New Derleth letters found, to be published

S. T. Joshi has a new blog post. Yet another truck-full of Joshi books is announced. Among which…

* “Eccentric, Impractical Devils [is] the whimsical title we have affixed to the collected letters of Clark Ashton Smith and August Derleth. Recently a previously unknown batch of Derleth’s letters to Smith came to light, causing us to refashion the book almost in its totality”.

* Joshi’s own “collected mystery and horror fiction” is now in one volume as The Recurring Doom: Tales of Mystery and Horror. These include his detective stories, but not the ‘Lovecraft as character’ novel The Assaults of Chaos (2013) which seems to be languishing in a limited-edition hardback.

* Also… “a complete edition of the fiction of Arthur Machen. This will appear in a three-volume trade paperback edition from Hippocampus Press very shortly”. One completely new very short story, never before published, and the excised final chapters of The Secret Glory.

Added to Open Lovecraft

Added to Open Lovecraft…

* P. J. Snyder, “Dreadful Reality: Fear And Madness In The Fiction Of H. P. Lovecraft” (2017) (Undergradate dissertation. Had a ‘Honors College Award: Excellence in Research’)

Also, though not on-topic enough to be on the Open Lovecraft page, this 2012 thesis may interest some…

* S. J. Berry, Seeking God by strange ways : cults and societies in fin de siecle literature (2012, PhD thesis).

Weird Tales, April/May 1931

New on Archive.org today, a fine crisp scan of Weird Tales, April/May 1931. Lovecraft, Howard, Smith, and Farnsworth Wright at the helm. Wright announces that Lovecraft’s “The Whisperer in Darkness” will be printed very soon, along with new Solomon Kane stories from Howard.

For some reason the 10Mb PDF looks terrible, compared to the Archive.org viewer. You’ll probably want the .JP2 scans, batch convert with IrfanView to .JPG, and then save into a .CBR file. Talking of .CBR, everyone needs to upgrade their WinRAR to the latest version, as earlier versions have a huge security hole. Strike that: Archive.org now offers “Comic Book Zip” format (.CBZ) which is to be vastly preferred over the muddy PDF.

Dream Quest in audio

Lovecraft’s The Dream Quest of Unknown Kadath, in an unabridged 2014 reading made by Martin Reyto and kindly made available as a free Public Domain recording.

It’s the best free reading I could find, though slightly sibilant when heard with good headphones. That can be cured in AIMP thus…

You may also want to boost the Bass, and I ramped it up quite a bit. The MP3 doesn’t take kindly to real-time pitch shifting, though.

There’s another fairly good one I’ve heard, which is to be found in the Eldritch Tales: A Miscellany audiobook, although this is paid and appears to only be available in the USA. There’s also a reading of Kadath in the $20 USB stick from the H.P. Lovecraft Historical Society, from the Joshi corrected text and apparently with some music. Unlike Amazon, the Society seem willing to ship Kadath around the world.

It would be great to crowd-fund to pay someone like Phil Dragash to tackle this as a semi-dramatised unabridged reading with his voices, full sound effects, environmental ambience and music.


The zebra seen on the book cover above only appears for a short while, but is ridden by Carter. Later he takes to a yak. I wonder if this was a reflection of Lovecraft’s boyish desire to ride on some of the animals seen at Roger Williams Park in Providence, during his boyhood?

But perhaps it more likely reflects the boy Lovecraft’s ardent desire to get the zebra at the Roger Williams Park merry-go-round, rather than one of the more mundane horses…

New facsimile of “The Lurking Fear”

Necronomicon Press now has a reprint of Lovecraft’s “The Lurking Fear” in something close to its original Home Brew magazine serial format from 1923. For this edition Robert H. Knox has revivified the illustrations done by Clark Ashton Smith, although the colourizing seems to me to be a bit too garish for the tone of the story. Still, for collectors of Smith’s art this will probably be rather desirable.

Major Lovecraft auction – catalog coming in mid-March

Windy City Pulp and Paper Convention is holding a Lovecraft collection auction…

the first part of the Robert Weinberg Estate Auction being held at the 2019 Windy City Pulp and Paper Convention … the auction will be held on the evening of Friday, April 12, 2019. […] The catalog and all images will be available on our website (www.windycitypulpandpaper.com) in mid-March, and we’ll also have instructions there for how you can place absentee bids if you can’t make it to the show.

One of the forthcoming auction items is shown, a Lovecraft postcard to Galpin from October 1922. Galpin has obviously written something negative about Loveman to another of the circle, and Lovecraft chides him for it, and suggests Galpin’s indiscretions could damage his whole circle.

A likely inspiration for Lovecraft’s Akeley?

In Lovecraft’s “The Whisperer in Darkness” (1930), Henry Wentworth Akeley is the man who engages in investigative photography and phonograph recording of the alien Mi-go in “the wild domed hills” of Vermont.

What appears to have been overlooked by Lovecraftian scholars is that there really was an Akeley doing rather similar work, and that he had died only a few years previously. This Akeley had been world famous, a great ‘living hero’ to the boys of America. Thus the readers of Weird Tales would not have failed to make a connection between the real Akeley and Lovecraft’s Akeley.

Akeley with his field camera.

Carl E. Akeley (1864-1926) was a staff explorer of the New York Museum of Natural History, and he went on extended scientific / hunting expeditions to explore the jungles of Africa. Like Lovecraft’s Akeley, frustrated with the inadequacies of traditional methods of recording field-work, Carl E. Akeley famously turned to new technologies to record both animals and ethnographic material. He became well-known among field workers for inventing the ‘Akeley Film Camera’ (1915). This was a one-man tripod camera designed ‘from the ground up’ to be portable when travelling on foot. It came complete with easy-loading film canisters for near-instant set up and filming. Twin-lenses enabled a framed and focussed preview of what was being recorded on film. The researcher could thus instantly tell if the object being filmed was going out of focus, and subtly adjust the main lens accordingly.

Admittedly Lovecraft’s Akeley uses only a mundane Kodak camera able to do ‘time exposures’, of the sort Lovecraft himself owned…

His reply came almost by return mail; and contained, true to promise, a number of kodak views of scenes and objects illustrating what he had to tell. Glancing at these pictures as I took them from the envelope, I felt a curious sense of fright and nearness to forbidden things; for in spite of the vagueness of most of them, they had a damnably suggestive power which was intensified by the fact of their being genuine photographs—actual optical links with what they portrayed, and the product of an impersonal transmitting process without prejudice, fallibility, or mendacity.

Another photograph — evidently a time-exposure taken in deep shadow — was of the mouth of a woodland cave…

Yet Carl E. Akeley also made many audio phonograph recordings, one of which has even slowed down and claimed by a Lovecraftian prop-maker to be ‘the’ phonograph recording of the Mi-go made by Lovecraft’s Akeley.

He doesn’t appear to have been inventive in portable phonograph technology, but his work can be seen in his ‘Akeley Camera’ patent applications from the 1910s and 20s…

He is also credited with having invented modern taxidermy as such, since he was an avid big-game hunter in Africa in the golden age of such things and wished to preserve the trophy heads. Which in a way gives perhaps a slight satirical edge to the ending of “The Whisperer in Darkness”, in which Akeley himself becomes a ‘trophy head’, expertly preserved and set to be shipped to Yoggoth.

Carl E. Akeley’s invention of a useful field camera partly emerged from this big-game hunting, since as an intelligent man he probably realised that the big-game hunting era of the 1920s would not last indefinitely. He is on record in the mid 1920s writing that he wanted to encourage a new generation of ‘camera hunters’ alongside the ‘gun hunters’…

… camera hunters appeal to me as being so much more useful than the gun hunters. They have their pictures to show — still pictures and moving pictures — and when their game is over the animals are still alive to play another day. Moreover, according to any true conception of sport — the use of skill, daring, and endurance in overcoming difficulties — camera hunting takes twice the man that gun hunting takes.” — Carl E. Akeley, In Brightest Africa (1927).

He knew what he was talking about as he had made such documentaries, and in 1921 filmed the first documentary sequences of living gorillas in the wild, using his special field camera. Later the Komodo Dragons were given the same treatment with an Akeley Camera (Lovecraft later also saw the Komodo Dragons in captivity in New York). Given documentary material like this, undoubtedly shown in cinema newsreels in Providence, and the hero-worship of Akeley to be found in magazines such as Popular Science, it seems to me inconceivable that Lovecraft would not have been aware if the implications of naming his ethnographic folklorist photographer/recorder “Akeley”. Nor, thus, of the final section in which he has Akeley himself become a preserved ‘trophy head’ akin to those of the big-game hunters of the 1920s.


An exhibition, “Mr Akeley’s Movie Camera” is on now at the Field Museum in Chicago and closes 17th March 2019.

Fantastico Mediterraneo

Fantastico Mediterraneo, a video of a one-hour panel on Italian Sword & Sorcery. In Italian, but it may interest those looking for a fanzine article and who are willing to translate.

Aren’t they nice and smart? Good to see they still do things properly in Italy, and don’t look like tramps.

Evidently they also still know how to do fine typography and design, even for a flyer for an evening talk — this is also in Italy, the event being Aperitivo filosofico: Machen, Merritt, Mito, Immaginario, 12th March 2019.

“Among the most important precursors of Howard Phillips Lovecraft, Abraham Merritt and Arthur Machen were among those who made the fantastic into a real vision of the world, combining modernity with ancient suggestions drawn from myths and legends. If beings of Gaelic mythology and Mesopotamian divinities, their message is basically the same, and testifies to the irruption in the modernity of ancestral forces, awakened from their sleep of millenia. We talk about this with Giuseppe Aguanno, director of the series “I Tre Sedili Deserti” (the Palindromo) and translator of Merritt, and with Andrea Scarabelli, author of the afterword to “Il Vascello di Ishtar” by Merritt.”

Friday ‘picture postals’ from Lovecraft: The Endless Caverns

In his “Observations on Several Parts of America” (written summer 1928) Lovecraft gives a vivid account of his summer excursion… “westward to the Endless Caverns.” He ventured out to these famous caves on a very long train journey of around four hours…

“But the climax of the whole Odyssey was my excursion, by train, to the Endless Caverns in the exquisite Shenandoah Valley. Despite all the fantasy I have written concerning the nether world, I had never beheld a real cave before in all my life…”

S.T. Joshi states in I Am Providence that this was a bus excursion, but Lovecraft clearly states “train” in the above quote. A further Lovecraft quote reveals that a motor coach was used for only a short part(s) of the journey…

New Market was reacht after a four-hour [scenic train] ride, and a coach took the sightseers to the mouth of the actual caverns, some six miles away.

Lovecraft had been lured out there by the rather cheap $2.50 fare, the prospect of a scenic ride during lovely summer weather, and most probably also by the travel brochure leaflets he picked up in Washington. The following samples were obtained in 1931, and have a number of pages that detail the tour Lovecraft must have experienced. His account is to be found in the Travels volume of Collected Essays, where it forms part of “Observations”. Also a slightly different 1929 article form, which is printed at the back of the Travels volume and titled ‘Descent…’.

One can see how such a grand guignol brochure design might have immediately appealed to his sense of the macabre. Nor was not disappointed in what he later called this “subterrene world of wonder!”, stating that the advance publicity contained not the slightest lie.

Possibly these free brochures, or ones very like them, were what he called “the booklets to which I have given such wide circulation” to his friends in the mail, which are mentioned in the essay. One imagines they were freely given out in bundles at the caves, for visitors to distribute to friends and family and thus draw in more tourists (the cave owners conveniently also owned the Eastern Printing Corporation). Lovecraft thus appears to have used these in place of sending postcards of the caverns to his friends. At that time there was no Post Office at the caves, and presumably the tour did not delay at the railway halt, so it seems unlikely he was able to send any postcards from the caves or their visitor centre.

Though Lovecraft did not visit the other nearby attractions pictured in the paper brochure seen above…

I wished that I might visit the Luray and Shenandoah Caverns, not far from New Market; but the schedule of the excursion did not permit of it.

He had been fascinated by caves since childhood and one of his earliest boyhood attempts at a story, “The Beast of the cave”, was set in the real Mammoth Cave, Kentucky. On which he had presumably ‘read up’ and seen pictures.

In 1928 his first ever underground tour of an actual deep cave lasted “over an hour”. While it’s true that Lovecraft had previously and rather trepidaciously entered a cave-like cleft, for a few yards only, in the Bear’s Den in July 1927, that hardly counted as a cave compared to what he now encountered. Lovecraft hung back from his Endless Caverns tour-party as much as the rear guide would let him, which is understandable on such tours. Since one uniquely sensitive to sublime vistas and eerie shadows would naturally wish to be somewhat away from from the bright lighting, the lecturing voice of the tour guide, and the inane comments and chatter of his fellow visitors.

The best photography of the caves from the period looks like it might be found in this 1925 history/geology booklet, though the title is not on Archive.org…

He might have been rather scared. It is difficult to imagine Lovecraft, master of fear, feeling it for real. Yet he admitted that…

Of the celebrated “phobias” of the modern psychologists (or of things like them) I have only one; & that, amusingly enough, is one I have never seen cited or named. Probably it has a name & record, but my very superficial knowledge of psychology (a subject which fails to fascinate me greatly, despite its grotesque fictional possibilities) does not include any glimpse of it. I know about claustrophobia & agoraphobia, but I have neither. I have, however, a cross betwixt the two — in the form of a distinct fear of very large enclosed spaces. The dark carriage-room of a stable — the shadowy interior of a deserted gas-house — an empty assembly-room or theatre-auditorium — a large cave — you can probably get the idea. Not that such things throw me into visible & uncontrollable jittery spasms, but that they give me a profound & crawling sense of the sinister — even at my age. I’m not sure of the source of this fear, but I believe it must link up somehow with the black abysses of my infant nightmares.

I would imagine that something of Lovecraft’s experience later emerged in a filtered fictional form, in the exploration depicted by Lovecraft in “At the Mountains of Madness”. The caves also appear to the reader in more recognisable form in “The Shadow Out of Time”…

I was given charge of my funds, and spent them slowly and on the whole wisely, in travel and in study at various centres of learning. My travels, however, were singular in the extreme, involving long visits to remote and desolate places.

In 1909 I spent a month in the Himalayas, and in 1911 roused much attention through a camel trip into the unknown deserts of Arabia. What happened on those journeys I have never been able to learn.

During the summer of 1912 I chartered a ship and sailed in the Arctic, north of Spitzbergen, afterward showing signs of disappointment.

Later in that year I spent weeks — alone beyond the limits of previous or subsequent exploration in the vast limestone cavern systems of western Virginia — black labyrinths so complex that no retracing of my steps could even be considered.

It was only in 1922 that part of the Endless Caverns had been equipped for safety, with miles of electric cables and bright lighting, and opened to public tours. Thus in 1913, as Lovecraft has it, they would indeed have been “black labyrinths”. Lovecraft’s “no retracing of my steps could even be considered” implies that these labyrinthine caves were escaped, and thus that an ‘end’ had been found in some far and secret exit to the outside world.

Yet in reality this vast cave complex has apparently still not been fully mapped even today, and at present is known to extend for five and a half miles. While the Endless Caverns cannot geologically be quite endless, nevertheless their labyrinthine nature means that they are in effect an endless experience for those who descend and foolishly seek to explore off the tourist trails.