Added to the Open Lovecraft page…

* Andreas Schardt (2011), “The Gothic Pastoral: terrible idylls in late nineteenth and twentieth-century literature”. (Ph.D for the Faculty of Modern Languages, University of Heidelberg, Germany. In English. Examines “The Colour out of Space” and “The Dunwich Horror” on pp.163-177).

* Mark Blacklock (2013), Final Bibliography for his 2013 Ph.D thesis “The Fairyland of Geometry: a cultural history of higher space, 1869-1909”. (Relevant to the young Lovecraft’s understanding of fourth-dimensional space and similar scientific matters).

Above: Inside front fold-out plate of The Fourth Dimension (1904).

Added to the Open Lovecraft page…

* Brian J. Reis (2013), “Satanic Indifference and Ultimate Reality”, Lux : a journal of transdisciplinary writing and research, Vol.2, No.1, 2013. (Discusses the idea that the classic religious idea of “Satan was transformed [by Lovecraft] from a symbol of evil in a Manichean universe to an articulate arbiter of the revelation that human existence means nothing cast against the broad spectrum of the cosmos.”)

* Anon (2011), “Lovecraft, Cyclonopedia and Materialist Horror” part one and part two and postscript. (See also the book of responses to the theory-satire Cyclonopedia, Leper Creativity: Cyclonopedia Symposium).

Alphabetic listing by authors of stories referenced by H.P. Lovecraft in his essay “Supernatural Horror in Literature”. With hyperlinks to the texts themselves.

* Marshall Buchanan (2012), “Horror in Seneca’s Thyestes and Lovecraft’s “The Call of Cthulhu”“. (Student paper written for Latin 5014 class at Department of Classics, Ohio State University).

* Mark McGurl (2012), “The Posthuman Comedy“, Critical Inquiry 38, Spring 2012. (Discussion of Lovecraft in relation to the academic canon and ‘outsider’ writers, on pp.542-547)…

   “an equal part of his interest as a writer is in the troubling shape taken by his limitations. [which] open up, at the level of daily social practice, to a compelling vision of a writerly existence — compelling because so extraordinarily grounded and collegial, so generous in the expense of personal time. … sharing work, sharing imaginative terrain, and freely helping each other toward publication … Working sideways from [amateur] journalistic endeavor into the literary community in which his literary efforts took shape, we are tempted to see the generic institution of the weird, too, as a kind of virtual college, a weird college. … His mistake was to think that the relative weakness and evanescence of the values shared by his community of literary underdogs meant that they were in fact worthless.” [whereas they now seem the forerunner of our own emerging open/remix culture and fan cultures].