A new Lovecraft Geek podcast – and an emergency fundraiser

There’s a a new episode of The Lovecraft Geek podcast from Robert M. Price.

He fronts the podcast with news of his Emergency Relief Request fundraiser at Go Fund Me, to raise $15,000 for vital repair work to his broken kitchen and hot water supply — before the winter arrives.

Nearly half of the needed $15k amount has already been raised. If you can help push it along a bit, then I’m sure we’d all be all be happier knowing that Price will be snug-and-sound as the cold nights return in the Fall/Autumn.

He also mentions that his long-awaited possibly-Chaosium books The Exham Cycle (aka The Exham Priory Cycle) and The Yig Cycle, may well now be self-published under his own Exham Priory imprint. He also moots the possibility that he may take the next issue of The Crypt of Cthulhu journal back under his direct control, in order to see it published in a timely manner. Hopefully these and other projects can hastened by the good news that he has the funds to get a functioning kitchen and hot water again.

Picture Postals: On Silver River

“Early in June [1934] I visited a most impressive spot — Silver Springs, some 60 miles from De Land [Florida, home of Robert Barlow. Presumably Barlow was with him.] Here is found a series of placid lagoons … whose floor is riddled with vast pits 30 to 60 feet deep, & covered with curious marine vegetation. In many places divers have encountered the huge bones of prehistoric animals … I saw these varied wonders from a glass-bottomed boat.

Out of the lagoons flows the Silver River, as typical a tropic stream as the Congo or Amazon, with tall palms, trailing vines & moss, & bending cypresses along the swampy banks. Alligators, turtles, & snakes abound, & on either side the jungle stretches away uninterruptedly for miles. … I took a 10 mile launch trip on the river, & could easily have imagined myself in the heart of Africa.” — Lovecraft in Selected Letters IV, page 414.

The leaflet adds the important point that the glass-bottom boats were electric, and therefore relatively silent and thus did not scare the fish away. He also visited New York some months later, to find his friend Belknap Long obsessed by his new hobby of tropical fish-keeping, thus giving another opportunity for close observation of the finny ones.

Evidently there were two types of trip, the “glass-bottom” boat trip and the speedboat “launch” trip of ten miles. Lovecraft talks as if he did both.

One wonders if this trip influenced his decision to set “The Shadow out of Time”, written nine months later, in the prehistoric era?

The ground and swamps were constantly alive with snakes, lizards, and crocodiles, while insects buzzed incessantly amidst the lush vegetation. And far out at sea unspied and unknown monsters spouted mountainous columns of foam into the vaporous sky. Once I was taken under the ocean in a gigantic submarine vessel with searchlights, and glimpsed some living horrors of awesome magnitude. I saw also the ruins of incredible sunken cities, and the wealth of crinoid, brachiopod, coral, and ichthyic life which everywhere abounded.” from — “The Shadow out of Time”.

Bloch, and possibly others, had also sent him pictures of the life-sized dinosaurs from the Chicago World’s Fair of 1933-34.

Dinosaurs as we know them today were then in their first flush of popularity, and Lovecraft also saw lit dioramas of them as models when he visited the Natural History Museum at New Haven, and he came away greatly impressed.

Lovecraft had a second opportunity for a jungle-like river exploration in June 1935, this time more primitive — but also free of things like the bored tour-guides and perpetually gossiping fellow-tourists who can ruin such trips. The second trip happened toward the end of his long final stay in Florida with young Barlow. The building of Barlow’s printing-house hut on his ‘island across the lake’ was finally completed around June 1935. He and Barlow rowed across to the island each day, and his comment that the “trip” made for “good exercise” suggests it was a fair distance. Lovecraft was quite familiar with rowing-boats, having at Barlow’s age made many solo trips up and down his native Seekonk. I’ve also established elsewhere that the Seekonk of the 1900s was a difficult river, thus Lovecraft would have had no fear of pulling across a mere lake (I presume Barlow’s military family had shot out all the alligators). As Lovecraft tells Bloch, he machete-hacked a track through the undergrowth to a road (presumably un-paved) that lay on the far side of the hut’s boat-landing. Possibly that was how the heavy and the noisy printing equipment was moved in, via his new track and perhaps a short raft journey. He and Barlow went on a celebratory expedition…

Bob’s cabin across the lake is now finished … we row across each day … [also] we explored a marvellous tropical river — with leaning palms, sunken logs, twister cypress roots and the water’s edge — etc etc etc — much like the river at Silver Springs which I described to you last year. This aught to make good descriptive material for some tale, some time … jungle stuff, to use as a background for pre-human ruins, & and all that.

Was this river accessible via an outlet from the lake, or perhaps by carrying the lake-boat along Lovecraft’s newly-hewn jungle track and over the road? The area is reported to have become far more well-drained and drier than it was in the mid 1930s, but the current satellite imagery still suggests a possible small winding river across the road, which looks as though it would be accessible with a small boat taken along the new-cut track…

Wherever the rather more rough-hewn river trip was, it was made after the final completion of “The Shadow out of Time”. Thus he never had the chance to use that particular ‘jungle’ experience in fiction. But finding the above quote further confirms my earlier hunch that, had he lived, some of his fiction would have gone in a ‘Solomon Kane in Africa’-like direction, probably set on the liminal frontier where Ancient Rome met the fringes of the African interior. Such a move could have followed on from his several non-cosmic stories that have a wide international spread in their plotting and back-stories, but here projected back in time in such a way that Lovecraft’s full knowledge of the diasporic Ancient Roman world and pagan rites and superstitions could have been brought to bear. Imagine “Rats” re-written for such a setting, for instance. He would also have been able to explore ideas of the decadence and decline of Empires, and degeneration in the face of certain types of environment.

Further reading:

Stephen J. Jordan, “H.P. Lovecraft in Florida”, Lovecraft Studies 42-43 (Summer/Autumn 2001). Now effectively inaccessible — something really should be done about getting the Lovecraft Studies journal online and searchable.

Joshi’s new ‘Advance of the Weird Tale’ and ‘Varieties of Crime Fiction’

S.T. Joshi’s blog has updated and he has news of another new book, his The Advance of the Weird Tale. This being his “miscellaneous essays on weird fiction”, and available now in Kindle. It anticipates another collection, as yet unpublished, to be titled The Progression of the Weird Tale.

He also notes another new survey book, his Varieties of Crime Fiction (April 2020), which his blog states he spent “a good three years writing”. It’s also available now on Kindle via Amazon.

Kthulhu Reich (2019)

This week Bobby Derie notes Kthulhu Reich (2019) by Asamatsu Ken. It’s a translated Cthulhu Mythos novel from Japan, fixed up from seven short-stories….

Asamatsu Ken was a bit ahead of the curve when he first published these stories in Japan in 1994-1999. Some of the stories are eerily prescient as far as capturing the essential dynamic of the post-2000 Mythos WWII craze.

Which is something I’ve thankfully missed out on, and was only very marginally aware of. Give me a good Commando comic, any day, with my ginger beer. But I have of course noticed many other ‘Nazi occult’ instances over the last few decades, in more mainstream movies and graphic novels from Indiana Jones onward. In his article Derie also touches on how… “World War II has become fertile ground writers of weird and fantasy fiction” and gives a few examples. I’d imagine that McFarland’s vast Popular Culture book-list already has a couple of surveys of the relevant movies and games.

Derie’s comment on Lovecraft “approving as he did of Nazi Germany’s ultranationalism” could be be misunderstood, though. Firstly one has to know that “ultranationalism” has a specific political-historical meaning: ‘the arrogant belief in the complete superiority of one’s nation over others, and the placing of its interests above all other nations at all times’. In the cases of Imperial Japan, Nazi Germany, Soviet Russia etc this was accompanied by variations on the ‘cult-of-the-Emperor’. Ultranationalism has also spawned an equally perverse leftist flipside, which despises any pride in the nation and seeks to constantly denigrate it at every opportunity.

One can then make the distinction between ultranationalism as expressed in foreign-policy and as expressed in the nation’s internal culture, and Lovecraft did so in regard to Germany in early 1934. He mildly approved of one, but derided the other. The evidence is in Lovecraft’s letters to Robert Bloch, which I’m currently reading. For about six pages and over several letters, Lovecraft tried to think through such distinctions. He coruscated the new Hitlerlism as it then stood, but as he understood it… i) the ailing Germany’s only choice was between fascism and communism, and… ii) the nation had some legitimate grievances about how harshly it had been subjugated after the First World War. Like many commentators of the time, he grasped these key wider imperatives of the new German ultranationalism: the Versailles treaty and communism. Lovecraft did however differ from many observers. He was painfully illiterate on even basic economics, as he himself admitted, and his grasp of fascist economics was simplistic — effectively nationalise key industries by constraining them with socialistic controls and price-fixing/profit-sharing regimes, and pay a small stipend to indigent writers such as himself. Probably he had not noticed that the programmes of job-creation for civilians had been quietly dropped from the ‘priority list’ of Germany’s key policies in December 1933.

Such Versailles→communism understandings of Germany were very common in early 1934, and Lovecraft’s epistolary “approval” of the new leader also followed the sentiment of the herd. In that he had an abstract and slightly grudging admiration of Hitler for ‘standing up’ to other nations, some two years before Germany actually marched into the Rhineland, while also stating that he was a “clown” given to buffoonish strutting. Lovecraft did not go on to express a concrete approval of an itemised tick-list of Nazi doctrines, so far as I’m aware. Beyond what he read in the English press (he had no German, having been put off it for life at school), the ambivalence of the “approval” of Germany’s new leader may have been underpinned by two factors: i) his ongoing correspondence with his friend Galpin, who sympathised with Mussolini’s nationalism in Italy and was thus highly critical of the German variety of fascism and its bizarre focus on anti-Semitism; and ii) by Lovecraft’s deep understanding of the Ancient Roman roots of the fascist worldview. In other words, Lovecraft knew something about how ersatz and crude Nazism was. It would be some years before his downstairs neighbour, a German teacher newly back from Germany, would also tearfully tell him of what Nazism was like on the streets and in the classrooms.

So, to return to the claim of “approving as he did of Nazi Germany’s ultranationalism”. In the Bloch letters of early 1934 Lovecraft appears to distinguish between: i) Germany’s outward-facing ultranationalist stance; and ii) the internal imposition of a new national socialist culture, which had then been underway for about a year following the infamous Reichstag fire (which allowed the Nazis to break with coalition government and take total power). Even before the ‘Night of the Long Knives’ purges (Hitler takes total control of the Party) in late June 1934, Lovecraft could see that national socialist culture was not going to be a sensible and timely adaptation of an old conservative culture to the new forces of modernity. Instead it was a rupture, a censorious book-burning flight into an ersatz and juvenile culture warped by ideology…

He has borrowed the Soviets’ [Russian communists] idea of a narrowly artificial culture or ‘ideology’ separate from Western Europe — & if this concept (with its foundation in definitely false science and rather infantile emotion) lasts long enough to colour a whole new generation, the ultimate result will be highly unfortunate.” — Lovecraft, Letters to Robert Bloch, page 98.

As de Camp wrote in the first substantial Lovecraft biography… “From the end of 1933 on, Lovecraft’s criticism of Hitler and fascism grew ever more severe.” (Lovecraft: A Biography). What is missing here is perhaps a “his”, as in “criticism of Hitler and his fascism”, i.e. Nazism. Lovecraft remained more ambivalent about the other forms of fascism.

Mythcon 51

Mythcon 51: The Mythopoeic Society conference will be in Albuquerque, New Mexico. Re-scheduled dates have been announced as 30th July – 2nd August 2021. The theme is very wide, but with a bit of a swerve toward ‘Area 51’-type UFO lore… “The Mythic, the Fantastic, and the Alien”. The call for papers was being pushed in a 19th May blog post, even though the call currently still carries a date of 15th May. Which implies there might be a chance the call is still effectively open, given the transfer to the new date in 2021.

May on Tentaclii

The virus abates, for now, as I had expected it to at the end of May. I’m glad to say that I haven’t yet keeled over and been wheeled away. I was almost blown away by a terrific three-day wind-storm, but the mighty-walled Tentaclii Towers withstood the buffeting. As I type only a faint breeze riffles the tops of the verdant May-time greenwood that is inner-city Stoke-on-Trent, and the merest grunting can be heard from within the curiously conical burrows that cluster beneath the boughs.

I’m pleased to see that no Lovecraftians have yet trimmed me from their Patreon list, in the face of a lockdown downturn in their finances. In fact, My Patreon has edged up a bit and now stands at an encouraging $64 a month. Anything you can do to nudge it closer to the magic ‘$100’ will be most welcome, please.

Here at Tentaclii I found various items relating to Lovecraft the man and his environs. I posted a link to the amusing 1940s memoir-cum-horoscope “Lovecraft and the Stars”. I similarly located a substantial and previously unconsidered cat book that influenced the boy Lovecraft, The Fireside Sphinx: A Cultural History of Cats (1901). The book Corners and characters of Rhode Island (1924) is also now at Archive.org, and it seems another key Lovecraft book but for a different reason — it’s now a handy visual reference book for the various Providence houses mentioned in Lovecraft’s stories and letters. Various new pictures from Lovecraft’s era and city were found, as seen in my regular ‘Picture Postals’ series of posts. The ‘Kittee Tuesday’ feature also continued this month, though future kittee posts depend on the availability of items. I’ve made a start on reading the volume of letters to Bloch and others, and hopefully this will help me locate many suitable posts over the summer.

As for Lovecraft scholarship, about another eight items were added to my Open Lovecraft page. I also posted a long review of the Lovecraft Annual 2019, and along the way made a few new discoveries about Red Hook and the Red Hook poem “The Cats”. The seminal long essay “New England Decadent” has also turned up for free at the French open-access journals service Persee, and it was linked here. My Patreon patrons now have access to my new 10,000-word near-final draft PDF discussing three possible newly-recognised sources for Lovecraft’s “The Shadow out of Time”…

… and yes, I took account of the letter to Clark Ashton Smith, which appears to prefigure the idea of the ‘captive minds from across time’.

Here at Tentaclii I comprehensively surveyed the weird and wonderful goodies entering the public domain at the start of 2021 in nations which follow “the 70 year rule”, the author having died in 1950. A slightly less rich vein of plot-sources can now be found in my “Consult Mr. Lovecraft” page, which has returned to operation after a hiatus of several years.

In media, the excellent Lovecraftian 1940s fantasy-detective movie Cast a Deadly Spell (1991) is said to have fairly recently landed on Amazon Prime, and I had a signposting post on it and its past incarnations and sequel. I discovered the existence of Jason Eckhardt’s “Map of Lovecraft’s Providence” posted (sold out), which I had not been aware of before. My post “Fragments from the Dreamlands” surveyed 1970s Lovecraft book cover illustrator Gervasio Gallardo. I also undertook another of my monthly surveys of new items on DeviantArt. I noted a call for the world to take curated VR tours of Lovecraft’s Providence.

This month I elsewhere produced Digital Art Live #49, a substantial issue of the magazine. The suitably lockdown-subdued theme is “Mono” (silhouette art, b&w, lineart), and it includes an in-depth interview with occasional Lovecraftian comics maker and adapter Matt Timson. Also, I hope that the next issue of sister title VisNews, a monthly publication for comics makers, will feature a long interview with Mockman (the Dream Quest graphic novel, wall-map of the Dreamlands, and more).

And lastly, I didn’t forget Robert E. Howard this month. I undertook what appears to be the first online survey of the various Conan encyclopaedias and gazetteers, even digging some of them out of The Wayback Machine. Also noted here were facsimile reprints of the Weird Tales sister title Oriental Stories / Magic Carpet, now available for purchase.

That’s it for May, onward into the summertime!

Cast a Deadly Spell (1991)

Looking for a Saturday-night movie, tonight? The movie Cast a Deadly Spell (1991) has reportedly arrived on Amazon Prime in the USA, and this week Film School Rejects has a short appreciation (warning: plot spoilers!) of this ambitious and successful attempt to create a fun mix of H.P. Lovecraft and 1940s gumshoe film noir

Cast a Deadly Spell is pure fun, first and foremost. That said, the movie is also a prime example of how great storytelling and imagination are two of the most magical ingredients in any film. This movie has those qualities in abundance, and it deserves to be appreciated by a wider audience.

When it first appeared, Darrell Schweitzer noted in a fanzine that the original title was to have been H.P. Lovecraft: Private Eye. The central character is indeed named Lovecraft, and the actor has a mild facial resemblance, but otherwise he’s a typical 1940s Private Investigator. Schweitzer also compared the movie to Disney’s equally retro The Rocketeer (1991), but with more overt humour and (I would add) the budget put into FX and hand-made monster-puppets rather than big shiny stunt-planes and jet-packs.

It even has the coveted Stamp Of Approval from S.T. Joshi, who knows his gumshoe detectives as well as his Lovecraft…

it ingeniously combines the Mythos with hard-boiled detection in its portrayal of a tough private eye, H. Phil Lovecraft … While not directly based on a specific Lovecraft story, it captures the essence of the Cthulhu Mythos surprisingly well.

In I Am Providence Joshi singled it out as a “striking performance” … “highly effective”. Although he calls it a “two hour” film, so it’s possible he saw a naughty convention screening of a print made before the editor trimmed it back for cable TV running times? Just my guess. The stated running-time is actually one hour and 36 minutes. I don’t seen any mention of some 14 minutes or so of out-takes being available elsewhere, on YouTube or the laser-disc version.

It appears that Cast a Deadly Spell was a cable-only U.S.-only show for many decades, with an old VHS tape being just-about obtainable and a laser-disc being almost unobtainable… but no DVD was allowed lest it interfere with cable showings. However, my UK version of Amazon now offers a £10 Spanish import DVD with multi-language including English. In terms of current streaming, nothing is visible on the UK Prime — at least to a UK Amazon user who shuns Prime. Such are the stupidities of the region-system. The UK is a big profitable market, with buyers who would spring instantly for a £3.99 streaming version. Yet instead we have to risk an import DVD, or dodge among the dodgy torrents, or peer at a 480px VHS-rip on YouTube.

Fangoria magazine #106 (1991) had a long article on the movie and many spoiler-pictures of the various monsters, as part of their ‘Lovecraft special’ issue. This same issue also has a long article from Will Murray in which he surveys Lovecraft adaptations to 1990…

Note that an early 1990s scan of Fangoria magazine is probably not ‘safe for work’ in 2020.

Beware also that there was a Cast a Deadly Spell sequel in 1994 with a different star and different cast, less charm and humour, and the Lovecraftian lore was cut. But those were the years of the virulent ‘satanic panic’ hysteria, so we’re probably lucky that either movie was made and then reached a mass mainstream American audience.

Picture postals: Providence Express

A Providence ‘trolley-car’. When Lovecraft refers in letters or a story to a ‘trolley’ or a ‘car’ this is the sort of public passenger vehicle he means. According to local transport buffs, they were green-and-cream in Providence until 1928, so I’ve colourised accordingly.

A Lovecraft dream of November 1927 involved a ‘trolley’…

“… under a grey autumn sky … lit up by a faint moonlight which had replac’d the expiring orb of day. Casting my eyes about, I beheld no living object; but was sensible of a very peculiar stirring far below me, amongst the whispering rushes of the pestilential swamp I had lately quitted. After walking for some distance, I encoun­ter’d the rusty tracks of a street-railway, & the worm-eaten poles which still held the limp & sagging trolley wire. Following this line, I soon came upon a yellow, vestibuled car numbered 1852 … It was untenanted, but evidently ready to start; the trolley being on the wire & the air-brake pump now & then throbbing beneath the floor. I boarded it & looked vainly about for the light switch — noting as I did so the absence of controller handle which implied the brief absence of the motorman. Then I sat down in one of the cross seats toward the middle, awaiting the ar­rival of the crew & the starting of the vehicle.

Presently I heard a swishing in the sparse grass toward the left, & saw the dark forms of two men looming up in the moonlight. They had the regulation caps of a railway company, & I could not doubt but that they were the conductor & motorman. Then one of them sniffed with singular sharpness, & raised his face to howl to the moon. The other dropped on all fours to run toward the car. I leaped up at once & raced madly out of that car & away across endless leagues of plateau till exhaustion waked me — doing this not because the conductor had dropped on all fours, but because the face of the motorman was a mere white cone tapering to one blood-red tentacle….”