Lovecraft and the 1925 earthquakes

Chris Perridas has details and photos of the St. Lawrence earthquake of 28th February 1925, which was so powerful that Lovecraft even felt it in New York [at magnitude 9:22]. The quake was experienced over a 2 million square-mile region. A press report is given in full by ChthulhuLives, including a line that makes it relevant to the idea that it may have influenced “The Call of Cthulhu”…

“There is a possibility that the earthquake may have taken place at sea.”

I’ve also found that there was apparently another major earthquake in the “New England-New York-Quebec” area on 9th October 1925. In fact, there seems to have been a whole series of them. For a complete summary of the 1925/26 earthquakes see “SUMMARY OF EARTHQUAKES IN NEW ENGLAND AND VICINITY” in The Spectator: Volume 118, 1927…

“Through the kindness of the Acting Director of the United States Coast and Geodetic Survey, Mr. RL Faris, I have come into possession of an extremely valuable summary of earthquakes in New England and vicinity”

The New England Galaxy wrote…

“There were, in fact, five earthquakes in New England in 1925, on January 7, February 28, April 24, October 9, and November 14.”

Lovecraft may well have linked the earthquakes with the Pickwick Club collapse, perhaps surmising that they had weaked the fabric of the building? Severe building collapse or being trapped under buildings features in a number of stories he wrote around this time.

More open Lovecraft scholarship

More interesting academic works, freely available online.

* A chapter in a Masters disseratation in History, relevant to Lovecraft…

“The Yellow Peril: the American Pulps Between the World Wars, 1919-1935” in: Nathan Vernon Madison (2010), Isolationism, Internationalism and the ‘Other’: The Yellow Peril, German Brute and Red Menace in Earlyto Mid Twentieth Century Pulp Magazines and Comic Books.

* A doctoral thesis…

Jonathan Maximilian Gilbert (2008), “The Horror, the Horror”: the Origins of a Genre in Late Victorian and Edwardian Britain, 1880–1914.

* Chapter three in a Masters dissertation on horror as a sort of “self-medication”…

“‘All the Cosmos is a Jest’: Preemptive Trauma Mediation in the Fiction of H.P. Lovecraft”, in: Jacob M. Hodgen (2008), ‘Boot Camp for the Psyche’: Inoculative Nonfiction and Pre-Memory Structures as Preemptive Trauma Mediation in Fiction and Film.

Steamcraft

Clanking its way toward your screen(*) in April 2012, a steamcrafted Lovecraft-Steampunk mashup comic book from David Hutchison. Steamcraft will be published by Antarctic Press in April 2012. Featuring… “plasmotic rifles, super-cannons, land crawlers, submersibles and airships” battling ancient evils awoken from the depths…

Possibly only a one-off to accompany an RPG?

* Who can afford to read comics on paper these days?

Lovecraft and New Orleans

This is a quick and brief historical summary note in response to a Facebook query by David Milano, who is set to visit New Orleans and has an interest in Lovecraft’s time spent in the city:

H.P. Lovecraft paid a brief one-week visit to New Orleans in June 1932. He was there ‘taken under the wing’ of local resident and fellow Weird Tales writer E. Hoffman Price, who wrote a memoir of the visit (“The Man Who Was Lovecraft” in Something about Cats, and other pieces, Arkham House, 1949). At some point during these several meetings with Price, Lovecraft was apparently given the city tour — although Price missed out the city’s brothels due to Lovecraft’s conservative sensibilities — “I skipped concubines entirely” wrote Price. Lovecraft stayed at “a third class hotel on Charles Street” according to Price. Price’s apartment was at 305 Royal Street, and they had several epic discussion sessions there. Apparently the older French Quarter was a special hit with Lovecraft’s antiquarian architectural sensibility, and this area was also where Price’s apartment was located. Lovecraft later collaborated with Price on “Through the Gates of the Silver Key”, which opens in a New Orleans setting…

“For here, in the New Orleans home of this continent’s greatest mystic, mathematician, and orientalist, there was being settled at last the estate of a scarcely less great mystic, scholar, author, and dreamer who had vanished from the face of the earth four years before.”

Of course, a more substantial use of the locale came earlier. In “the wooded swamps south of New Orleans”, which was one of the key settings in the famous story “The Call of Cthulhu”. The story features an Inspector of Police for the city of New Orleans, who investigates idol worship in the swamps. In real life by 1925 these swamps were apparently threatened by 560 miles of drainage canals, a system which was at that time were increasing and would be increase again under the 1930s work schemes. One of the side effects of draining and logging the swamps would be to cut one of the main arteries by which illegal hard drugs were then entering the USA — the area was reported by police to be one of two main conduits in the 1920s for morphine/opium and cocaine entering the USA. Today, though much depleted by drainage and the heavy logging of the 1930s, some of the swamps are preserved, such as the Barataria Swamp and the Jean Lafitte National Historical Park Preserve south of New Orleans.

Key Lovecraft locations in New Orleans thus seem to be: 305 Royal Street and the French Quarter; the hotels on Charles Street; and places such as the Barataria Swamp and the Jean Lafitte Preserve.


Incidentally, a gruesome Mary Pickford movie Sparrows was released in May 1926, and is set in the swamps of New Orleans. The movie was possibly seen by Lovecraft in New York, since he wrote “The Call of Cthulhu” in the summer of 1926 and he may have visited the movie in order to give him a good visual idea of the swamps? Pickford was a major star of the time, and the movie saw a wide release.

Sparrows‘ elaborate sets and magnificent cinematography create a nightmare world that later inspired the classic film Night of the Hunter.”

Sparrows is horrifically good — a bad dream that wakens to a happy ending, a fairy tale told with brilliant style, a comedy, a Grand Guignol, an expressionist thriller” — Eileen Whitfield.

“The “look” of the film reflects the German expressionist style and should delight Lemony Snicket fans and anyone who gets off on creepy-strange beauty.” — Amazon review.

“Art director Harry Oliver transformed 3 acres (12,000 m2) of the [studio] back lot between Willoughby Avenue and Alta Vista Street into a stylized Gothic swamp. The ground was scraped bare in places, 600 trees were carted in, and pits dug and filled with a mixture of burned cork, sawdust and muddy water.”

The Library of Congress apparently has a beautifully restored 2006 print of the movie, but this has yet to be released on DVD. The currently available DVD is not the restored version, it seems.

Lovecraft Anthology 2

Here’s a peek at the cover of The Lovecraft Anthology Vol.2. It’s a 128-page anthology of comic book adaptations, edited by Dan Lockwood and due from Self Made Hero in March 2012. Judging by the choice of cover illustration (it seems brave of Self Made, not to put tentacles on the cover) we get a comics adaptation of “The Terrible Old Man”. Also…

Pat Mills and Attila Futaki (“The Nameless City”), Ben Dickson and Mick McMahon (“The Picture in the House”), Jamie Delano and Steve Pugh (“Pickman’s Model”).

The Undead: Life Science and Pulp Fiction – proceedings now online

The archive of the Die Untonen [The Undead]: Life Science and Pulp Fiction symposium proceedings are now online, for free. The event was held in Hamburg, Germany (12-14th May 2011) and was an interesting mashup of academic talks, science, art, workshops and performances…

“A unique interdisciplinary meeting of experts from the biotechnology, medical professionals, bioethicists, philosophers, theologians, legal jurists, health workers, artists, film and media makers and pop icons. The visitors and experts come together in unexpected combinations and on various issues in rooms that modeled after film sets (Hospital, Cemetery, Laboratory and Cinema – and so typical places of production and negotiation of the “undead”). The visitors can move freely through the entire setting at any time. All conversations, lectures, presentations, performances and experiments are recorded and broadcast live, so that the recipient can independently of their position in a set of infrared receivers and headphones to listen to every situation.”