Joshi notes “The Lovecraft Circle and Others”

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.”

Added to Open Lovecraft

* 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?)

More on the Isles of Shoals as an inspiration for Devil Reef

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.

seabook

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.

The Developing Storyworld of H.P. Lovecraft

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…!”).

“He spoke much of the sciences…”

The Science of H.P. Lovecraft, stufftoblowyourmind.com podcast interview with S.T. Joshi on Lovecraft and science. The podcast as a whole is well worth a listen right the way through, and would make an excellent send if you wanted to enthuse a young relative or friend about Lovecraft for the first time.

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lovecraft-feature

The stufftoblowyourmind.com podcast has a very rich downloadle back-catalogue, but here are some of their other episodes that may especially appeal to readers of this blog:

The Science of Uncanny Music and The Sound Aquatic.

Hammer of the Witches (the science behind superstitious persecution) and Why Your Brain Likes Conspiracy.

Fiction: Reality’s Secret Master and Why Science Fiction Matters and Why We Enjoy Horror.

The Memory of Slime (the “intelligence” of slime molds and why they force us to re-think the evolution of intelligence) and The Mind of the Kraken.

The Science of Haunted Houses and Cultural Fears about Graveyards.

Why Some People Are Cat People and Cat Parasites Conquer the World.

Werewolf Principle: Adapting Humans for Space and Emotions in Outer Space and Gimme That Old Time Space Religion (how belief systems may change as a result of space exploration) and The Overview Effect: Tripping Out in Space.

Their podcast RSS feed is no longer publicised or on the browser’s URL bar (even with my put the damn RSS button back in the URL bar! add-on), and I had to hack for 20 minutes to get it: RSS.

“I found all of the openings sprung…”

Tramolines, in caves, strung across ye bottomless pits of Llechwedd caverns in the mountains of central Wales (UK). So cool. Just pipe in the sounds of “monotonous whine of blasphemous flutes from inconceivable, unlighted chambers beyond time…” via some bouncy sonic shoggoths, projection-map monstrous faces on the rock outcrops, dim the lights a little, and you’re all set for some real-life whirling Lovecraftian madness 🙂

tramp

With this kind of tech and kit on offer, can a Kickstarter for some kind of Cthulhu’s Cosmitronic Circus be far away?

“There are cases enough here, Watson,”

Your Lovecraft-meets-Holmes pastiche idea gets the green light

“Leslie S. Klinger has won his appeal against the Arthur Conan Doyle Estate, proving in the U.S. Court of Appeals that all [Holmes] material (including the characters of Sherlock Holmes and John Watson themselves) published prior to The Casebook of Sherlock Holmes [1927] is fair game for Sherlockians!”

“Fungi of inconceivable size, outlines, and colours speckled the scene in patterns…”

Brown University’s Curio, on how to avoid an ugly moiré pattern when scanning old pictures. Useful.

avoidm

Meanwhile, over at Brown’s John Hay Library the major renovation has a blog. Please let there be a post soon that says: “We have banned all staff from ever sticking their own printed paper signs on the walls and doors with blu-tack. Ever. We mean it.” Hideously naff Microsoft Word signs on tatty bits of paper are the bane of beautifully refurbished and new-build spaces.

Added to Open Lovecraft

* Cole Nelson (2014), “Devils in the Wilderness”: The Character of Wilderness in American Horror Fiction, University of Wisconsin-La Crosse Journal of Undergraduate Research XVII, 2014. “The Dunwich Horror” is one of three texts analysed. Explores the idea that description of wilderness in horror might be influenced by the manner of social deviance at the time of writing)

* Eric LaFreniere (2010), “An Awe-ful Integrity: The Science-Fiction Horror of H.P. Lovecraft” (2nd Place Winner of the long research essay category in the Madison Writing Awards 2010, James Madison University)

* Olmo Pedro Castrillo Cano (2013), “Memoria Explicativa del Trabajo de Fin de Master, “The Shadow over Innsmouth”” (In Spanish. Title roughly translates as: “An Explanatory Memorandum on The Work of The Master in “The Shadow Over Innsmouth””. For the University of Seville, Dept. of Communication. Seems to be an analysis of “Innsmouth”, possibly as part of adapating it as a film? script?)

* S.T. Joshi (trans. Alexander Pechmann), Das Ubernaturlich Grauen in der Literatur (In German. Appears to be a substantial free PDF sample of Golkonda Verlag’s German language edition of S.T. Joshi’s Annotated Supernatural Horror in Literature)