New WordPress template

Ok, I got bored with the old template, and so I’ve implemented a new one. The “Lovecraft on the Web” links directory is now on the sidebar in two columns, rather than at the foot of the page. It’s all rather cleanly grid-like and clinical, but hopefully also very readable. And I can now get 400px pictures on the front page, rather than having to cramp them as before.

American Paganism panics, 1920-1945

An unpublished paper by Philip Jenkins of Pennsylvania State University, relevant to Lovecraft: “To What Green Altar? The Myth of American Paganism 1920-1945”

“In the 1980s, the United States experienced a ‘Satanic Panic’ largely generated by the media, about the nefarious activities of rumored Satanic rings. While much has been written on this phenomenon, it is not generally recognized that a very similar phenomenon occurred between about 1925 and 1945, as popular writers and journalists explored the ideas of Sir James Frazer and Margaret Murray about paganism and pagan survivals in medieval and modern times. Though originally told as fantasy fictions, these stories acquired remarkable credibility and even influenced official behavior. By the 1930s, American news media were avidly exploring tales of witch cults and human sacrifice rings in many parts of the US, including German Pennsylvania, New Mexico, and in Native American communities across the nation. Such tales actually influenced serial murder investigations in major cities. My paper is therefore a study of the cross-fertilization of pulp literature with academic anthropology, with curious consequences for popular belief and folklore.”

The essay throws some light on Lovecraft’s first unveiling of the New England countryside as a setting for horror, in the story “The Picture in the House” (Dec 1920)…

“The first tales of clandestine alternate religions in the heartland date from an era of rapid change in the American countryside, and in the relationship between urban and rural societies. The 1920 census was the first to show a majority of Americans living in cities rather than the countryside, while the popularity of the private automobile vastly increased the opportunities for city-dwellers to explore those rural landscapes which now seemed so exotic. As tourism boomed, entrepreneurs made all they could of the exoticism of the countryside […] A serious scholarship of folklore flourished alongside this popular hucksterism […] Ethnographic observations of backward rural communities flourished in the inter-war years. […] Because of its proximity to major East Coast cities and newspapers, German Pennsylvania was a particular target for such romantic investigations”

Thief of Baghdad (1924)

The great fantasy blockbuster movie of 1924 The Thief of Baghdad (Fairbanks/United Artists, on general release from 23rd March 1924). Lovecraft must surely have seen this big-budget picture when he first moved to New York.

 
The film is now public-domain, and is available free on Archive.org.

 


 


 


 
Above: an undersea monstrosity encountered by the hero.

 
And the film’s depiction of the takeover of Baghdad by the Mongols finds a visual echo in the story “He” (written 11th August 1925)…

 

“swarming loathsomely on aerial galleries I saw the yellow, squint-eyed people of that city”

 


 
[ Hat-tip: John Coulthart ]

Lovecraft vs. Rand

H.P. Lovecraft and Ayn Rand — separated at birth?

H.P. Lovecraft:

Hardened rationalist

Radical atheist

Strong interest in philosophy

Hard-headed sceptic

Wrote for the masses

Loved cinema

Took inspiration from popular media

Fascinated by science and men of science

‘Exiled’ from England

Loved cats

Wrote science fiction

Emotionally restrained protagonists

Protagonists at odds with the established social order

Fiction depicts lurking monstrosities that threaten humanity

Author lived in/near New York

Felt that society/civilisation was in sharp decline

Disdain for ‘primitive’ ways of life

‘Man is everything in the world’

‘Man is insignificant in the cosmos’

Yearned for an aristocracy based on manifest talent, not blood or race

Ayn Rand:

Hardened rationalist

Radical atheist

Strong interest in philosophy

Hard-headed sceptic

Wrote for the masses

Loved cinema

Took inspiration from popular media

Fascinated by science and men of science

Exiled from Russia

Loved cats

Wrote science fiction

Emotionally restrained protagonists

Protagonists at odds with the established social order

Fiction depicts lurking monstrosities that threaten humanity

Author lived in/near New York

Felt that society/civilisation was in sharp decline

Disdain for ‘primitive’ ways of life

‘Man is everything in the world’

‘Man is insignificant in the cosmos’

Yearned for an aristocracy based on manifest talent, not blood or race