The young Robert Bloch
11 Thursday Mar 2021
Posted Historical context, Lovecraftian arts
in11 Thursday Mar 2021
Posted Historical context, Lovecraftian arts
in10 Wednesday Mar 2021
Posted Odd scratchings
in10 Wednesday Mar 2021
Posted Odd scratchings
in“Real-time dialogue between experimenters and dreamers during REM sleep”, in the journal Current Biology…
“… the researchers attempted to communicate with people while they were still dreaming … placed electrodes on the participants’ heads … Four independent lab groups in the U.S., Germany, France and the Netherlands conducted four separate experiments. The researchers used several techniques across the experiments to communicate with dreamers during REM sleep … If dreamers received and understood the question or message during a lucid dream, they then responded with a set of distinctive eye or facial movements that were interpreted by the electrodes.”
Apparently morse-code is used as one communication method. But it’s not just some postgrads trying to grab headlines with some fudgy research, and Cell is not a predatory ‘you pay, we publish’ journal. A journalist at Live Science queried “Robert Stickgold, a professor of psychiatry at Harvard Medical School” about the new paper and he is said to have called the study “groundbreaking … Two-way, real-time communication between researchers and lucid dreamers immersed in REM sleep offers a new and exciting window into the study of dreams and dreaming”. Fair enough, it seems legit then. And thus makes for an interesting comparison with what Lovecraft was suggesting just over a century ago…
from Lovecraft’s “Beyond the Wall of Sleep” (1919)… “[long interested in investigating dream-life and] mental communication by means of suitable apparatus, I had in my college days prepared a set of transmitting and receiving instruments somewhat similar to the cumbrous devices employed in wireless telegraphy at that crude, pre-radio period. […] in my intense desire to probe into the dream life of Joe Slater, I sought these instruments again; and spent several days in repairing them for action. When they were complete once more I missed no opportunity for their trial. At each outburst of Slater’s violence, I would fit the transmitter to his forehead and the receiver to my own; constantly making delicate adjustments for various hypothetical wave-lengths of intellectual energy. I had but little notion of how the thought-impressions would, if successfully conveyed, arouse an intelligent response in my brain; but I felt certain that I could detect and interpret them. [The “head-bands” device is fitted to the sleeping Jo Slater]. At this juncture my brain became aware of a steady external influence operating upon it. I closed my eyes to concentrate my thoughts more profoundly, and was rewarded by the positive knowledge that my long-sought mental message had come at last. Each transmitted idea formed rapidly in my mind, and though no actual language was employed, my habitual association of conception and expression was so great that I seemed to be receiving the message in ordinary English.”
10 Wednesday Mar 2021
Posted Lovecraftian arts, New books
inThe German Lovecraft Society is now able to provide Germans with the full FHTAGN as a book, this being…
a pen & paper set of [RPG] rules under an Open Game License, with which commercial and non-commercial projects can be implemented by third parties without the need for a separate license or consent. The volume is 172 pages and contains all the rules that Game Masters and players need for exciting hours in the cosmic horror universe of H.P. Lovecraft.
Apparently based on Delta Green.
09 Tuesday Mar 2021
Posted New books, Scholarly works
inS.T. Joshi’s new essay collection The Progression of the Weird Tale is now available in an affordable £2.60 Kindle ebook. The second half is substantially Lovecraft and Barlow, plus a critical assessment of two novels by Frank Belknap Long and memoirs of several fellow Lovecraftians. Also many short encyclopaedia entries, but judging by the one on Arnold Bennett they only cover supernatural novels not short-stories.
His latest blog post also reveals a worthy new mammoth project, A World History of Atheism, expected to take about six or seven years. Sounds great. Grab the graphic novel rights now.
08 Monday Mar 2021
Posted Lovecraftian arts
inA few personal picks from the many recent ‘Lovecraft the man’ pictures, as posted on DeviantArt…
2020 by perimido. I guess the skeleton penguins are ‘Mountains of Madness’.
H.P.Lovecraft – caricature by miguelzuppo.
HPL’s bathroom by Zeephra. As a physical sewn tapestry. Based on a pixelart version.
Inktober, 2020: H.P. Lovecraft by Snipetracker. Specifically, Lovecraft and Sonia while he was writing “Under the Pyramids”. You’ll recall that the story interrupted their Honeymoon.
07 Sunday Mar 2021
Posted Lovecraftian arts
inGrandpa Whipple and others, rejuvunated through the miracles of technology.
Likely to be using the new Deep Nostalgia service at MyHeritage.
06 Saturday Mar 2021
Posted Odd scratchings
inThe NecronomiCon Providence convention, bundled into “a queer mixture of rods, wheels, and mirrors” and whisked through time to August 2022.
06 Saturday Mar 2021
Posted Historical context, Scholarly works
inPossibly of interest to some, re: learning more about the historical context for Lovecraft and the Great Depression. A new book by John Marsh, The Emotional Life of the Great Depression, from Oxford University Press. Rejecting the usual approach of a ghoulish focus on ‘the despair of the 1930s’, the book…
explores the 1930s through other, equally essential emotions: righteousness, panic, fear, awe, love, and hope.
The author appears to delight in Walt Whitman, also being the author of In Walt We Trust: How a Queer Socialist Poet Can Save America from Itself.
Sadly I can’t find a single public review of The Emotional Life of the Great Depression, even on Amazon. I even looked on Good Reads, a site I usually disregard.
News of the book leads me to recall my elderly history teacher once impressing on his class, way back, that the 1930s in the UK were actually a time when many had a good time, got ahead, worked hard, were relieved from drudgery by labour-saving inventions, saw amazing cinema and read lively magazines, enjoyed better health and healthcare, revelled in public libraries, moved to beautiful new and affordable suburbs, were broadly optimistic about the future (they didn’t know a World War was coming) and generally unaffected by all the hand-wringing and maudlin machinations among the intellectuals. He had actually been there in 1930s Midlands Britain, albeit as a lad, and had later studied the period. He felt the need to enlighten his students because of the distorting effects of the stark and grimy black-and-white depiction of 1930s — pit-head and dust-bowl poverty, etc. — that had been relentlessly promoted in the media from about the 1960s until the 1990s.
05 Friday Mar 2021
Posted Lovecraftian arts
inA while back Archive.org put up the legendary science-fiction comics editor Josep Toutain’s first run of his Spanish-language 1984 title (#1 – 30). It’s still there.
The magazine actually ran on to #64. Now Archive.org also has Toutain’s 1984 #30 – #64 in PDF, newly arrived. Plus five Annuals (1980-84) and even two ‘specials’ in the year 1984 that appear to have been showcasing aspiring young comics artists.
The magazine was titled 1984 until the actual year of 1984 swung around… and of course this made an anachronism of the masthead. It was then continued, necessarily re-titled, as Zona 84 (#1 – #96, three annuals, four beginners anthologies, and what appear to have been four poster-magazines — the latter being a format that was hot at that time).
It’s not to be confused with the various licenced editions of the Spanish 1984 which appeared in other languages. In the USA this means Warren’s 1984 (later titled 1994) magazine, which offered a toned-down American competitor to the English edition of Heavy Metal and Marvel’s native Epic magazine. I never saw the Warren 1984 (1994) here in the UK, and it probably never even reached our comics shops, perhaps due to the import censorship and moral panics of the period — and thus never survived to be found later in the comics boxes of second-hand bookshops.
There was also the partial reprint of the Spanish title as a French-language magazine Ere Comprimee (#1 – #42). This seems to have been a high-quality competitor to Metal Hurlant (the French source of Heavy Metal) in France and Belgium, but heavier on the nudity and cartoon violence.
The Warren titles and Ere Comprimee did not just do straight translated reprints of the Spanish issues. They appear to have selected the strips they wanted, adding alongside them local artists and new unique editorial material. I would imagine the words also saw some buffing and shifting in the translations.
Which reminds me that we still need an auto-translate comics reader software for French and Spanish comics. The best we have is Project Naptha (May 2020), a browser addon at the Chrome store. It now works on the Opera browser as well, but can still only do ‘English to other languages’. We need a PDF/CBR reader than can attempt basic auto-translation of comics-lettering from French and Spanish to English. Ideally inline and replacing, as Project Naptha has shown is possible.
I seem to recall reading somewhere that other publishers in Europe also produced their own clones of the Spanish 1984, using translated material from the Spanish magazine. Possibly there are titles from Germany and Italy I’m not aware of.
Such titles also appear to have inspired Cheval Noir (1989-1994), an American Heavy Metal-like title in which Dark Horse reprinted the best continental European comics in English. It offered a mix of standalone shorts, and ongoing strips, in black and white. Probably other long-forgotten magazines were also around in this ‘free’ period between the censorship of the 1950s/60s and the prudish political correctness of the later 1990s. While the stories in these various titles veer toward excuses for titillating 1970s-style nudity and gory battle, the comic art and sci-fi inventiveness is fabulous.
05 Friday Mar 2021
Posted Odd scratchings
inComing online, albeit in microfilm b&w rather than dazzle-tastic 1970s/80s colour, the complete run of Omni magazine, 1978-1994. “To borrow”, though.
05 Friday Mar 2021
Posted Picture postals
in1914 at Providence Opera house, the Act 1 backdrop for a celebration of Brown University’s 150th anniversary.
1914 at Providence Opera house. S.T. Joshi dates Lovecraft’s regular theatre attendance at 1896 to c.1911-1915 in I Am Providence, and a letter in Letters to Family implies he visited a show there in 1917. So it’s possible the above 1914 show might have be seen by him, assuming it was not a ‘one-night only’ show reserved for the Brown University crowd. Certainly the ‘historic Providence’ aspect would have appealed to him. Probably he also saw the designs given in the local newspaper or magazines, if not exhibited at somewhere like the Art Club.
The new Letters to Family reveals that in his youth he had trodden the very boards of the Opera House. He had “slung from the stage” of the Opera House great slabs of a Shakespeare tragedy, given with “vigorous, orotund delivery”.
Providence Opera House, Gallery entrance on Eddy Street.
On hearing the news of the impending demolition of the Providence Opera house, in spring 1929 he decried the philistinism of a city that could leave itself without a stage fit for “a high-grade play”. He also recalled…
What a second home the old Opera House used to be to me!” — in Letters to Family
I also recall that Lovecraft once spotted his house on a richly painted theatre curtain showing a similar historic vista of Providence. I can’t find the reference offhand, but it was likely at the Opera House.
By 1936 the place had long gone, as he remarked to a young correspondent…
… alas! Indeed, the Opera House was torn down in 1931, & its manager (with a tragic timeliness worthy of the Muse whose temple he had tended) died the following year.
Many years earlier he had recalled this fellow for Kliener…
… we [the family] were acquainted with Mr. Morrow, lessee & manager of Providence’s chief theatre — The Providence Opera House — (he lived directly across the street) so that it was not thought too shocking to let my aunt take me to see something [there, when a boy]” — H. P. Lovecraft, letter to Kleiner dated 16th November 1916.
Incidentally, the indexing of the entry for ‘Providence Opera House’ is slightly astray in the new Letters to Family. Page ‘1026’ should read ‘1028’.