Milk Street, Baltimore. This “has vanished without commemoration”.


9. Amity Street, Baltimore, with relatives. Lovecraft calls this “a dormer-windowed brick house at 3 Amity Street, which is still standing though unmarked.”

On visiting Lovecraft found Baltimore “hideously foreignised” but with some colonial survivals in the slums, and there “All the old houses have white marble steps, which are kept spotless by dint of constant labour.” “But to me the culminating thing in Baltimore was a dingy monument in a corner of Westminster Presbyterian Churchyard, which the slums have long overtaken. It is near a high wall, and a willow weeps over it. Melancholy broods around it, and black wings brush it in the night — for it is the grave of Edgar Allan Poe.” He tried to buy some postcards of the “dingy monument” for friends, but quickly had to abandon the quest as he had left himself so little time in the city.

It’s uncertain if he found more than the grave in his very limited time there. He remarks in a February 1930 letter… “I have not looked up the Poe houses or localities in Baltimore, but mean to do so some time”.


10. Bank Street, Capitol Square, Richmond, to marry his thirteen year old bride Virginia. Lovecraft states this… “has disappeared and whose site is unmarked.”

In 1930 Lovecraft returned to Richmond in earnest, spending ten days there and with the benefit of two recent scholarly books on Poe’s life. One assumes that he then located and saw all there was to be seen.

Recreation of Virginia as a teenager, in the garden of the ‘Poe Shrine’ in Richmond.


11. Poe then appears to have made an early try to establish his new family in Greenwich Village. On this Lovecraft refers to… “the corner of Sixth Avenue and Waverly Place in Greenwich Village, where no trace of his tenancy remains. In the spring he moved to 13½ Carmine Street, a site still commonly associated with him, though neither house nor marker exists”.

One imagines this was investigated on night walks during Lovecraft’s New York City years.


12. There were then six years in Philadelphia, where some of Poe’s most famous work was said to have been written. First at two boarding houses, then a small house at… “16th Street near Locust”, soon followed by a larger house “at the junction of Coates Street and Fairmount Drive, overlooking the Schuylkill [river]. Though without a marker, this building is still standing unless very recently destroyed.”

While visiting Philadelphia Lovecraft once… “rose before dawn in order to “observe the gold & rose dawn from the hills beyond the Schuylkill.” (I Am Providence). This sounds like it might have been at or near the Poe site, and his remark “this building is still standing” seems to show personal knowledge.


13. Then the Poe “shrine” cottage in Philadelphia… “the neat brick cottage at North Seventh and Spring Garden Streets, where from 1842 to 1844 lived Edgar Allan Poe”, writing some of his key works.

Lovecraft saw this in 1934 and wrote to Galpin that he had… “inspected the home of Poe (1842–44) at N. 7th & Spring Garden Sts., lately open’d as a publick museum. This small brick cottage is precisely as it was in Poe’s day, & hath been appropriately furnish’d. In a building adjacent is an ample collection of reliques, including copies of most of the magazines containing the first appearance of the various tales & poems. The effect of the place is extreamly lifelike, & it was not difficult to imagine the bard as present in person to welcome & guide the pilgrim.”

This appears to have brought him close to Poe, and perhaps more so than in other places.


14. Poe was then back to Greenwich Village in 1844, and Lovecraft would have thought that for a time he was living in the former Planters Hotel on… “the northwest corner of Greenwich and Albany Streets” which as Lovecraft says “still exists in good condition as a restaurant; though there is no tablet to indicate Poe’s connexion with it.” This may be because its claim to Poe now appears to be questionable. It’s now though likely that Poe never stayed there, and the belief was put about by the restaurant.

Again, one assumes that Lovecraft and his circle did a ‘Poe tour’ of Greenwich Village at night, at least once.


15. A summer house in the “Bloomingdale region” for 1844… “on a knoll near what is now the busy intersection of Broadway and 84th Street” … “The house has of course long vanished, nor does any marker amidst the babel of shops and apartments attest the fact that “The Raven” was completed on that spot”. There seem to be various competing sites for the writing of the famous “The Raven”, but this is obviously where Lovecraft thought it had been written.

Lovecraft was in Bloomingdale after Christmas 1933, for he haled Morton in a letter written from… “West 97th St., corner of the Bloomingdale Road, over-against Stryker’s Bay, Bloomingdale”. His comment that the Poe site there was among “the babel of shops and apartments” suggests he had actually tried to visit the spot.


16. In the direst poverty the Poe family then made a rapid series of complex moves around Greenwich, Broadway, Bloomingdale, and out to Turtle Bay… “15 Amity Street. Neither the house nor any marker exists at present. … 195 Broadway … in extreme poverty, sharing a single back room in a run-down tenement long ago destroyed and forgotten. By midsummer … a return to Amity Street, this time to No. 85, which like so many other Poe abodes has sunk without a trace. … the Bloomingdale farmhouse [and] later to another rural boarding-house at Turtle Bay, where the present 47th Street meets the East River. This was a large farmhouse, of which no vestige or memorial now survives.”

I’m not sure if Lovecraft ever visited the farmhouse/boarding-house site at Turtle Bay.


17. The famous Poe Cottage, at Fordham in the Bronx. Here Poe apparently wrote “Annabel Lee” and “The Bells”. This location was then rural, said to be about fourteen miles outside the current New York City. Lovecraft calls it… “a small but shapely farmhouse … in Poe’s time situated amidst a countryside of the greatest possible beauty. [In 1913 the city] moved it northward about 450 feet to the crossing of the Grand Concourse and Kingsbridge Road, in a small park named for Poe. By 1921 its restoration was complete, and the surrounding landscape was made to resemble its original setting as closely as possible. It is furnished just as it was in Poe’s time; three articles — a rocking-chair, a bedstead, and a mirror — being actually the ones he owned and used. Various relics of Poe are present.”

In 1930 Lovecraft recalled his memories of the first visit there in 1922… “rattle of the elevated [railway] through unknown labyrinths of accursed life … sweep of red-gold sun over a luring balustraded hill-crest — and the Home of Poe!” He later remarked on “the Fordham cottage I know so well”. Another comment was that… “In that shrine of America’s greatest literary artist, a brooding atmosphere lingers, and unseen wings seem to brush the cheek of the worshipper”.

In 1925 Lovecraft saw the eclipse of the sun from High Bridge, and likely knew that for Poe… “a walk to High Bridge was one of his favorite and habitual recreations” while at Fordham.

Frank Belknap Long wrote a prose-poem of the 1922 Lovecraft-Loveman-Morton-Long visit of April 1922, “At the Home of Poe”, published in the United Amateur for May 1922…

“The home of Poe! … The dead years circle slowly and solemnly around its low white walls, and clothe it in a mystic veil of unseen tears. And many marvellous stories could this quaint little old house tell, many weird and cryptic stories of him of the Raven hair, and high, pallid brow, and sad, sweet face, and melancholy mien; and of the beloved Virginia, that sweet child of a thousand magic visions, child of the lonesome, pale-gray latter years, child of the soft and happy South. And how the dreamer of the spheres must have loved this strange little house. Every night the hollow boards of its porch must have echoed to his footfall, and every morn the great rising sun must have sent its rays through the little window, and bathed the lovely tresses of the dream-child in mystical yellow. And perhaps there was laughter within the walls of that house, laughter and merriment and singing. But we know that the Evil One came at last, the grim humourless spectre who loves not beauty, and is not of this world. And we know that the house of youth and of love became a house of death … a thing seen darkly as in a looking-glass; but lovely beyond the dreams of mortals, and ineffably sad.”

On a later 1924 visit with his aunt, Lovecraft was less certain (at least architecturally) of what he had formerly regarded as the “shapely” farmhouse. Finding it now… “very squat and cramped”. But with enough charm in its removed re-creation for visitors, that he could still imagine himself actually living there (Letters to Family). In early 1930 he stated in a letter that preferred Richmond, even though by that time he had spent relatively little time there… “Fordham, (now absorbed in N.Y. City) where so much is made of his cottage. Richmond, however, is really the authentic ‘home town’, where all the formative influences of youth had their sway.” Lovecraft returned to Richmond for ten days in summer 1930, to immerse himself in the places of his idol.

Poe’s cottage

18 Thursday Mar 2021

Posted by asdjfdlkf in Lovecraftian arts

≈ Leave a comment

Poe’s cottage in the Bronx, on a windswept night. Poe’s dates and moves are very complex, but said to have been his home from 1844 to 1849.

Lovecraft knew it well, though it was a bit ‘tricked up and touristy’ — having been physically moved and re-landscaped by the 1920s. He came to prefer another Poe place as feeling more authentic to the day-visitor, and also relished Poe’s Richmond when he visited. However, he did write of the cottage… “In that shrine of America’s greatest literary artist, a brooding atmosphere lingers, and unseen wings seem to brush the cheek of the worshipper” — H.P. Lovecraft.

CuCo

17 Wednesday Mar 2021

Posted by asdjfdlkf in Scholarly works

≈ Leave a comment

I’m pleased to find another academic journal on popular culture. This time a comics journal, albeit published in Spanish. Cuadernos de Comic (CuCo) has issues online from 2013-2020 in public open-access. (“public” = I distinguish between ‘genuinely public, free and open download’ and ‘fudgy’ services which claim to be sort-of open access).

Also here.

Gou Tanabe’s “The Haunter of the Dark”

16 Tuesday Mar 2021

Posted by asdjfdlkf in Lovecraftian arts

≈ Leave a comment

Gou Tanabe’s 160-page comics adaptation of Lovecraft’s “The Haunter of the Dark” has just reached the French market, having been published in serial form in Japan back in 2016.

Beware Amazon’s apparent link to a Kindle ebook, on the same page. This turns out to be a get-rich-quick shovel-ware edition of Lovecraft that has nothing to do with Tanabe, and is just the usual dodgy link being added by Amazon’s indiscriminate dumb-bots. You would have thought that a huge, rich, and AI-savvy corporation like Amazon would have cracked this mis-selling problem by now. But no.

Inside the other Weird Tales building, Chicago: 840 North Michigan Avenue

16 Tuesday Mar 2021

Posted by asdjfdlkf in Historical context, New discoveries

≈ 1 Comment

Saks at “The Michigan-Chestnut”, Chicago, circa 1929.

840 North Michigan Avenue, Chicago. One time home of Weird Tales during the Lovecraft years. Designed by the delightfully named Holabird & Root, though their forbidding exterior obviously lacks the same fairy-tail quality. According to the newly released Archive.org microfilm of Editor & Publisher magazine, the first magazine-related tenants moved in just before Christmas 1928, and the place formally opened in 1929. Additional space was opened October 1930, possibly the artists’ studios.

The upmarket retailer Saks Fifth Avenue occupied the walk-in street floor from early March 1929, as can be seen here, when the building was known as “the Michigan-Chestnut”. Perfume and shoes were located on the ground floor, and seemingly also a beauty salon. Womenswear, junior sportswear, hats and probably jewellery were up a flight of stairs, and Saks may even have also occupied most of the first floor. Saks was an oasis for the wealthy lady shopper and thus the building faced the threat of crime from Chicago gangsters. For instance June 1929 saw Saks robbed, in a “terrifying” daylight gunpoint attack, of $20,000 of cash and jewels.

The Saks stairs photograph does at least hint at the likely style of the rest of the interior. Regrettably the upper offices and corridors appear to have eluded the camera, though there is apparently in Marginalia (1944)…

a picture from about 1937 of a part of the Weird Tales office in the “palmy Chicago days” Seated at his desk is Farnsworth Wright.

Possibly it is this one…

Weird Tales editorial office, Chicago. The business manager Bill Sprenger, then editor Farnsworth Wright seated, Henry Kuttner, and then Robert Bloch on the right.

There is however one vintage architectural view available from the windows, here enlarged and newly colorised. Note that the window casing is the same as that on the group picture above, which shows the Weird Tales office had a view of some sort. Though this particular view only has a one-in four chance of approximating the view had by Farnsworth Wright from the Weird Tales office.

Still if it was indeed more or less his daily view then, as editor of Oriental Stories and with a personal interest in the arts of the East, he might have appreciated the rather incongruous pseudo-oriental minaret. The photograph’s impression of cleanliness and order in the city is perhaps deceptive. One of Lovecraft’s correspondents felt… “unimpressed [by Chicago]… the city is filthy” after visiting the Weird Tales office. The Michigan-Chestnut building and Saks does however seem to have been at the centre of a set of upmarket ladies’ stores, according to the retail histories, so perhaps the area formed an oasis in the gangster-ridden city? Bloch had lived there as a youth and later recalled the smells…

I learned the geography of the city through the windows of streetcars, elevated trains, or double-decker buses. Sometimes my parents would even let me ride on the open-air upper level of a bus, if the wind on Michigan Avenue wasn’t too strong. Everything blew into the Windy City in the twenties — stench from its famous stockyards, smoke and steam from the daily discharge of a thousand trains. The odor of alcohol fermenting in tenement stills mingled with perfume rising from the crowded lobby of the new opera house…” (Introduction to Murder and mystery in Chicago)

Sadly his short memoir reveals nothing about the particulars of the Weird Tales office, other than that he visited it when he returned to the city. The presence of Bloch and the architectural detail of the window confirms that the above group-photo was made in the Michigan Avenue building.

Saks moved out of the building in 1935, most likely due to the stringencies of the Great Depression, and opened a new Chicago store in January 1936. Possibly the presence of Saks had meant that visitors to the Weird Tales and Oriental Stories offices would have been glad to walk in out of the stink of Chicago and through the plush and beautifully scented bazaar to reach the office elevators or back-stairs. But after Christmas 1935 this perfumed pleasure evaporated. Weird Tales followed a few years later, moving out in 1938.

Doubtless there are more small details to be gleaned from various accounts of personal visits to the Weird Tales Chicago office c. 1929-1938, buried deep in the memoirs of writers and fans such as Hoffman Price, but I lack the print resources for such a post.

Inside the Weird Tales building, Chicago

15 Monday Mar 2021

Posted by asdjfdlkf in Historical context, New discoveries

≈ 1 Comment

A peek at the environment in which the Weird Tales offices existed, when at the Dunham Building, Chicago, during the prime ‘Lovecraft years’. Entrance in 1926, from Archive.org. Other pictures via Chicago History Museum Images, from which large b&w prints can be had.

It was probably not as brown as this rescued-from-microfilm and colorised picture. The entrance when new was described as having a quirky “colorful stone exterior” (1930 Architectural Annual, Chicago). Another journal suggests the building facade and entrance were elegantly lit at night. In daylight the exterior above the entrance was an ungainly hodge-podge of layers and decoration, but I guess it might have worked better when seen at night and from the ground.

Elevator entrances and corridor, and boards listing current office occupants for each floor.

One of the private offices.

The architects were Burnham Brothers and the building was that of a successful heating and refrigeration company. One thus assumes the heating and cooling was always perfect. The pictures suggest the interior would have felt like modernity de-luxe, efficient and clean but hand-crafted and with a nice touch of eccentricity hiding the advanced technologies. Lovecraft would likely have felt somewhat at ease there, had he accepted the editorship of Weird Tales and moved to Chicago. More so, too, due to the super-efficient heating during the tough Chicago winters. However, they were only there for about three years and then moved to a modernist building he might have found less congenial.

The building’s ownership may relate to editor Farnsworth Wright’s curious rejection of “Cool Air”. Wright may have been worried that the building’s owners might have thought the story was meant to be poking fun at them.

In the 1950s it appears to have been home to another popular magazine, Science and Mechanics. The building was later renamed “450 E. Ohio Street”, and demolished in 2007.

Old-time New England, 1910-25

14 Sunday Mar 2021

Posted by asdjfdlkf in Historical context, Scholarly works

≈ 1 Comment

Old-time New England, the journal of the Society for the Preservation of New England Antiquities. Hathi has scans of 1910-25 in public flipbook form with varying quality. Archive.org, has four from Lovecraft’s time, a couple being after 1925 and one of which has the article “Symbolic Cemetery Gates of New England”…

Surely Lovecraft must have eagerly perused each quarterly copy at the public library. Though, surprisingly, he was not a member of the Society and never contributed an article to their journal. Despite it being the natural outlet for local and regional antiquarian writing. I wonder why?

The Pulpster calls…

13 Saturday Mar 2021

Posted by asdjfdlkf in Scholarly works

≈ Leave a comment

The Pulpster is now calling for ads and articles about historical pulp magazines and their writers. Ad space can now also be booked…

If you have a proposal for an article, please contact editor William Lampkin and let him know what you have in mind. Articles and artwork must be submitted by early May 2021. You can reach Bill via email at bill@thepulpster.com.

If you’d like to advertise in THE PULPSTER, please write to the magazine’s publisher, Mike Chomko, at mike@pulpfest.com. He can provide pricing and print specifications.

New addition, Tentacles over Brooklyn

12 Friday Mar 2021

Posted by asdjfdlkf in Historical context, New discoveries

≈ Leave a comment

A new addition to today’s ‘Picture Postals’. I’ve managed to catch a glimpse of the elusive giant squid, and also a picture of the first Invertebrate Hall as it existed until c. 1927. By 1928 it had been moved into another Hall.

The first Invertebrate Hall at the Brooklyn Museum, later moved wholesale to another hall c. 1927 and opened again by 1928.

This is as Lovecraft would have known it until c. 1927. Both the Giant Octopus and Giant Squid are seen, though it’s still not a good view of the squid.

‘Picture Postals’ from Lovecraft: Tentacles over Brooklyn

12 Friday Mar 2021

Posted by asdjfdlkf in Historical context, Lovecraftian arts, New discoveries, Picture postals

≈ 2 Comments

Tentacles in the Brooklyn Museum, 1931. Found while flipping through Science and Invention magazine for March 1931, newly on Archive.org. An initial search suggested there was also a giant squid, as the modern book Brooklyn Museum of Art: Building for the Future talks of their having once been natural history galleries and a specific section for… “Invertebrates housing not only display cases of specimens but also large models of a squid and an octopus suspended overhead”.

The first hall, moved wholesale to another hall and re-opened by 1928. This is as Lovecraft would have known it until c. 1927.

The first question was, did H.P. Lovecraft know the Museum from 1922 onward? Yes, of course he did. He saw it as a tourist first, and then ‘did it’ systematically and thoroughly later in 1922. Its galleries and the adjacent Japanese Gardens became a regular haunt when he was in New York. Another question was, was it always the “Brooklyn Museum” or did it have another or formal name? Indeed it did, being also known as the Brooklyn Institute. Pictures? Yes, here is a rare eye-level card showing it about a decade earlier. Most of the other cards are later, gaudily coloured and vigorously airbrushed.

Were there other attractions there? Well, a big attraction was the cost. Entry was free on most days, and the place was also open in the evening on Thursdays. By circa 1930 he probably knew the place well, but he was also well aware of the new items being accessioned. He did the Museum solo in May 1930, seeing the new ‘Colonial furniture and interiors’ wing which newly offered complete rooms arranged for Lovecraft’s lingering delight. In 1933 he “…did the Brooklyn Museum with Sonny” — Lovecraft letter to Morton, 12th January 1933, when they focussed on the “Dutch” section. I would suspect that this may also have been new.

But what of the tentacles, and the “Cthulhu” period? Regrettably there appears to be a lack of vintage postcards from the Museum, showing the interior, still less the Invertebrates section. Still there is one negative of a record-picture of the Hall of Invertebrates in 1928. Below I have newly enlarged and colorised it. The picture makes the room appear smaller than it was. The cabinets are man-high, not at child-level as they might be today.

1928, after removal from the second floor, east wing, to the first floor, west wing.

The hanging giant octopus was there before “Call of Cthulhu” was written, as confirmed by the book Guide to the Nature Treasures of New York City (1917). Also the giant squid…

Models of the octopus and squid occupy the last wall case at this end of the hall and should be compared with the giant octopus and squid suspended from the center ceiling and the marine painting above.

Thus it would be plausible to suggest that this (and the squid) could have played into Lovecraft’s conception of Cthulhu… “The cephalopod head was bent forward, so that the ends of the facial feelers brushed the backs…”.

1920 saw the addition of a ‘Pacific case’, a fine diorama with glass models. Possibly these were in the closed wooden cases seen at the back of the 1928 photo above. As such the picture below exemplifies the sort of detailed and accurate ‘undersea’ scene available in this Hall.

Here is the full description of what Lovecraft would have seen there circa 1922. This also notes the microscope views and many glass re-creations…

“… invertebrates and plants in the eastern galleries [on the “second floor” until 1927, the on the “first floor, west wing” after that]… the Hall of Invertebrates of the Brooklyn Museum (Room 7 on plan) is next entered, where the sponges and corals, worms, mollusks, crustaceans and other types of animals lacking a backbone (invertebrates) are exhibited.

Among this invertebrates are the sponges and corals, from all parts of the world, are systematically arranged in wall cases on the west, north and south sides of the hall, and in various floor cases special groupings have been made of sponges and corals of particular beauty or interest or of unusual size.

Other invertebrates are specimens of the Protozoa, or one-celled animals, the simplest forms of animal life, are shown in the first floor case on the left (north) side of the hall, by the aid of micro-scopes, and also by enlarged glass models. The sponges are the simplest forms of animals whose bodies consist of more than one cell, for the cells, although arranged in two layers, act each independently. Varieties of lime sponges, glass or silicious sponges and horny sponges are shown, as well as fresh-water, deep-sea and boring sponges, and sponge spicules under the microscope.

Models of coral, showing the anatomy of the polyps and their relation to one another, are seen in the second floor case on the left, which contains also models of the freshwater polyp hydra and other related forms. In the adjacent wall cases, specimens of mushroom, staghorn and brain coral and other forms are shown. A very large specimen of brain coral from the Bahamas and a specimen of staghorn coral, one of the largest pieces of branching coral ever collected, are exhibited in floor cases in the center of the hall.

Among the mural paintings in this hall of the Brooklyn Museum, representing some of the more striking invertebrates as they appear in life, is one depicting a coral reef in a tropical sea, and on the south wall in the center of the hall a large window group shows a coral reef close at hand and the animals that frequent it. Other mural paintings show an octopus at home, the formation of a mangrove swamp and other typical shore scenes of the Atlantic coast. Proceeding down the left side of the hall, the starfish and sea urchin families occupy the next case, and the development and anatomy of starfishes and sea urchins are illustrated by drawings, dissections, models and specimens of various ages. Abnormal specimens and specimens showing regeneration of rays in a starfish also are shown. The various types of sea urchins occupy the eastern side of the case. The worms in the next cases include the serpulid worm of the sea, the horsehair worm and a model enlarged and dissected; the branchiopods, related to both worms and mollusks, are shown here.

Crustaceans, in the next case of invertebrates, are represented by some one hundred species, including the crayfish with an enlarged model of dissection to show the anatomy, and a section of mud from a river bank showing a crayfish group at home, together with crabs, lobsters, shrimps, barnacles, horseshoe crabs and others. In the wall case at this point, the giant spider crab and the locust lobster of Japan, the largest species of living crustaceans, are shown.

The systematic series of shells, which includes characteristic examples of the principal divisions of mollusks and gives a general impression and synopsis of this group of animals at the Brooklyn Museum, is arranged in two floor cases on the right (southern) side of the hall at this (western) end. The largest specimens are in the upper part of the case, and the extensive study collections are arranged systematically in drawers below. Fine specimens of the nautilus and argonaut, representing the higher mollusks, may be seen, also the paper nautilus of Japan; a particularly interesting specimen is the naked mollusk from Naples, which appears to have no shell because the shell is internal.

An exhibit of land snails and of shells from Lake Tanganyika occupies a position in the systematic series of shells and shows specimens of the eggs of marine mollusks. The ship-boring bivalve teredo and its work in destroying ship bottoms are exhibited in the case next on the east; sections of wood show the damage done and method of work, and photographs show the anatomy of the animal. Other boring mollusks are exhibited here also, and in the upper part of the case are habitat groups of the edible snails of southern Europe. An exhibit of pearl shells from the pearl fisheries …

The marine animals of the coast of Long Island and New England, from high tide to a depth of 7,200 feet, form an interesting exhibit in the last floor case on this side. Among the specimens may be mentioned the oyster drill, showing the drilled shells, egg cocoons and stages of growth of the animal, and mounted specimens of the pipefish, sand flea and other shore creatures. Models of the octopus and squid occupy the last wall case at this end of the hall and should be compared with the giant octopus and squid suspended from the center ceiling and the marine painting above.

Passing into the Insect Hall (Room 8 on plan) …”

Ah, the Insect Hall. What monstrous wonders might he have seen through microscopes in there…?

“… dear to the small boys of other generations”

11 Thursday Mar 2021

Posted by asdjfdlkf in New books, Odd scratchings

≈ Leave a comment

Now online, a complete run of The Story Paper Collector (1941-66). This was a British title for collectors of the pre-comic-strip era of boys’ story magazines. As such it has some crossover into heroic historical-adventure and even some proto science-fiction, though it looks like interest in Billy Bunter type public-school stories predominate. The final issue has a short obituary for Lovecraft correspondent Arthur Harris and reveals he had contributed a number of articles. The website also has runs of several other titles in the same line.

A recent book has been published on the topic, Edwardian Comic Papers (2021) by expert collector Alan Clark, lavishly illustrated with colour plates.

← Older posts
Newer posts →

 

Please become my patron at www.patreon.com/davehaden to help this blog survive and thrive.

Or donate via PayPal — any amount is welcome! Donations total at Easter 2025, since 2015: $390.

Archives

  • February 2026
  • January 2026
  • December 2025
  • November 2025
  • October 2025
  • September 2025
  • August 2025
  • July 2025
  • June 2025
  • May 2025
  • April 2025
  • March 2025
  • February 2025
  • January 2025
  • December 2024
  • November 2024
  • October 2024
  • September 2024
  • August 2024
  • July 2024
  • June 2024
  • May 2024
  • April 2024
  • March 2024
  • February 2024
  • January 2024
  • December 2023
  • November 2023
  • October 2023
  • September 2023
  • August 2023
  • July 2023
  • June 2023
  • May 2023
  • April 2023
  • March 2023
  • February 2023
  • January 2023
  • December 2022
  • November 2022
  • October 2022
  • September 2022
  • August 2022
  • July 2022
  • June 2022
  • May 2022
  • April 2022
  • March 2022
  • February 2022
  • January 2022
  • December 2021
  • November 2021
  • October 2021
  • September 2021
  • August 2021
  • July 2021
  • June 2021
  • May 2021
  • April 2021
  • March 2021
  • February 2021
  • January 2021
  • December 2020
  • November 2020
  • October 2020
  • September 2020
  • August 2020
  • July 2020
  • June 2020
  • May 2020
  • April 2020
  • March 2020
  • February 2020
  • January 2020
  • December 2019
  • November 2019
  • October 2019
  • September 2019
  • August 2019
  • July 2019
  • June 2019
  • May 2019
  • April 2019
  • March 2019
  • February 2019
  • January 2019
  • December 2018
  • November 2018
  • October 2018
  • September 2018
  • August 2018
  • August 2015
  • July 2015
  • April 2015
  • March 2015
  • February 2015
  • January 2015
  • December 2014
  • November 2014
  • October 2014
  • September 2014
  • August 2014
  • July 2014
  • June 2014
  • May 2014
  • March 2014
  • February 2014
  • January 2014
  • December 2013
  • November 2013
  • October 2013
  • September 2013
  • August 2013
  • July 2013
  • June 2013
  • May 2013
  • April 2013
  • March 2013
  • February 2013
  • January 2013
  • December 2012
  • November 2012
  • October 2012
  • September 2012
  • August 2012
  • July 2012
  • June 2012
  • May 2012
  • April 2012
  • March 2012
  • February 2012
  • January 2012
  • December 2011
  • November 2011
  • October 2011
  • September 2011
  • August 2011
  • July 2011
  • June 2011
  • May 2011
  • April 2011
  • March 2011
  • February 2011
  • January 2011
  • December 2010
  • November 2010
  • October 2010
  • September 2010
  • August 2010
  • July 2010

Categories

  • 3D (14)
  • AI (70)
  • Astronomy (70)
  • Censorship (14)
  • de Camp (7)
  • Doyle (7)
  • Films & trailers (101)
  • Fonts (9)
  • Guest posts (2)
  • Historical context (1,095)
  • Housekeeping (91)
  • HPLinks (72)
  • Kipling (11)
  • Kittee Tuesday (92)
  • Lovecraft as character (58)
  • Lovecraftian arts (1,624)
  • Lovecraftian places (19)
  • Maps (70)
  • NecronomiCon 2013 (40)
  • NecronomiCon 2015 (22)
  • New books (966)
  • New discoveries (165)
  • Night in Providence (17)
  • Odd scratchings (984)
  • Picture postals (276)
  • Podcasts etc. (430)
  • REH (184)
  • Scholarly works (1,467)
  • Summer School (31)
  • Unnamable (87)

Get this blog in your newsreader:
 
RSS Feed — Posts
RSS Feed — Comments

H.P. Lovecraft's Poster Collection - 17 retro travel posters for $18. Print ready, and available to buy — the proceeds help to support the work of Tentaclii.

Proudly powered by WordPress Theme: Chateau by Ignacio Ricci.