The Tea with Morbius blog’s Guide to Lovecraftian Themes in Doctor Who.
Hey ones are The Curse of Fenric; The Impossible Planet; The Web Planet; Spearhead From Space; The Abominable Snowman, and the above link has many more.
25 Wednesday Jun 2014
Posted in Films & trailers, Lovecraftian arts
The Tea with Morbius blog’s Guide to Lovecraftian Themes in Doctor Who.
Hey ones are The Curse of Fenric; The Impossible Planet; The Web Planet; Spearhead From Space; The Abominable Snowman, and the above link has many more.
25 Wednesday Jun 2014
Adept’s Gambit: The Original Version by Fritz Leiber edited by S.T. Joshi. Limited edition hardback, 300 copies.
In 1936, the young Fritz Leiber wrote a 38,000-word novella entitled Adept’s Gambit and sent it to his new correspondent, H.P. Lovecraft. The older writer was thrilled at this sprawling narrative that mixed fantasy, sorcery, and historical fiction, and wrote an enormous letter expressing his praise and pointing out possible points that needed revision. […] the manuscript has recently surfaced, and it is now being published for the first time. This version differs radically from the later version [and the book also has] the complete text of Lovecraft’s letter commenting on it

Fritz Leiber in 1936. Hat-tip: Will Hart.
24 Tuesday Jun 2014
Posted in Lovecraftian arts, Scholarly works
Open Call for Papers 2014 for The Comics Grid: journal of comics scholarship. Deadline: 31st October 2014.
24 Tuesday Jun 2014
Posted in Lovecraftian arts
Now that’s a Lovecraftian mug…
24 Tuesday Jun 2014
Posted in Lovecraftian arts
Just posted, a six-minute trailer for the movie The Dreamlands…
[youtube https://www.youtube.com/watch?v=zEiC4a6PLcI?rel=0&w=560&h=315]
23 Monday Jun 2014
Posted in Scholarly works
I had a chance to look at Angela Carter’s 1975 essay on Lovecraft, “The Hidden Child”, written for the UK’s leftist New Society weekly magazine. It has an interesting dynamism and pungency that I don’t often read now, except in the likes of Mark Steyn or Jonathan Meades at their best. She was of the brisk and blunt generation that came of age via the British underground press, and which was perhaps best exemplified by Swells & Co. and others writing in the NME at its 1975-1984 height. One fragment is almost a story…
He adored erudition, like the Argentinian Borges, to whom he has an odd stylistic resemblance. But he took the easy way out and invented all his own references. So his work provides all the appearance of pedantry but none at all of the substance. He devised whole libraries of books to validate his mythologies. They have the most wonderful titles. The Pnakotic Manuscripts. The Seven Cryptical Books of Hsan. The “delirious” Image du monde of Gauthier de Metz. The suppressed Unaussprechlichen Kitlten of von Junzt.
One could write a very Lovecrafty tale about the arrival at his door late, very late, one night of a (preferably) demented student clutching in his hand an actual copy of the dreaded Necronomicom of the mad Arab, Abdul Alhazred, bound in human skin, stolen from the enfer of the Bibliothèque Nationale and brought triumphantly to the Maestro of the Twisted Nerve, who has so often mentioned it.
Shocked horror of the master, who never thought the vile thing existed. Has he thought the abomination into existence? Or did it always exist, has he always been unconsciously quoting it? Opening the pages with trembling fingers, he discovers cryptic marginalia on the time-seared pages, penned what centuries ago in what fearful city yet, unmistakably, in his own handwriting.
Carter also attempts a little pop psychoanalysis with Lovecraft. Psychoanalysis was all the rage in the mid 70s, as the disillusioned flower-children among the British literati turned inward, their revolutions seemingly defeated and trodden into the mire of a socialist Britain. Lovecraft she deems a perpetual boy, seeking his way back to boyhood, but rather to …
The beastly world of childhood, with its polymorphously perverse imaginings; its wild, inconsolable fears; its terror of darkness, of loneliness, its hatred of strangers. Its love of long, strange words and facility for inventing private languages. Its ability to construct elaborate mythologies out of the cracks in the crazy paving or the patterns on the wallpaper. Fear of cold. Weakness. Clawing, screaming temper tantrums. Self-abuse, old wives’ tales.
She may not be far wrong in that. But then it seems to me she perhaps projects something of the bubbling and festering violence of mid 1970s urban England onto Lovecraft, and also foreshadows the feminist turn toward seeing ultra-violence lurking around every phallus. She deems the lack of surface sexuality in the stories to be masking…
a strong sado-masochistic element. Carnage, ghouls, cannibalism. Ravages of “demon claws and teeth”; corpses “mangled, chewed and clawed”. … Is it any wonder, when evil finally manifests itself, that it does so as an obscene and huge ejaculation? [pus, slime, surgings, bubblings, etc]
23 Monday Jun 2014
Posted in Lovecraftian arts, New books
For those who enjoy weird poetry, the new Joshi-edited Spectral Realms No. 1 is shipping. 140 pages of such, with a handful of reprints and reviews.
23 Monday Jun 2014
S.T. Joshi’s new blog post notes The Lovecraft Circle and Others, a new book I very briefly noted on Tentaclii back in 2012, but could find nothing about. The publisher has no sample or even a blurb, and the book is unlisted on Amazon etc. Joshi says…
“It is a most engaging work of reminiscence, with some surprising little tidbits — such as the fact that, in the late 1920s, Mary Elizabeth Counselman (then only a callow teenager) wrote a fan letter to Lovecraft, which he uncharacteristically never answered. Perhaps it never reached him. It would be hard to imagine the gentlemanly author not replying to a missive from a young lady. There is some other illuminating information that I will highlight in a review for the [next] Lovecraft Annual.”
22 Sunday Jun 2014
Posted in Lovecraftian arts, Odd scratchings
Cathulhu: Velvet Paws on Cthulhu’s Trail… “is fully compatible with Call of Cthulhu sixth edition rules”.
It seems you role-play cats? Cats of Ulthar vs. Cthulhu, that I would pay to see… 🙂
22 Sunday Jun 2014
Posted in Scholarly works
* Dustin Geeraert (2010), “Spectres of Darwin: H.P. Lovecraft’s nihilistic parody of religion”. (Masters disseration, University of Manitoba. An advanced work from an M.A. student. “In Lovecraft, one can find a response to Darwin which rather uniquely sympathizes with religious belief aesthetically, culturally and emotionally while simultaneously condemning it intellectually and scientifically”)
* Heath Row (2008), “H.P. Lovecraft’s Use of Dream and Elements of the Fairy Tale: a survey of five topics”, Hedge Trimmings, Vol.2, No.1, November 2008.
* James R. Russell (2011), “A Tale of Two Secret Books” (Paper
presented at ‘Knowledge to Die For: transmission of prohibited and esoteric knowledge through space and time’, 2nd-4th May 2011, Berlin, Germany. Looks at the Armenian compendium of ancient mathematico-magical texts, the Vec’hazareak or ‘Book of the Six Thousand’, and Lovecraft’s fictional Necronomicon)
* Jerome Alestro (2005?), “Du Cuachmar d’Innsmouth a la Metamorphose: aspects de la transformation” (In French. Appears to be a paper presented at a conference in 2005? Compares Lovecraft to Kafka, in relation to the conclusion of “The Shadow out of Innsmouth”)
* Rodolfo Munoz Casado (2012), “Los mitos de Cthulhu como movimiento literario” (PhD thesis for the University of Madrid. In Spanish. Seems to be a broad survey of Lovecraft’s influence?)
21 Saturday Jun 2014
Posted in Historical context
More on the Isles of Shoals being a suitable inspiration for Lovecraft’s Devil Reef in “The Shadow over Innsmouth”. Firstly, they were suitably bleak, something that one might not know today — in the era of bright cheerful chocolate-box paintings of the islands made in high summer.
“the Isles of Shoals, eight bleak little rocks in the pounding Atlantic, ten miles off Portsmouth” (LIFE magazine, Sept 1940)
“the dark volcanic crags and melancholy beaches [of Herman Melville’s Enchanted Islands] can hardly seem more desolate than do the low bleached rocks of the Isles of Shoals to eyes that behold them for the first time.” (Atlantic Monthly, 1869)
“Swept by every wind that blows, and beaten by the bitter brine for unknown ages, well may the Isles of Shoals be barren, bleak, and bare.” (the local poet, Celia Thaxter)
“Were those the desired Isles of Shoals? Lois felt deep disappointment. Little bits of bare rock in the midst of the sea; nothing more. No trees, she was sure; as the light fell she could even see no green.” (Susan Warner, the novel Nobody, 1882)
“With a total area of barely six hundred acres, the Isles of Shoals are about the most desolate, barren and forbidding bit of real estate in all New England.” … “Yet barren, desolate, almost worthless as the islands were [until the hotels on Appledore and Star], with their only denizens rough, illiterate and somewhat degenerate fisherfolk, smugglers and worse” (Early Star Island History)
Lovecraft might just have read Hawthorne’s American Notebooks. Although the slim evidence for that, when you start digging into it, falls apart. There are 10,000 words of sporadic diary for Hawthorne’s stay on the Isles of Shoals. Hawthorne visited in the highest of high summer, to get his Tanglewood Tales book (a junior HPL favorite) underway in a suitably Mediterranean light. But his descriptions of the place get bleaker and bleaker as he remained there into the early Autumn (Fall) and saw the fogs and storms start rolling in. He finally got off quick before winter began, but in early September of his visit he wrote…
“We walked to the farthest point of the island, and I have never seen a more dismal place than it was on this sunless and east-windy day, being the farthest point out into the melancholy sea which was in no very agreeable mood, and roared sullenly against the wilderness of rocks. One mass of rock, more than twelve feet square, was thrown up out of the sea in a storm, not many years since, and now lies athwart-wise, never to be moved unless another omnipotent wave shall give it another toss.”
“It is quite impossible to give an idea of these rocky shores,—how confusedly they are tossed together, lying in all directions; what solid ledges, what great fragments thrown out from the rest. Often the rocks are broken, square and angular, so as to form a kind of staircase; though, for the most part, such as would require a giant stride to ascend them. Sometimes a black trap-rock runs through the bed of granite; sometimes the sea has eaten this away, leaving a long, irregular fissure. In some places, owing to the same cause perhaps, there is a great hollow place excavated into the ledge, and forming a harbor, into which the sea flows; and, while there is foam and fury at the entrance, it is comparatively calm within. Some parts of the crag are as much as fifty feet of perpendicular height, down which you look over a bare and smooth descent, at the base of which is a shaggy margin of seaweed. But it is vain to try to express this confusion. As much as anything else, it seems as if some of the massive materials of the world remained superfluous, after the Creator had finished, and were carelessly thrown down here, where the millionth part of them emerge from the sea, and in the course of thousands of years have become partially bestrewn with a little soil.”
“The old inhabitants lived in the centre or towards the south of the island, and avoided the north and east because the latter were so much bleaker in winter.”
(The description of the rocks here is also somewhat similar to the madly confused island rocks scene in “The Call of Cthulhu”)
I further wonder if the young Lovecraft, scanning his maps and alighting on the only really interesting islands off New England (apart from Matinicus, way up near Rockland), once spotted the tantalising similarity of the name to a name from antiquity…
“Hesiod calls the Western Islands [Atlantis] the Isles of Souls” and “Proclus says, on the authority of Marcellus, that there were seven Atlantic islands [in Atlantis]” (Legends and superstitions of the sea and of sailors, 1885, reprinted 1892).
“Souls” was a slight fabulation or misconstruing (the usual translation of Hesiod is “The Isles of the Blessed” or “Blest”, from makarôn nêsoi, μακάρων νῆσοι) from the East Coast navy man who wrote the book, but one can then imagine the young Lovecraft’s imagination flaring with the thought that the Isles of Shoals could be the mountaintops of the sunken Atlantis. And what lies miles below Lovecraft’s Devil Reef? A fabulous anti-Atlantis of immortals.
Difficult to believe that Lovecraft didn’t come across this in folklore sections of the New York used bookshops, or at the Providence Public Library (which had a good folklore section c.1900). Its highly coloured tone and breathless pace made it quite popular, despite a scathing review in the London Spectator, and it went to a second printing in 1892. Although it wasn’t listed as being in his library at his death.
21 Saturday Jun 2014
Posted in New books, Scholarly works
Appearing soon is a new academic book on popular culture, albeit with only one Lovecraft essay in it. Swedish adademic Van Leavenworth’s “The Developing Storyworld of H.P. Lovecraft” is the final essay in a chunky 340-page University of Nebraska book on transmedia storytelling (transmedia meaning: multiple linked stories told across multiple media, often with fan creators and re-mixers being as active as the original creators). Storyworlds across Media: Toward a Media-Conscious Narratology is set to ship at the start of July 2014.
I’ve only read the editor’s brief summary of the essay. But it sounds like the essay is not a historical study of Lovecraft’s role as the ur-site for the core structures and ‘structures of feeling’ of such participatory fan cultures. But I wonder if Lovecraft’s unique approach to fiction could have played a part in bringing about his own fan culture? I mean that a case might be made that Lovecraft, consciously or unconsciously, tapped into old oral culture forms of storytelling: what with his poet’s stress on precise internal rhythms and patterns; his almost archaic ring composition -like plot re-structures; his slow working up of primal ‘ancestral’ fears, often while evoking wild or strange or marginal types of landscapes; his tapping into New England’s oral folklore; and also how well his stories work and flow when read aloud by a compelling reader. This idea is not incongruous with the nascent desire of some in academia to make Lovecraft respectable by claiming him as a modernist. Since much of early modernism had deep tap roots in the primitive and the archaic. A Lovecraft who approached his audience with techniques based partly in oral culture would then presuppose — and perhaps organically draw to himself — a ‘recognising’ audience ready to play with, reinvent and pass along the stories being told. Many of whom were the children or grandchildren of immigrants steeped in a living oral culture. He certainly had that audience fairly early on, if only in small measure. But to then suppose the same cultural effect operating in the 1970s and 80s is probably just wishful academic thinking. A media industries history approach might instead suggest he was simply ready to start being co-opted by wider commercial forces: he had some cool monsters; many questing young paperback readers; and the spurious copyright claims were crumbling.
Sadly it appears Van Leavenworth doesn’t enjoy the stories themselves. I found someone noting that he complained at a conference of the… “leaden Lovecraft prose”. Which is perhaps a pity, since reading the stories as thinly veiled autobiography is another form of transmedia, especially when the reader knows the finer details of his biography via the abundant fan-scholarship and contextualising cultural histories. But, fair enough, it appears Leavenworth’s Storyworlds across Media essay is not about that. It’s labelled by the book’s editor as an “extensive case study” of the appeal of the post-Lovecraft Mythos and the constraints of genre for participating fans. He also engages with early transmedia theory, reportedly building on and challenging aspects of…
“Klastrup and Tosca’s concept of transmedial worlds [“Transmedial Worlds: Rethinking Cyberworld Design” (2004)] as abstract content systems”.
For his essay’s actual case-studies Van Leavenworth thankfully avoids the ‘plushy-dolls ‘n occult loons’ end of the Mythos spectrum, instead focussing on discussing: the HPL Historical Society’s Cthulhu movie; the Call of Cthulhu tabletop RPG game; and the interactive fiction Anchorhead.
At conferences Van Leavenworth has reportedly previously argued that two key elements in the fan popularity of the Mythos are: i) “the loss of control involved in ‘cosmic fear'”; and ii) “humanity’s inability to understand cosmic knowledge”. His conference papers aren’t online, but I guess this means that these factors naturally appeal to intelligent and sensitive readers, and as such they provide a fairly flexible post/non/anti-religious cultural base on which to build new stories that seek some kind of spiritual accommodation with the universe. Of the sort perhaps exemplified by the Derleth strand of the Mythos. The task for the cultural historian might then be to explain how much of that initial cosmic appeal gets seeded into the later and more diluted fan-works, and if those works are then potent enough in themselves to sustain those two key elements which make for fan popularity. If not, then other cultural mechanisms will need to be found to explain the ongoing longevity of the Mythos culture, especially for those participants who never read or who actively dislike the stories. For such “yaps and nitwits” (Lovecraft’s words) perhaps the Mythos is just about the cool monsters and scaring your credulous girlfriend with tales of owning the Necronomicon (“like, it’s real, girl…!”).