Vacation Necronomicon School – final assignment

Vacation Necronomicon School, summer 2010 assignment for 7th August 2010: “Final Creative Task”.

“Your long-term assignment — the end to our expedition — is to create your own Lovecraftian composition. It can be a short story, a poem, or some other creative work that expresses your personal interpretation of the genre.”

TASK TWELVE: 7th August 2010.


THE MONOLITHS UNDER THE SEA.

Being a new Lovecraftian tale and a prequel to H.P. Lovecraft’s story “The Call of Cthulhu”.

Download the printable PDF file + 35-minute audio-book reading (33Mb, .zip file).


My new short story has been crafted for the Vacation Necronomicon School. It is constructed around a scaffolding made of appropriated public-domain materials. These date from between 1859 and 1893 — one unpublished letter, a magazine article, and two hardly-known short stories by very obscure authors (full details at the end of the story). I have blended these sources together, generally rewritten sections, tinkered, cut ruthlessly, rearranged, and have added my own words to fill any resulting gaps. In this experiment I take my cue from Lovecraft himself, who once wrote in a letter of March 1933…

“Someone ought to go over the cheap magazines and pick out story-germs which have been ruined by popular treatment; then getting the authors’ permission and actually writing the stories.”

I hope the story also expresses the discoveries I’ve made on this summer school, about just how much Lovecraft was an expert collage-ist of his many diverse borrowings and inspirations.

Enjoy!

Vacation Necronomicon School – assignment eleven

Vacation Necronomicon School, summer 2010 reading assignment for 6th August 2010: “Recommending Lovecraft”.

“Your assignment for today is [ to] explain which story you would recommend to someone unfamiliar with Lovecraft’s [ literary ] work. Which story seems most accessible to the new reader? Which do you think makes a good introduction, and why? Explain in 200 words or less.”

TASK ELEVEN: 6th August 2010.

“The Cats of Ulthar”: written 15th June 1920.

I would probably recommend the short story “The Cats of Ulthar”, for a newcomer to Lovecraft and to “weird horror”. This perfectly-formed early tale is in Lovecraft’s dream-cycle, and was one of his personal favourites. And can one possibly be a Lovecraft reader if one dislikes or detests cats? Affinity for the Felidae is surely the litmus-test Lovecraft himself would have applied to his readers — had Weird Tales ever been printed on a sort of “psychic paper” or somesuch. The story’s geography has a faint Tolkien flavour, and the medieval swamp-gothic atmosphere is somewhat akin to the fantasy RPG videogame The Witcher (PC, 2008). These are surely factors which might encourage a new reader coming to Lovecraft from a diet of quality fantasy media. The story is also short, the language is clear, and the ending is memorable. And did I mention it features cats? Lots of cats. The mountain-sized unspeakable mountains of slime and wings, and the tentacle-tangles of eldritch language, can all come later on in a reader’s encounter with Lovecraft. Bring on the kitties!

Not a Wikipedia article

The Wikipedia police would plaster this with “not notable!” and other warning banners within seconds of my posting it. Or it even be automatically deleted by the idiot-bots. But it’s here, for what it’s worth:—


Franklin Chase Clark (26th May 1847 — 26th April 1915) was a medical doctor of Rhode Island, and an author. He is notable as an uncle of the writer H.P. Lovecraft, and he had a formative influence on the young Lovecraft.

Life:

Clark was a graduate of Brown University (A.B., 1869), attended Harvard Medical School in 1869-70, and took his M.D. certificate from the New York City College of Physicians & Surgeons in 1872. He practised first as an outpatients’ surgeon at the main hospital in Providence, Rhode Island, and then set himself up as a general practitioner.

He was a distant relative of the Lovecraft family, and then at the age of 55 in 1902 — after being freed from obligations by the recent death of his parents — he married Lillian Delora Phillips (1856-1932) who was then 46 years old and who was H.P. Lovecraft’s elder aunt.

Clarke died of cerebral haemorrhage and “chronic Bright’s disease”.

Influence on Lovecraft:

Clark was the author of translations of Greek and Roman works such as Homer, Virgil, and Lucretius. Between the years 1902 and 1905 it appears that he was able to greatly correct the writing style of the young home-schooled Lovecraft. He also helped Lovecraft compile a “Manual of Roman Antiquities”, possibly as an exercise in formal writing. Lovecraft was also encouraged to continue his pursuits of chemistry and astronomy, and his publication of small hectographed magazines. Immediately after Clark’s death in 1915 H.P. Lovecraft wrote a conventional elegy, “An Elegy on Franklin Chase Clark, MD” which was published in the Providence Evening News. Lovecraft also referred to Clark in his letters…

“Dr. Franklin Chase Clark, a distant relative who had become a closer kin through marriage to my aunt, began to influence my intellectual development. He was a man of vast learning”

From 1926 until her death Clark’s widow shared an apartment with H.P. Lovecraft at 10 Barnes Street, at the rear of Brown University. The rent was very low, and it may have only been possible to acquire the rooms because her husband had been a graduate of Brown.

Works:

In addition to his classical translations, Clark was also the author of many scientific and medical papers. He wrote at least one foreword to a catalogue of the Providence Art Club, and the novel ”Susan’s Obituary : Sketches of New England life” (Moshassuck Press, 1996).

Clark became a member of the Rhode Island Historical Society in 1907, and he wrote a number of papers on local history. His researches are said to have contributed greatly to knowledge of the Lovecraft family genealogy.

In relation to Lovecraft’s work, it is interesting to note that Clark wrote articles and papers on: undersea ‘sponge cities’ (“A Curious City”, 1878); hypnotism (n.d.); and the local history of the circus (“The Ring in Providence”, 1909).

Clark’s papers are now held by the Rhode Island Historical Society Manuscripts Division, and these include some unpublished historical papers.

15% off my new book.

For a limited time, a 15% discount when you order a copy of my new Tales of Lovecraftian Cats book. Simply follow this link and enter coupon code NEWREAD305 at checkout.

Offer ends 15th September 2010.

I’m hoping this should be valid in the UK as well as in the USA. Be the first to order a copy!

I’m also looking for people or publications who would like a free review copy, for a timely web-accessible review.

The underwater cities of Franklin Chase Clark

An interesting snippet from some notes by Roland John Chester on “Western Hypnosis Arcana” for the website Magazine for Hypnosis and Hypnotherapy…

“Dr. Franklin Chase Clark believes that this state [of hypnosis] occurs through fear (being ‘rooted to the spot’) and cites the serpent’s apparent power over some animals. The victim fears that he can not move: and thus can not.”

Franklin Chase Clark (1847-1915) was Lovecraft’s learned uncle — a medical doctor, translator and author, member of the Rhode Island Historical Society. I can’t find any trace of the paper or book he presumably wrote on hypnosis, but the date would be interesting. Did he perhaps try to hypnotise the boy Lovecraft, to relieve the lad of some of his “nervous maladies”?

I did however, uncover a Sunday magazine article by Lovecraft’s uncle, “A Curious City” in Frank Leslie’s Sunday Magazine, April 1878, pages 385-390. It appears to start off as a speculative utopian description of a mysterious ‘communist’ future or past city, the reader then realises that this is an essay on the sponge/corals and the mysterious cities they build in the deeps…

“[sponge] palaces surpassing in elegance and beauty the works of the most famous artists upon earth. These little architects and builders, working miles below the surface of the great ocean, building up quietly and silently in darkness their fragile houses, must remain for ever the wonder and admiration of man.

What beauties, what wonders, then, are found miles beneath the sea? The great steamship, the Challenger, sent out for a four years’ cruise by the English Government, has now returned. It has brought back with it the story so long concealed in these darksome and almost fathomless depths; the story of that great and strange and hitherto unknown country stretching for 140,000,000 square miles beneath the dark blue waves.”

A possible origin here for the underwater cities that Lovecraft would use prominently in his stories, in addition to Poe? And is this illustration for the article a proto-Shoggoth? …

Vacation Necronomicon School – assignment ten

Vacation Necronomicon School, summer 2010 reading assignment for 5th August 2010: “The Cephalopod” (essay).

“There is no official writing assignment today, though you may report your opinion on any aspect of this essay [ on ] the Cephalopod from H+ Magazine.”

TASK TEN: 5th August 2010.

It is composed of ever-winding labyrinthine strands. It has a narrowly-focussed eye. It sometimes has a hard cover about its body. It is filled with black ink. Are we talking about the Cephalopoda, or a book? There seem to be certain odd parallels between the two. Possibly Lovecraft never noticed these parallels. But we know that he loved one and loathed the other…

“I can not tolerate seafood in any form, […] The very sight and smell of it nauseate me” — letter by Lovecraft.

“Rhode Island is almost as famous as Louisiana for sea-food. But all this doesn’t mean anything to my palate. From earliest infancy every sort of fish, mollusc, or crustacean has been like an emetic to me.” — letter by Lovecraft.

In what context did he come to loathe the Cephalopoda? New England was of course deeply connected with the the life of the sea, and one might guess at an early unfortunate childhood experience. Perhaps a visit to a harbour fish-market or fish-shop, in which the denizens were all-too fresh.

Did these sea creatures then invade the dreams of the young Lovecraft, and in larger versions? There would have been ample reason for this to happen, since New England abounds in myths and even eyewitness reports of Continue reading

Lovecraft’s plan of his grandfather’s study

Chris Perridas posts news of a most unusual item, Lovecraft’s own annotated wall plan of his grandfather’s study, which along with the attic library is the ‘ground zero’ of 20th century horror. Unfortunately the online scans at L.W. Perry are too small to read. I’ve enlarged them and sharpened as best I can. You can make out what some of the labels say…

It seems there was a whole wall of cat/kitten paintings, which Lovecraft dubs “Kitten Row”.

I’d love to see this space and the 2000-volume attic library (strong joists! *) faithfully recreated via a videogame engine, so we could “step inside it”. Many of the library’s volumes must now also have been scanned and placed online by Google and others — would it also be possible to recreate the book collection in “virtual form”?

( * although the attic was apparently only a store-room or sub-library for the older books of the library)

Lovecraft anthology call – “in the style of the classic horror stories”

The H. P. Lovecraft Project: A Classic Horror Anthology call-for-stories makes a refreshing change from reading anthology-calls that say things like… “oh, and /yawn/ we’re so tired of New England and traditional Lovecraftian horror settings, so please don’t send any”…

“In this case, story style does matter. Your style must resemble the style of the classic horror stories of the 19th and early 20th century. Classic examples of this genre are H. P. Lovecraft, of course, but also Edgar Allan Poe, Charles Dickens, Nathaniel Hawthorne, H. G. Wells, etc. (Lesser known authors of this style would include Gertrude Atherton, Ambrose Bierce, Algernon Blackwood, M. R. James, etc.)”

Deadline: 1st March 2011. 5,000 word limit.

Arkham Sanitarium Prop Package

20 days to go to raise the $1,300 that Propnomicon needs to create a Creative Commons “Arkham Sanitarium Prop Package”…

The “Arkham Sanitarium Prop Package” is a collection of documents and items that place Lovecraft’s fictional creation in the real world, building on the foundation of his writing and historical references. At a minimum the package itself will consist of an embroidered uniform patch and lapel pin reproducing the Sanitarium’s logo, two vintage-style postcards, and a notebook. All the images and documents produced as part of the project will be released under a Creative Commons license to that anyone can reuse and remix it as they see fit.

Vacation Necronomicon School – assignment nine

Vacation Necronomicon School, summer 2010 reading assignment for 4th August 2010: “The Necronomicon”.

“Your assignment today is […] to discuss some aspect of The Necronomicon, either in Lovecraft’s writing or in one of its other guises.”

TASK NINE: 4th August 2010.

A note on the origin and derivation of ‘Necronomicon’.

The origin of the name Necronomicon appears to have come to Lovecraft in a dream. Or so he wrote — but I suspect that Lovecraft may sometimes have intended certain parts of his letters to be read with a humorous eye, or expected that an off-handedly ironic manner would be inferred by the reader. He may even have used the vague “oh, it came to me in a dream” phrase as a convenient gentlemanly excuse to avoid writing an even longer letter than otherwise to yet another enquiring young fan — a fan who would not have appreciated a complex explication of the Latin or Greek origins of certain words. Or he may simply have forgotten how a certain fictional element first came into being.

George Wetzel suggests an inspiration in the title of the Astronomicon, a five-book astrological/astronomical poem by the Roman poet Manilius, whom Lovecraft quoted in an astronomy column of 1915.

This may well be the case. Alternatively his grandfather’s library may have contained the Poeticon Astronomicon, a star-atlas and anthology of Ancient Greek myths about the stars and constellations — a book possibly originally compiled by the writer Julius Hyginus in about the 1st century AD.

Or one could simply suggest that Lovecraft was working on a scrap of paper to get a suitable Latin name for an invented book of spells. He combined “Necromantic” (Latin: necromantia, meaning literally “dead divination”) with “icon”. He would thus have been aiming for something along the lines of “The Deathly Divination Images”. This would fit with his general elision of ‘seeing’ with ‘madness’/’death’ in his works.

But by combining the two he got “Necromanticon” — and then realised he had to remove “romantic” (Necromanticon). So he took out “mant”, and substituted “nom” (meaning in Latin ‘law/order’) from “astronomy”. Given the devotional/sculptural meaning inherent in “icon”, the Latin title of The Necronomicon would thus literally mean something like: ‘The Dead Law of Graven Images’.

In a late letter Lovecraft casually traces the — by-then-famous — name back from the Latin, to the even older ancient Greek…

“The name Necronomicon (nekros, corpse; nomos, law; eikon, image = An Image [or Picture] of the Law of the Dead) occurred to me in the course of a dream, although the etymology is perfectly sound.”

S.T. Joshi says of this derivation that Lovecraft was wrong about “icon” having a Greek root. But Joshi’s judgement appears to be based on the findings of modern linguistics. Lovecraft was right when judged by the scholarship of his own time, since the 1911 Encyclopaedia Britannica — used extensively by Lovecraft — clearly states that…

“The term icon comes from the Greek eikon, which means ‘image’.”

The dream explanation is not entirely at odds with the idea of Lovecraft puzzling it out on a scrap of paper. He may have got as far as “Necromanticon”, and then slept on the puzzle of how to remove the ‘romantic’ element.