Picture postals from Lovecraft: Shepard’s in Providence

Another picture from Lovecraft’s momentous homecoming-day from New York City, which I presume I am soon to encounter again on starting the second volume of Letters to Family. I had already looked at the Art Club and the Strand cinema. Now there’s a newly found picture of the interior of “Shepard’s (neo-) Colonial Restaurant”, also mentioned as a place visited in celebration. Not great, as postcards go, but there are two pictures and it gives an indication. I suspect the blank space may have once held a miniature paper year-calendar. The picture on the right is faintly marked “Club Parlor”.

We went out to an exhibition of paintings at the Art Club, (the colonial house in hilly Thomas Street, in front of which I snap-shotted Mortonius last fall [1923] and had dinner downtown at Shepard’s (neo-) Colonial Restaurant. In the evening a cinema show at the good old Strand in Washington Street completed a memorable and well-rounded day. (Selected Letters II)

Presumably one of his aunts was a member, and could invite family guests. Not the same as his favourite and more affordable Shepard Cafeteria in Providence. Here we see a boy waiter (his face made somewhat animalistic by the chairs seen through the pen-work) bearing a second tray of do-nuts to feed Lovecraft as he dines at the Shepard Cafeteria.

Different version…

“I at once hasten’d to Providence on the rail-road…”

Now there’s an idea…

Men try to build model railways that are exact miniatures… ‘Crewe 1959’ and so on. [But] there’s definitely more room for fantasy model railways. I would maybe build The H.P. Lovecraft Line.

I was never a practitioner in any serious way as a boy, but it’s still regrettable to hear that the tabletop craft is not being passed down from father to son in the way it once was. It seems destined to join the ‘Endangered Traditional Crafts’ red-list. I imagine that one thing that might pep up the appeal for pre-teens would be to cross-breed it with tabletop fantasy-horror RPGs and card-games. Many might also enjoy a few hours with a ‘Providence 1890-1937’ model railway builder-sim PC game, if it’s chock full of enjoyable Lovecraftian horror elements. Kind of like Sid Meier’s Railroads, but with night-gaunts and tentacles and tunnels under College Hill.

If the meantime the kids have yet another story/colouring-book heading their way this summer.

Slightly heavier in tone, there is also a major new tabletop game from the Achtung! Cthulhu guys. Against The Gods Themselves will be an easy-play story-driven game of time-travelling Nazis, it seems.

“… still forms one of our best compendia”

I see that Chaosium’s 2006 one-volume Malleus Monstrorum was republished in two handsome volumes at the end of 2020. Originally a 300-page oversize compendium of the Call of Cthulhu RPG mythos monsters and gods, illustrated… “entirely with classic works of art and vintage photos, some real, many cleverly forged” as one reviewer put it. Of course it slithered into Derleth territory and even stretched to Ramsey Campbell, Brian Lumley, and Colin Wilson — but failed to embrace the Dreamlands since that was done in another Chaosium book. “Lovecraft fans interested in the book for non-gaming purposes will probably be disappointed” the reviewer of the 2006 edition usefully concludes, thus saving writers cash and disappointment.

Still, it’s worth a quick flick-through in PDF just for the clever art. Also to know what to avoid. I mean that it may be ‘negatively’ useful for writers who need to be sure that their ‘new’ monster is not actually similar to what has already been done in the extended Mythos. In that sense this could be a useful second-opinion after the un-illustrated Cthulhu Mythos Encyclopedia and other sources such as the Dreamlands book.

However, the budget PDF version of the 2006 original has been removed from sale, and the paper is now at ‘collectable’ prices. Previews of the new 2020 two-volume set suggest why — the old 2006 layout is gone… its eccentric home-brew mix of “classic works of art and vintage photos” has been removed and replaced by more generic ‘fantasy card-art’ style illustrations. These are presumably unlikely to puzzle today’s card-collecting kiddies, or to offend the Holy Inquisition of the Perpetual Outrage.

New edition.

Old edition

Book Covers

In France, Stephane ‘Wootha’ Richard has kindly put all his work under public domain, as he has recently retired from creative work. So here are the five most likely book covers from his kind gift to the world. I’ve extracted these to the Lulu print-on-demand 6″ x 9″ cover requirement of 2935px by 1920px, and as such they may be found suitable adornments for your future POD books.

Credit: Stephane ‘Wootha’ Richard of France. Titles are in the file-names. All are details from larger pictures.

Milking Lovecraft

I find my hand-colorised version of the ‘Lovecraft the milkmaid’ picture has found a use, on the cover of Angelo Cerchi’s 2020 book The Hidden Coven. A strange choice of picture for the book’s topic, perhaps, but I’m guessing that ‘the balance’ may have some symbolism in occult circles (scales of Thoth, probably) or perhaps in personal divinatory methods such as the tarot.

The new book suggests that “the real facts” of his tales were not simply invented by Lovecraft and were had from meeting with real cults, and the Italian author seeks for evidence in the work and life. The title Coven hints at what a reviewer makes clear — these were supposedly the same as Miss Murray’s cults. Such claims for Lovecraft’s supposed ‘insider’ occult knowledge have been heard before and are easily rebutted by the letters and the many accounts of those who knew him. Judging by one Amazon review, this slim new book of 150 pages adds little that’s new.

Circulo de Lovecraft / Ulthar

A new edition of the magazine Circulo de Lovecraft, No. 15. Mostly fiction but also the occasional article such as “La Reina del Horror Eldritch: W. H. Pugmire” by Bobby Derie, and a translation by Miguel Fliguer of Pugmire’s story “In Dark of Providence”. Both of these are in the latest issue, No. 15.

This led me to notice the very similar but rather more historically-minded magazine Ulthar, also from South America and with a nice line in cover-art, all by the same artist Sergio Bleda.

Ulthar runs about three substantial single-author essay or survey-essays in each issue. Including some regional surveys, such as fiction featuring “Doctors of the Occult in Spanish”.

Chronicle of Innsmouth: Mountains of Madness

Another week, another Lovecraft game. Chronicle of Innsmouth: Mountains of Madness (Psychodev, March 2021) was successfully crowdfunded just before Christmas 2018, and is now complete and published for all on Steam. It follows Lovecraftian games such as the recent The Shore and Call of the Sea. Both hard acts to follow, each in their own way. Chronicle doesn’t try to rival either title in slickness and instead purposely evokes the style and mechanics of the classic old-school Lucasarts point-and-click games. The art style is accordingly pleasingly home-spun. All plus-points, in my book.

Loosely based on “Shadow over Innsmouth” and “At the Mountains of Madness”, and apparently “written by a Lovecraft expert” in Italy. We’re promised “many Easter eggs that only the geekiest of Lovecraft geeks will get”. More plus-points.

It’s more than a bit detective-y and has some Lucasarts-style puzzles, though. The player lands in the well-worn gumshoes of Lone Carter, trying not to totter into madness while investigating a series of murders to the beat of an original soundtrack. Sounds fun, as long as fiendish puzzles don’t bring the narrative to a grinding halt, which is always the problem with such games.

Apparently it runs about six hours, or two evenings, for experienced gamers. Maybe three evenings for occasional gamers, or for those not used to detective-puzzlers.

* “a solid point-and-click adventure game … deserves investigation” — TechRaptor.

* “The game is completely voice-acted and that is done excellently … [the art] is looking quite stellar, especially the cut scenes … [game mechanics are] a very smooth experience … a fascinating narrative and characters to go along with it” — Gaming Outsider.

* “… a love letter to Lovecraft [but] the narrative feels cohesive despite shoehorning such disparate [Lovecraft themes and references] … the voice-acting ranges from ‘quite good’ on one end to ‘serviceable if a bit corny’ … it gives a sense of agency beyond discovering otherworldly secrets and being driven mad … strongly suggest giving this one a try” — Indie Gamer Review.

Finished Vol. 1 of Letters to Family

I’ve now finished reading the first volume of Letters to Family. Here are the final notes for this volume.

* Arthur Leeds let Lovecraft borrow a volume of Blackwood stories, presumably tales he had not yet read. The book is unidentified. Lovecraft read it through in one night in December 1925. A short while later he did much the same with a volume of the ghost stories of M.R. James, making no comment on them.

* In December 1925 Long had a story suited to Frontier magazine. This must be the successor to Hunter’s Frontier Magazine, Frontier Times, which appeared in October 1923 and then ran until 1985. A Web page for collectors states… “this monthly was dedicated to frontier history, border tragedies, and pioneer achievements. … Rich in first-hand accounts of formative pioneer events [and these] tell it like it was — bold, bloody and accurate.”

* Lovecraft had never seen the North Burial Ground in Providence, by late 1925.

* He refers to an astronomy slide-show he once gave in Providence, with the aid of “my lantern” (page 506). Implying that he had once owned a relatively powerful ‘magic lantern’ in his youth, and had the astronomical slides for it.

* He recalls the colours and cut of the overcoats (page 506) that he had owned since young manhood, thus potentially aiding identification in early photos (should any new ones be discovered).

* He gives the first-names of the cooks and kitchen help, recalled from his youth at 454 (page 515). Evidently the kitchen help was not all Irish, as there was a “Svea” — which is a Swedish female name. In Lovecraft’s youth the newly arriving Swedes were the largest immigrant group in Providence.

* With Sechrist paying for the tickets Lovecraft sees the Russian Yiddish stage play The Dybbuk, early in its run at “the off-Broadway Neighbourhood Playhouse”. It opened in English translation in New York City on 15th December 1925. The play draws on Yiddish folklore, namely the belief that a spirit of a dead person (which refuses to be at rest) can cling to and ‘take over’ a living person, and thus displace the living personality. Lovecraft had already explored similar ideas in fiction, so this is not a source — though the staging may have revealed to him new wrinkles in the idea. It ends with dramatic exorcism according to a summary… “The holy man then conducts a dramatic exorcism, summoning various mystical entities and using ram horns’ blasts and black candles.” The contemporary occult idea of connecting the dybbuk to a wooden box (in which it is trapped) is apparently a wholly modern confabulation with no basis in the folklore. Thus there is no connection with a mention, a few pages later, of Lovecraft’s own little cedar box.

* In short succession in December 1925 Lovecraft hears long first-hand accounts of exploring then-mysterious ancient ruins, from Sechrist (Zimbabwe) and Orton (Mexico).

* Evidently the smoky New York air, during the coal strike, also induced bronchial problems with the visiting Orton. As it had done for Long. Lovecraft states that the strike caused the city to lift the outright ban on burning bituminous (smoky) coal. Thus the atmosphere, in which Lovecraft was exploring colonial sections of the city at night, would have been especially atmospheric in Autumn/Winter 1925.

* Lovecraft indicates he had cut connections with the Eddys in Providence (page 520) by December 1925. He even seems to go so far as to suggest the reason, stating of Eddy that… “his financial laxity is something much more deserving of legal & judicial attention”. This must refer to Eddy’s slick begging letters, of which Lovecraft had suffered a number while in New York. Lovecraft appears to subtly warn his aunt that these begging letters were not restricted to himself, and they might soon receive the attention of the law.

‘Picture Postals’ from Lovecraft: more on Silver Springs

This week, a return to Silver Springs, Florida, which I casually looked at on the blog last summer and again when a postcard popped up for auction.

I’ve now found pictures of the 1934 leaflet interior, the very year Lovecraft visited, and it details what Lovecraft could have seen and heard there…

Local weird lore from Aunt Silla, the ‘legend’ of the place.

He may also have seen Ross Allen’s Reptile Institute which was established at Silver Springs in 1929, and opened to the public in 1930. Thus Lovecraft could, if he had the cash, have seen displays of alligator wrestling, ‘milking’ of the toxic snake-venom, and sundry reptiles in captivity.

“Big George”, ‘largest alligator in captivity’, and Ross Allen.

Allen had established a large collection of “South and Central America” reptiles, with dozens of alligators, hundreds of snakes, monkeys, deer, birds, turtles, lizards, exotic animals. He performed wrestling demonstrations with live alligators and giant anacondas in the pool there. He used the profits for medical research for human health… “Allen pioneered many forms of snake anti-venom, including a dried variety” and he was a pioneer in this.

It’s interesting to then consider that Lovecraft might also have seen the Allen collection and show, but I suspect he was not able to afford both the entrance ticket and the boat trip(s). He doesn’t mention Allen or the Institute, and only tells correspondents about the river and its jungle environment. From how he describes the river, one might assume he was told that to see the animals in their natural habitat was the better option than paying to enter the Allen Institute. The river itself showed him… “alligators, turtles, snakes and strange birds” all along its length, and be found the sights “indescribably weird”. He does remark on “the snake-house at Silver Springs”, but does not appear to have gone into it or known more about it. It seems he knew about it only because he had a close-up with a “huge cotton-mouthed moccasin” snake. A local man had climbed aboard the tour-boat so as to take this catch to the “snake-house” downriver. Lovecraft was very glad that the captor kept a “firm grasp” on the snake’s neck all the way back. Lovecraft would not have termed it “the snake-house” if he had known it was actually a much more substantial venture and had a proper name and famous keeper.

Surprisingly, there is no mention of Silver Springs in the new Letters to Family volumes. At least according to the Index, there being nothing under either “Silver Springs” or “Lovecraft: travels of…”. Indeed the whole of 1934 is almost a blank.

But the volume of Baldwin, Rimel, Frome letters, newly acquired here, does have a few items. Evidently Lovecraft thought the Silver Springs boat-trip had been rather brisk, even at “ten miles in a launch”, since he later remarked that he had enjoyed a trip up the similar “Black Water Creek” in Florida in summer 1935 all the more because of “the more leisurely observing conditions” compared to Silver Springs. This raises the question of if Lovecraft took the slower (he uses the term “sailing”) “glass bottom” boat cruise, or the “Speedboat Jungle Cruise” as indicated on the leaflet above… “Silver River and back in 45 minutes” over a total of ten miles. Evidently there were these two types of trip available, and the speedboat trip appears to have been the longer but faster one. Actually, Lovecraft talks in his letters as if he did both, and the leaflet does pitch the speedboat ride as an add-on to the ride on the glass-bottom boat. True, he was strapped for cash at the time… but the Barlow family may have been paying.

No postcards are to be found of the “Black Water Creek” as it appears to have been a local place… “a marvellous tropical river near the Barlow place”. Last summer I tentatively suggested it might have once run south of the Barlow homestead, given the proximity of a farm of the same name, and a likely channel still visible on the (now far better drained) terrain.