* Gro Oskarson Kindstrand (2014), “Lovecrafts kvinnor: en undersokning av kvinnlig monstrositet i Howard Phillips Lovecrafts litteratur”. (Seems to be a Masters dissertation, for Sodertorn University. “Lovecraft’s inability to [develop his female] monsters forces him to literally put them away – in attics, cellars, or boxes. … these women [then] elaborate a monstrous form that transcends the boundaries of sex, gender, class and race.” In Swedish, with English abstract).

* Gavin Parkinson (2015), “Surrealism and Everyday Magic in the 1950s: between the paranormal and ‘fantastic realism’”, Papers of Surrealism, Issue 11, Spring 2015. (On the ‘return of the fantastic’ in France in the late 1950s and 60s. Touches on the reception of Lovecraft in France, and his probable influence on Morning of the Magicians which was the precursor for a wave of ‘ancient astronauts’ books in the 1970s).

* Tanya Krzywinska (2012), “The Secret World as weird tale”, Well Played journal, Vol.3, No.2, 2012. (On the partly Lovecraft-inspired MMO PC videogame The Secret World)

* James Steintrager (2015), “The Eldritch Voice: H.P. Lovecraft’s weird phonography”, Sounding Out!, 6th August 2015.

I once owned an Edison [phonograph] machine of the primitive type, with recorder and blanks; and I made many vocal records in imitation of the renowned vocalists of the wax cylinder. My colleagues would smile to hear some of the plaintive tenor solos which I perpetrated in the days of my youth!! But sad to say, I gave the old machine away about a year ago to a deserving and not too musical youth who occasionally performs useful labour about the place. I wish now that I had retained it! / … a decade ago [circa 1907, Lovecraft aged 16 or 17], when my phonograph was in constant use … I remember one record — a song called “Starlight”, which was truly Western in its cadences: “Good Nity, my Starrrrlight, hearrrt of my hearrt” … etc. etc.” — Lovecraft letter to Rheinhart Kleiner, April 1917.

An Edison Home Phonograph c.1904. Into which the young Lovecraft may once have crooned a cowboy song or two (the device could record, as well as play). Sadly there is no known surviving recording of Lovecraft’s voice.

Barton L. St. Armand, “Facts in the Case of H.P. Lovecraft”, Rhode Island History, January 1972. (Originally presented as a lecture Nov 1969).

“A rather unusual assortment of readers may have been stirred by a minor item in The New York Times Book Review, May 17, 1970. Included under the heading of “Revivals” in the “European Notebook” of Mark Slonim, it announced to its American audience that…

    A most striking phenomenon in France, Italy and Spain is the number of translations (mostly very good) of the American science-fiction writer H.P. Lovecraft. Not only are they widely read in Paris, Rome, and Madrid, but Lovecraft is also hailed by the leading critics as superior to Poe. The Spanish essayist Jose Luis Garcia recently included Lovecraft in a list of 10 best writers of the world, and the French sophisticated periodical L’Herne dedicated a special large issue to the greatest American master of supernatural literature.”