New edition of The Fossil, with a two-page survey of library archives of amateur journalism collections.

* Shelby Hatfield, Rebekah Hobbs, Jared Lynch (2014), “Multilayered Specter, Multifaceted Presence: A Critical Edition of H.P. Lovecraft’s “The Tomb”, Digital Literature Review, Vol.1, 2014.

* Daniel Iturvides Dutra (2013), “A poesia fantastica de H. P. Lovecraft: uma analise comparativa do poema Os Fungos de Yuggoth e o manuscrito “O Livro””, Manuscritica: Revista de Critica Genetica, No. 25, 2013. (In Spanish. Compares three sonnets from Yuggoth with the fragment “The Book”)

Lovecraft scholars will soon be able to access the major U.S. collection, which has been closed for a good while now. It’s been announced that the John Hay Library refurbishment at Brown University is on track, and that it…

“reopens in September [when] the Special Collections Reading Room will be available and reference services will resume.” The “magnificent first floor reading room” will become… “a new “open, welcoming study space”.

But it appears that the Lovecraft collection materials will be consulted in a new spot from September, in… “a new state-of-the-art special collections reading room in the area that formerly housed University Archives”.

Added to the Open Lovecraft page:

* Emil Lofling (2013), “”But alas—where are any Lovecraft pieces?”: en narratologisk undersokning av H.P. Lovecrafts noveller” (In Swedish. Undergraduate final dissertation for Uppsala University, Sweden)

* S.T. Joshi (2013), Review of H.P. Lovecraft, The Classic Horror Stories, edited by Roger Luckhurst. Posted 21st June 2013 at the personal blog www.stjoshi.org.

* Michael Barker (2012), “H.P. Lovecraft’s Alien Legacy”, Swans, 4th June 2012. (Lovecraft’s influence on post-1945 New Age UFO folklore etc. Review of Jason Colavito’s The Cult of Alien Gods: H.P. Lovecraft and Extraterrestrial Pop Culture).

* Edmund Berger (2012), “Aliens To Autonomy: gauging Deleuze And Guattari’s “ridiculousness””, Swans, 18th June 2012. (Critique of Michael Barker’s treatment of Deleuze and Guattari in the review essay “H.P. Lovecraft’s Alien Legacy”).

Added to the Open Lovecraft page…

* Eugene Thacker (2012), “Cosmic Pessimism”, Continent, Vol. 2 No. 2, 2012, pp. 66–75. (Lovecraftian philosophy).

* Benjamin Noys (2005), “A Gothic Sinthome? The Case of H.P. Lovecraft”, presented at the conference ‘Gothic Remains: Symptoms of the Modern’, University of Sussex, December 2005. (Examines the possibilites for using Lacan to try to understand Lovecraft. Lacan’s sinthome is a unanalyzable and unspeakable ‘symptom’ of meaning that lies just outside the semiotic triangle, but which might be apprehended via the unconscious in moments of jouissance or sublime awe).

* Michael Umbricht (2013), “Cosmic Inspiration: Lovecraft’s Astronomical Influences” (Nicely illustrated academic Powerpoint presentation from Ladd Observatory at Brown University, as part of NecronomiCon 2013. Illustrates the influence of the Ladd Observatory on Lovecraft’s early life).

Added to the Open Lovecraft page:

* Robert C. Schachel (2006). “The aeon-silent maze of unhuman masonry: Lovecraft’s other places”. (Substantial chapter in the PhD thesis Textual Projections: The Emergence of a Postcolonial Gothic, for the University of Florida, 2006).

* Elena Glasberg (2008), “Who Goes There? Science, fiction, and belonging in Antarctica”, Journal of Historical Geography, 34, 2008, pp. 639–657. (Only mentions Poe and Lovecraft in passing. It does, however, open with a good outline of the pre-war ideological developments in ‘the Byrd view’ of Antarctica between “At The Mountains of Madness” (1931) and “Who Goes There?” (1938), which may be relevant to those considering the reception of “Mountains” in the 1930s and 40s).

* Amy Ireland (2013), “Noise: An Ontology of the Avant-garde”. (Paper for the 2013 conference ‘Modern Soundscapes’ run the Australasian Association of Literature / Centre for Modernism Studies. Examines sound/noise in “At The Mountains of Madness” in order to weigh the claims of two philosophers, Kant and Nick Land, and from this develops ideas about the 20th century avant-garde’s use of noise as an “exaltation of the void and the melting of unstable frontiers”).

* Sonja M. Karlas (2013). Cosmic horror, gothic body and the text: H. P. Lovecraft’s “The Shadow Over Innsmouth”. (Polished paper written as part of a Masters degree. Version of the same paper was later published in Journal for Languages and Literatures of the Faculty of Philosophy in Novi Sadu, Vol.3, No.3, 2013).

* Rui Lopes (2011), “O interprete estupido”, Dos Algarves, No. 20, 2011. (In Spanish. Examines literary characters reacting to strange things — as depicted by Lovecraft, Musil, Pitkin, and Poe).

* Alcebiades Diniz Miguel (2008), “A teratologia multipla: Robert Bloch e o seu bestiario”, Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG, Vol. 2, No. 3, 2008. (In Brazilian Portugese. Appears to be an examination of Lovecraft’s claim that certain peoples and cultures were more suited than others to create fantastic supernatural works. Part of a special issue on Kabala: the weird and magical in Jewish cultural heritage).