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Tentaclii

~ News & scholarship on H.P. Lovecraft

Tentaclii

Author Archives: asdjfdlkf

Bruce Sterling on Lovecraft

06 Wednesday Jul 2011

Posted by asdjfdlkf in Lovecraftian arts

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Science fiction author Bruce Sterling annotates Lovecraft’s Commonplace Book through the prism of 21st century tech. Newly posted today, it makes for a bizzare little page.

28 The Cats of Ulthar […] (((endless seething primal LOLcat hordes)))


Organising a small conference

06 Wednesday Jul 2011

Posted by asdjfdlkf in Odd scratchings

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Fannish organisers and academics might be interested in a new free comprehensive handbook. It details the nuts and bolts of running a small 200-300 person two-day conference. It’s UK oriented. There’s no Kindle download, but you can slingshot the ten pages to your Kindle with reKindleit.

Lovecraft’s typewriter

05 Tuesday Jul 2011

Posted by asdjfdlkf in Historical context

≈ 8 Comments

As a boy Lovecraft had had a “Simplex Typewriter”. Later, as an adult, Lovecraft owned and used the same Remington typewriter all his life. In 1975 L. Sprague De Camp called it a… “1906 Remington”. He went on to say that…

“When it wore out, he had it rebuilt. But this occured only at long intervals, since he could only rarely afford such costly repairs.”

S.T. Joshi tells us in A Dreamer and a Visionary: H.P. Lovecraft in his time that the typewriter was a… “rebuilt 1906 Remington” and that… “he purchased it with his own money in 1906”. In I Am Providence, this is “the 1906 Remington” (p.57) and some pages further on it is mentioned as “rebuilt”.

Donald Clarke’s A Life of Fantasy and Horror: H.P. Lovecraft gives us the date of delivery, which he presumably has from the letters [yes, it’s in the Moe letters, p. 226]…

“On July 6, 1906, Lovecraft received a used Remington typewriter.”

So, “rebuilt”, “used”? He appears to have had it rebuilt later in his life. But was it really used when he purchased it? Could one have purchased a used 1906 Remington in 1906? Or was it a new 1906 model that he later had rebuilt when he could afford it?

One solution to this conundrum may be that used machines were common. Busy telegraphy or typing-agency offices in New York would no doubt hammer the machines for six months and then discard them for new ones, selling them to local refurbishers to fit a new platen and keys. That way it could still have been both a 1906 model and rebuilt to be sold used to Lovecraft in July 1906.

This is the sort of ad he might have purchased from, which is from 1905 and shows a Remington.

So let’s assume that it was possibly a 1905 or 1906 model Remington Standard. They all seem to have looked much the same anyway. So much so, that one wonders if there were even some dubious refurbishers who sold last year’s Standard model as “this year’s model, refurbished” to unsuspecting aspiring writers who wanted a bargain. They were marked only with serial numbers, not dates. So although Lovecraft had his Remington in 1906, that doesn’t mean it has to have been made in 1906.

This is a 1910 Remington Standard, giving a flavour of the sort of scene at which Lovecraft might have sat down to type…

And here’s a 1907 ad for Remington which might have appealed to Lovecraft’s love of ancient Egypt (and which interestingly hints visually that New York might be imagined as the heir of ancient civilisations). The sand had been completely cleared away from the Sphinx only in 1905, allowing it to be seen fully for the first time since Antiquity….

Here’s an attic-hauled 1907 Remington in the 2000s, showing us what Lovecraft’s typewriter might look like today if it ever turned up…

Incidentally, it seems Lovecraft had previously had a Remington rifle in his firearms collection, and later wrote in a letter of his regret at giving it away. Possibly his admiration for the rifle was partly why he chose Remington as his typewriter brand? Although it does seem that Remington was then the “top choice” among typewriters.

Lovecraft also purchased a $50 astronomical telescope that same summer. His established interest in astronomy swiftly found its way on to the keys of the typewriter — a mere ten days after the Remington’s delivery he rattled out a letter that would win him his first national print publication, in the letters pages of the Scientific American. In the letter he proposed a method of discovering new planets beyond the orbit of Neptune.

Whisperer in Darkness review from Film Threat

05 Tuesday Jul 2011

Posted by asdjfdlkf in Films & trailers, Lovecraftian arts

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The first carefully critical review (that I’ve seen) for the feature-length The Whisperer in Darkness. Tom Cruise isn’t in it, apparently. Darn.

Film Threat concludes…

“Branney nails the spirit of Lovecraft. Through voice-over narratives and frightened faces, The Whisperer in Darkness conveys a sense of human sanity being unraveled by too much forbidden fruit.”

There’s a new dedicated set of Web pages for the movie. The DVD should be out around… “October of 2011”.

H.P. Lovecraft Literary Podcast escapes from Mountains

04 Monday Jul 2011

Posted by asdjfdlkf in Lovecraftian arts

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The H.P. Lovecraft Literary Podcast has finished its 7-part reading and discussion of At The Mountains of Madness. It’s free online.

Mythoscon 2011 programme booklet in PDF

04 Monday Jul 2011

Posted by asdjfdlkf in New books, Odd scratchings

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I just found that Cthulhuwho1 has the complete Mythoscon 2011 programme booklet online as a 300dpi printable PDF (60Mb). Here’s hoping we get the chance to purchase the panel discussions in MP3 audio format soon. Perhaps it could even be a condition of purchase that each buyer transcribes a given section of the audio to text?

The Tentaclii Summer Story Challenge 2011

04 Monday Jul 2011

Posted by asdjfdlkf in Lovecraftian arts, Odd scratchings, Summer School, Unnamable

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Here’s a bit of fun for the summer. I’ve written a brief Lovecraftian story idea/outline, in the manner of the short entries in Lovecraft’s Commonplace Book. The challenge is to write a short story that fleshes it out and gives it a strong conclusion, much like the challenge that Lovecraft occasionally had from his ghost-writing commissioners. There may be prizes!

“A scientific or scholarly protagonist discovers that each person’s mind contains the trigger for each person’s exact date of death. This is due to the gradual layered accumulation of dream-memories over a lifetime. The human mind is born with only a certain finite capacity to retain and hold these faint and fleeting memories of past dreams, and when the mind is full of these — then death is swiftly triggered by making the body an ‘attractor’ for some form of evil or harm. But the protagonist creates a device to capture and siphon off his own dream-memories into bell-jars or some other storage devices, and by this he hopes for immortality.

Only after some months does he realise that he cannot contain his siphoned dream-memories in artificial vessels (they begin to fester and mingle there, and in doing so open up dimensional-portals which threaten to allow unspeakable hybrid dream-entities into the world, entities which he thinks he sees scratching and whispering at the glass of the bell-jars, etc). He decides that his festering dream-memories must be passed into the mind of another human, where he hopes they may be better contained. While researching how to do this, he is led to understand that it is only the balancing and calming factor of the faint dream-memories in the human mind that is keeping the human race from seeing the true cosmic horror of their situation in the universe. He has condemned himself to madness by removing too many of his dream-memories, but yet he cannot restore them (in their corrupted form) to his mind.

Can he accomplish the transfer of his now-diseased dream-memories into another, before his dream-memory deprived brain is engulfed by the shattering awareness of the nature of the horrors pressing against the glass of the bell-jars? And what will happen to the chosen recipient?”

Eldritch!

29 Wednesday Jun 2011

Posted by asdjfdlkf in Lovecraftian arts

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A long interview with Aaron Alexovich and Drew Rausch of the new Eldritch! webcomic, which is now available…

“Eldritch! is a horror book. A dark, brutal, MESSY horror book, but with a lot of humor built in… The story’s about Anya Sobczek, an angry punk-rock science major who discovers her teenage occultist brother is full of black tentacles and ancient, awful powers. There’s a lot of Lovecraft in it, obviously… Lots of monsters…”

CRUSOE : the Macabre Later Adventures of Robinson Crusoe – new Kindle revision

20 Monday Jun 2011

Posted by asdjfdlkf in Lovecraftian arts, Odd scratchings

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I have a new revision of the Kindle ebook CRUSOE : the Macabre Later Adventures of Robinson Crusoe, available now. This has had some minor revisions, and the benefit of three extra passes of close proof-reading. I’ve also dropped the price to a special ‘summer sale’ price of $0.99 plus your local sales tax. Ideal summer reading for those going on cruises or visiting small tropical islands!

History of British horror film fanzine production in the 1990s

12 Sunday Jun 2011

Posted by asdjfdlkf in Historical context, Odd scratchings

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Birmingham’s Oliver Carter is currently researching the culture of British horror film fanzine production in the 1990s. Any info, interview tapes, or old rare ‘zines you can pass his way will probably be welcome.

Houdini: Art and Magic

11 Saturday Jun 2011

Posted by asdjfdlkf in Historical context, New books

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A review of the exhibition Houdini: Art and Magic (The Jewish Museum, New York, 2010), which has now transferred to the Skirball Center in Los Angeles until 4th September 2011. There’s an accompanying book, from Yale University Press.

Lovecraft and Houdini had connections, not least in the long story Imprisoned with the Pharaohs (1924). Lovecraft ghost-wrote this for $100 (paid in advance, for the only time in Lovecraft’s life), based on an after-dinner tale invented by Houdini but which he claimed as true. Lovecraft seems to have considered it improbable and badly formed, and was pleased to be told in confidence that it was actually a fabrication, since he could then let his imagination rip on the tale. Although often talked of as a minor story, and as having a little too much of the travelogue about it, Michel Houellebecq’s 1991 book on Lovecraft said Pharaohs contained some of Lovecraft’s… “most beautiful verbal extravagances”. This was, of course, also the story whose manuscript Lovecraft fatefully left and lost on a train, and which he then had to spend some of his honeymoon re-typing — possibly to the detriment of his marriage.

Lovecraft also admired Houdini for his tireless debunking of spiritualists and other faux-mystic charlatans. Houdini is known to have socialised with Lovecraft, occasionally dining with him after shows, and in one of his letters Lovecraft recalls being taken out by Houdini to the incongruous theatrical event of a Noel Coward play in 1924. Houdini personally arranged for Lovecraft to have a meeting with a newspaper publisher, with a view to some employment, but nothing came of it.

Lovecraft later had a further very healthy payment of $75 for a ghost-written Houdini article attacking and debunking astrology. Houdini’s sudden death due to a student prank, in 1926, put an end to the prospects of more collaborations and income — such as the planned The Cancer of Superstition, a book debunking superstitious beliefs. Lovecraft had apparently already drafted this in basic outline form, and started researching magic and witchcraft for it. Possibly some of this research found its way into his The Horror at Red Hook.

H.P. Lovecraft’s favourite artists

09 Thursday Jun 2011

Posted by asdjfdlkf in Historical context, Lovecraftian arts

≈ Leave a comment

John Coulthart has a brisk survey of H.P. Lovecraft’s favourite artists, on Tor.com. See also Monster Brains‘ new collection of hi-res Sidney Sime scans.

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