Stamped out

Possibly useful for UK ‘zine-sters, APA mailers and stamp-hoarders to know. Barcodes are being introduced on our postage stamps and thus… “non-barcoded definitive and Christmas stamps will only remain valid until January 2023.” By ‘definitive’ the Royal Mail means the normal postage stamps with a picture of the Queen on.

January 2022 on Tentaclii

Another dull British January is done with and over. Not much is happening generally, but I’ve managed to make a full recovery from Omicron and have managed to keep up the daily posting schedule here at Tentaclii.

My blog has a new ‘Astronomy’ tag for posts, and I went back and retrospectively tagged relevant posts. Hopefully this will be useful for those writing the forthcoming book on Lovecraft and astronomy and the emerging astro-science of his time.

I took deep dives into learning more about Lovecraft’s almanac collection, and his interest in the moon in the context of the science of the time (the ‘volcanic moon’ theory etc). While researching the latter I identified some additional roots for his cosmic imagination re: what types of life might be able to exist in space. I also noted that the non-fiction articles in Munsey’s Magazine have obviously not yet been fully explored by Lovecraftians as a source of influence during Lovecraft’s formative years.

In other discoveries, I was finally able to find the press-clipping that showed a photo of Lovecraft’s favorite Providence bookseller, ‘Uncle Eddy’. This clipping was ‘hiding in plain sight’ at the Brown repository. I also spotted more evidence that Lovecraft’s friend McNeil was a fine photographer. I even made a short foray into Lovecraft’s use of the ant as a metaphor for himself and for humanity in his letters. Also a glance at Joel Dorman Steele’s A Fourteen Weeks Course series, as Lovecraft owned and recommended them.

This month Lovecraft was proven right by modern science, again, re: the news about the number of ‘dark’ sunless planets in the galaxy.

I’m currently reading through the very rewarding book of Lovecraft’s letters to Rimel and others, and for that thanks again to my Patreon patrons for helping me to pick it up when it was spotted very cheap on Amazon as a ‘Warehouse bargain’. As for buying more books myself, cash is the problem there. I’ve managed to survive the winter without once turning on the heater and I also now only heat a tank of water when needed. Which means that the savings gained should help compensate for the hefty rises in electricity and mortgage costs. I’ve also cut down on food bills. Once finances have stabilised in the springtime… then I may be able to risk buying a few more bargain books. I had hoped that my new Tolkien in Cornwall ebook would sell, and bring in some money that way. But so far… only three copies sold.

In new Lovecraft books the big event of a quiet month was the new $20 paperback edition for David E. Schultz’s Fungi from Yuggoth by H.P. Lovecraft: An Annotated Edition. On his blog, S.T. Joshi also confirmed the Letters volumes that should see release in 2022, and he noted a forthcoming book on “Lovecraft’s cosmicism and how it was adapted or amended” by later science-fiction writers.

The French are welcoming the first volume of their sumptuous and painstaking new Lovecraft translation. I noted the first review of Vol. 1 in Diacritik and translated a bit of it. In another post I noted the release of the fine cover-art for this new multi-volume edition.

Several new additions were added to my Open Lovecraft page (which links scholarly work shared in public open-access). The Litteraria Copernicana academic journal has a new Lovecraft special-issued titled “Lovecraftiana”, under Creative Commons, which was not all about adaptation. The Gothic Studies journal Studies in Gothic Fiction also issued a Lovecraft special-issue, albeit very much focused on adaptation. In academic work somewhat relevant to Lovecraft, I noted the new book chapter “Cats and Creativity in Eighteenth-Century Britain”. I’d like to see that adapted as a short graphic novel. I was also pleased to see that the Encyclopaedia Britannica 1926 three-volume supplement had slipped into the public domain. This is now public and online, and thus useful as a reliably snapshot and summary of the state of things in the 1910s and early 20s as Lovecraft emerged from his hermitage.

Various newly-liberated old zines with Lovecraft-relevant material were spotted arriving on Archive.org, such as The Diversifier #21 (July 1977); Toadstool Wine (1975), and an article in the Book Collectors’ Society of Australia newsletter Bibliophile (1948).

‘Tis the time of year for convention announcements, and there were firm dates and details from the likes of Eldritch-con 2022: A Horror and Fantasy Game Writers’ Convention; the new Chaosium Con; the German Lovecraft convention; and NecronomiCon 2022. Pulpfest also has dates and a call for material for the annual convention journal The Pulpster. The organisers of the Howard Days in Cross Plains have already announced their dates, back in December.

For those interested in some TV sci-horror fun in a dull January/February, I also made a “Skip or Watch” guide to the Tom Baker years of the British TV series Doctor Who, and am currently working through them and updating the guide accordingly. I’ve worked through three seasons so far and have finished season 14.

A forthcoming issue of Digital Art Live magazine will be a Carl Sagan tribute issue, so if anyone has anything that can be used for that (i.e. unpublished or otherwise re-printable interview transcript, etc) please get in touch. Also any stills/concept-art from the animations made of his ideas about alien ecologies on other planets.

So that’s it for January. I hope to continue posting daily in February, but the news is very slow and hard to glean at present. As always, please consider supporting me on Patreon. Even $1 a month, or an increase of $1 in your current patronage, is an encouragement.

A reading of “Editorial Prejudice Against the Occult”

New on Librovox, a reading of Henry S. Whitehead’s “Editorial Prejudice Against the Occult” (.MP3 link). He was Lovecraft’s good friend and a fellow weird writer. I have the text online here. It appeared in The Writer in 1922, and thus provides a useful snapshot of the prejudice among American story-magazine editors at the point when Lovecraft was emerging as a public writer. It was later re-worked as a chapter for The Free-lance Writer’s Handbook (1926), but the audio reading appears to be from The Writer.

Litteraria Copernicana

The Polish Litteraria Copernicana journal, Vol. 4 No. 40 (2021), is a Lovecraft special-issued titled “Lovecraftiana”. In mixed Polish and French, with a couple or articles using English if you click through to the actual PDF. All under permissive Creative Commons.

In rough translation:

* Introduction.

* Lovecraft Country, a TV series against Lovecraft?

* The Imaginary Universe of Lovecraft: through the prism of animated cinema. [Discusses History of the Necronomicon (Hideke Takayama, 1987); The Dunwich Horror and Other Stories (Ryo Shinagawa, 2008) – which also adapted “Picture in the House” and “The Festival”; and The Night Ocean (Maria Lorenzo Hernandez, 2015).]

* Messengers From Other Worlds: asteroids, science and mythology in The Color Out of Space and Fireball. [English PDF]

* Representing The Unrepresentable: videogame adaptation of Lovecraft and the question of figurability.

* Could Lovecraft Create An Appearance Of Normality? [English PDF. An off-putting title, but it turns out to be a close historical reception-study of how… “the works of Lovecraft were an important touchstone for the revival of Catalan non-mimetic fiction in the post-war era.”]

In the issue’s additional material the following seem relevant to the theme:

* The French Theatre of Fear [Review].

* Anders Fager and the tradition of post-Lovecraftian narrative. [Personal think-piece or appreciative overview?]

Diacritik

Diacritik has a long review by Yann Etienne of volume one of the new French translation of Lovecraft.

Of the former key edition in French, that earlier… “edition remains essential but it sometimes suffers from editorial faults attributable to another era: truncated texts, missing paragraphs, incomplete source text, imprecise translations.”

The new Mnemos edition retains the story-titles of the old one, to avoid future confusions… “…and volume 1 has a focus on the Dreamlands [with 17 stories, fragments or prose poems, including Dream Quest…] ‘This is not a book, it is a territory’ warns David Camus in his introduction. This would be valid for the full range of Lovecraft’s work, yet it resonates all the more more for the Dreamlands cycle. A superb map by Maxime Plasse allows us to savour the terrain.”

On Dream Quest… “we know without a doubt that we are in the presence of a unique text. This is how we recognise great texts: not by their hypothetical perfection, but by their extreme singularity. […] it creates its own space and a genre apart. […] The fairest comparison would be to shelve it alongside Dante’s Comedy”.

Lovecraft was… “a more eloquent letter writer than Voltaire”.

Sully’s violin

Bobby Derie has a new excellent blog post giving an account, with plenty of letter extracts, of Helen V. Sully’s 1933 visit to Lovecraft and the New York Circle.

What did she play, though? A quick tickle of Archive.org puts some detail on her talents as a musician, at least in terms of what she played (and thus was likely teaching by 1933). It shows her playing publicly in a string quartet in both 1923 and 1928. 1921 also saw her playing the piano in public. In her music review for the Auburn Journal for 1st August 1935 she reveals her own instruments, calling herself “a violinist and pianist”. This was in the context of the success of the first annual Carmel Music Festival, in which she had participated and played in public.

Lovecraft had also been a child violinist, arduously practising for two years (1897-1899, aged 7-9) under close professional tuition… until it “became such a nightmare” and a complete nervous rejection of classical music set in. He would thus have had a certain appreciation of the training needed in youth to later become a public performer on the violin. Interestingly Lovecraft had kept his boyhood violin…

Three or four years ago I picked up my little neglected violin, tuned it after purchasing new strings, & thought I would amuse myself with its sound, even though I did no better than a rustic village fiddler.

One then wonders if he still had it when Sully arrived? And if she stringed and tuned it up and played it for him? Although he tells Sully in a letter, discussing another musician she had seen, that…

my unmusical ear would be deaf to much of the subtle & unique charm of the rendition.

In a letter of about the same date to Galpin he similarly remarks…

I wish to Hades I had facilities for hearing music well-rendered


The Music of Erich Zann

Toadstool Wine

New on Archive.org is W. Paul Ganley’s ‘zine Toadstool Wine (1975). The lead article was the non-fiction “The Literature of Cosmic Dread” by Fritz Leiber. Page 46 of the ‘zine also offers an October 1935 letter from Lovecraft on the craft of story-writing.

“He [Wright] says my stories are too long — and then proceeds to accept some interminable series from one of his regular hacks”.