Sac Prarie

In the first news post of 2024, S.T. Joshi reports that August Derleth’s main regionalist fiction is back in print in Joshi-scrutinised editions. These being Place of Hawks (1935), Evening Spring (1941), Shield of the Valiant (1945), part of the set known as the Sac Prairie saga. Joshi also reports that…

I have now completed work on a volume of previously uncollected Sac Prairie stories, Gently in the Autumn Night

A half dozen or so Sac Prarie volumes can also be found on Archive.org in scans of varying quality, “to borrow”. In a 1963 book, Derleth lists the titles of his Sac Prarie saga…

Talking of Derleth, I took another look for a Solar Pons collection, Derleth’s Sherlock Holmes -alike detective. Back in 2020 I determined in a Derleth survey that The Original Text Solar Pons Omnibus would be the best collection, being the one from 2000 with uncorrupted text, but it was then ridiculously expensive. Now also unavailable, I find.

To my 2020 survey I can now add that he wrote the less heavy “Gus Elker Stories”, these being rather more amusing stories of Wisconsin country life than those of Sac Prarie. But these had to wait a long time to be collected, as Country Matters (1996). For which the blurb read…

Here are 35 rolicking misadventures of Sac Prairie’s most engaging characters, Gus Elker, Great-aunt Lou and Great-uncle Joe Stoll. Nineteen of these stories have never appeared in any book or anthology. Since this collection was released, 17 additional unpublished stories have been found and will be published in the near future.

I can’t immediately find news of the second Gus Elker volume, so there may be an opportunity there for a publisher to pick it up? Or perhaps produce an audiobook with all the stories?

The Armchair Detective

New on Archive.org, a scan of The Armchair Detective for June 1976. Has a few items of interest…

* “Wicked Dreams: The World of Sheridan Le Fanu”

* “Edmund Wilson and the detective story”. The arch critic’s judgement on the best of the genre was just as dismal as on Lovecraft and Tolkien, it appears.

* “An Informal Survey of Cover Art of the Seventies”.

Also a mention of Lovecraft in an article on Chesterton’s Father Brown detective character, noting a circa early-1930s story…

he [Brown] remains untouched by “The Blast of the Book” (an amusing take-off on Necronomicon-like things, although whether Chesterton ever read H.P. Lovecraft is unknown to me) because he is not superstitious

Lovecraft’s letter-box

This week for ‘Picture Postals from Lovecraft’, letters, or rather letter-boxes. We know all about Lovecraft’s letters and postcards, but what exactly did his posting them look like? Or indeed, what did a U.S. public mailbox look like at that time?

He certainly had one nearby, and a mighty capacious box it must have been to cater to the champion letter-writer of the 20th century. But only once does Lovecraft refer in passing to his “outgoing mail-box” in a 1927 letter to Belknap Long, in the letters I have searchable access to. He does not use the British form “post-box” or “postbox”.

Lovecraft would have first encountered the collection mail-boxes of Providence in his middle childhood circa 1900, and begun using them to write to his family and cousin soon after. From 1897 until 1905 they might have looked rather space-age to our eyes, done in silver aluminium paint with red lettering. This national re-painting of the boxes was in fact a corrupt make-work scheme with cash kick-backs for officials, but Lovecraft and his young pals weren’t to know that. Most likely the boxes were at that time on short posts and sited on street corners. Very garish and out-of-place the silver boxes might have looked to the frowning matrons of College Hill. But in a certain light the combination of a cosmic star-glitter and blood-red might have been quite alluring, to boys inclined to imagine far places.

So far as I can tell he would have encountered three types of box-shape during his life. Here we see two key ones together…

Perhaps more likely for College Hill, circa 1905 as his correspondence grew, would be the smaller ‘Doremus’ type seen above. These were re-done in dark green enamel paint and white lettering, probably much to the relief of the aesthetic guardians of College Hill, from 1905 until his death.

As he grew older and became involved in amateur journalism, many of his items would be larger packets. Thus he would either have to find one of the larger box types, called “package boxes” (also seen above), or visit a Post Office — where he could also have purchased stamps but would also have to endure a queue.

It would be amusing to imagine the Providence postmaster puffing and blowing about having to install a special larger box, just to accommodate Lovecraft’s daily flow of correspondence and packages. Possibly also with a late evening collection time (10:30pm seems to have been possible in Providence, judging by Lovecraft’s postmarks). But so far as I know we have no evidence of that happening.

Later, I’m not sure how much later, photographs suggest that the larger style of box could also be used for bag-storage by mailmen on their delivery rounds. But that conversion may have occurred after his death.

The larger collection boxes were so ugly, further marred by cheap ‘Army style’ stencil lettering, that some places asked that they be concealed from sight as much as possible. The move to dark green paint no doubt helped in their concealment in residential streets, with greenery grown either side.

The smaller “style B” box (seen below) was issued in 1912 and was in use into the 1960s. Cast iron was used for these from 1924, for added security. It wasn’t until 1955 that the Postmaster General had these by-then ageing boxes freshly re-painted in a patriotic red, white, and blue scheme — which we see in this vintage auction item…

Give the above dates it’s not impossible that Lovecraft returned from New York City to find that the older type had been replaced by the new 1924 cast-iron “style B” in the city, in dark green. Though older smaller ‘Doremus’ boxes, again green but with older faded paint, might have been retained in sedate places like College Hill. Or was it sedate, in terms of mail? Recall that Brown University is at the centre of the Hill. Its traffic in erudite letters and bulging packets must have been constant during term-time.

Thus it appears that when Lovecraft went out to mail letters he slipped them into mailboxes like the ones above.

Today it seems that the U.S. still uses much the same larger-type design, but since 1970 these have been a dark blue with some white logos plus red warning labels and flashes.

Further reading: USPS, “Mail Collection Boxes: A Brief History”.

Terror Tales as an AI Lora

A new Terror Tales LORA for the Stable Diffusion 1.5 AI. A LORA is a ‘plug-in’ that aims to steer SD’s image generation towards a certain character or type of artwork. In this case the covers of the 1930s Terror Tales pulp magazine. SD is going to mess up the typography, but you could probably cut out the best images and paste onto a template made by vectorising one of the original covers.

Also note the new backdrop generator LORAs Realms of Darkness (generic medieval — streets, castle dungeons, old cemeteries, etc) and Fantasy Underground (generic fantasy) and Fantasy Tavern (generic fantasy). These do look very generic and formula, but you might be able to get something more interesting out of them.

Joschek’s Artstyles: Caspar David Friedrich, possibly useful for eerie sea-views of Innsmouth and its reef. If a full set of Friedrich works was used to train the LORA. Untested by me, as yet.

Droomwereld kitties

An early 1970s Lovecraft book cover I’d not seen before, complete with kitties from Ulthar. De Droomwereld Van Kadath (1972) from Holland. Translates as ‘The Dreamworld of Kadath’, the book being a translation of The Dreamquest of Unknown Kadath.

Looking at the fungi also on the cover, I’m wondering if they also popped in a translation of the “Fungi from Yuggoth”?

Review of L’Affaire Barlow

The Pulp Super-Fan super-swoops, cape rippling in the breeze, down onto the new book L’Affaire Barlow: H.P. Lovecraft and the Battle for His Literary Legacy

This is a well-researched work, and I look forward to further works by this author, who is working on a biography of Barlow. […] The whole story about this affair is pretty sad as many people behaved badly. They pulled in others they shouldn’t have, attacked not only Barlow but others, and led to several proposed publications never seeing the light of day. Worse, some of those are lost, as the only copies were destroyed in a fire.

Meanwhile, down in Mexico the Tabasco Herald compares Tolkien and Lovecraft. I thought this was a review of the new Italian book on the topic, but it seems not.

Bob Fowke art exhibition

British Lovecraftians of a certain age will fondly recall the Panther paperback editions. The cover-artist for two of these is having a exhibition of his 1970s covers, in his home town. Bob Fowke did the covers for the books The Horror in the Burying Ground and The Horror in the Museum.

Also for Poul Anderson’s A Midsummer Tempest, one of Poul Anderson’s English and northern fantasies. I had wondered who did that cover, and thought it might have been one of the Ruralists.

His “exhibition of 70s sci-fi art” runs for three days only, part of the Open Studios in the town of Bishop’s Castle, Shropshire, on the border between England and Wales and about 40 miles west of Birmingham. The dates are 16th, 17th & 18th February 2024.