Vacation Necronomicon School – assignment one

Vacation Necronomicon School, summer 2010 reading assignment for 26th July 2010: “Dagon”.

“Your short assignment today is to ruminate on this ‘scientific’ aspect of his work — horrible things that remain generally unseen are unearthed.”

TASK ONE: 26th July 2010.

The short story “Dagon” was written in July 1917, partly inspired by one of Lovecraft’s dreams. There are four main elements in it that touch on science and technology: the German “sea-raider”; the unknown hieroglyphics; the volcanic or seismic activity that causes the sea-bed to rise to the surface; and the morphine. As I will show, all these in some way contain elements of ‘unearthing’ or ‘surfacing’.

Submarines: The First World War had recently engulfed America, and the story suggests Lovecraft had read many reports in the newspapers of submarine warfare. On 1st Feb 1917 Germany had declared unrestricted Atlantic submarine warfare, and America had consequently declared war on Germany on 6th April 1917.

There were navy patrols along the Atlantic-facing coastline of New England, necessary because Continue reading

Lovecraft Summer School

Want to write on Lovecraft over 13 days? There’s a free summer reading school, just started yesterday, and which is still recruiting through to 31st July 2010. Full details at the Vacation Necronomicon School

There will be short daily assignments of 300+ words. One assignment per day for 13 days, beginning 26th July 2010…

“Your long-term assignment — the end to our expedition — is to create your own Lovecraftian composition […] in 13 days.”

I’ve signed up.

[ Hat-tip to: BellMojo ]

Collapse IV – free book of essays

The British philosophy journal/book Collapse had a special ‘Concept Horror’ issue in 2009, which is now freely available on Archive.org. Among others this includes the essays:

Graham Harman and Kieth Tilford. “On the Horror of Phenomenology: Lovecraft and Husserl / Singular Agitations and a Common Vertigo”.

A defence of “weird realism”, suggesting that 20th century philosophical thought has much in common with weird fiction.

China Mieville. “M.R. James and the Quantum Vampire – Weird; Hauntological: Versus and/or and and/or or?”.

While this doesn’t initially sound a very promising title for Lovecraftians, it does have a fascinating prologue: “The Tentacular Novum” (pp. 105-112) giving a survey of… “the early adopters of the tentacular” in horror fiction. He surveys the kraken, giant octopus and squid — as they appear in Verne, Hugo, Wells, and Hodgson. He dates the phenomenon back to 1907, and its highpoint to 1928…

“A good case can be made, for example, that William Hope Hodgson, though considerably less influential than Lovecraft, is as, or even more, remarkable a Weird visionary; and that 1928 can be considered the Weird tentacle’s coming of age, Cthulhu (“monster […] with an octopus-like head”) a twenty-first birthday iteration of the giant ‘devil-fish’ — octopus — first born to our sight squatting malevolently on a wreck in Hodgson’s The Boats of ‘Glen Carrig’ in 1907.”

To see what that high-point looked like, visit Francesca’s Octopus Pulp Fiction gallery.

Continue reading

On print promotion

Murray Ewing has an interesting long account of promoting his Alice at R’lyeh

“…different subcultures have very different attitudes to self-publishing. In the UK comics scene, there is a thriving self-publishing community, which sees the fact that something is self-published as a genuine plus-point. It actively welcomes the diversity of the sort of things people produce when they’re let loose on their own. Other areas, though, see self-publishing as an active minus-point, if not an outright automatic rejection. Searching for places to send a review copy of Alice at R’lyeh to, I often came across “no self-published work” notices, which started to annoy me as much as the “no fantasy, science fiction or children’s fiction” notices you find in The Writers & Artist’s Yearbook list of literary agents.”

Personally I have distant but strong roots in comics and SF fandom, and a more recent interest in artists’ books and print-on-demand. So I see self-publishing — if done with care — as perfectly fine and as adding a nice frisson of authenticity.

Ewing usefully points to the fannish conventions as places to sell. But unless you’re going anyway, then the travel + ticket + table costs would seem likely to drain any profit from your sales. For instance, Continue reading

Whisperer in Darkness – movie interview

Opium has a new (24th July 2010) interview with the Director of the movie The Whisperer in Darkness. This is the successor to the acclaimed The H.P. Lovecraft Society adaptation of Call of Cthulhu. The latest post on the film’s production blog suggests that director Sean Branney and his team have now finished finalising the edit. The film is in full HD, done in B&W in the style of the early Universal horror movies such as the outstanding Curse of the Cat People. Here’s the April 2010 trailer (view the full post to see it in the correct proportions)…

[youtube=http://www.youtube.com/watch?v=pd5gWGfnK5M&rel=0&color1=0x2b405b&color2=0x6b8ab6&hl=en_US&feature=player_embedded&fs=1]

At the feet of the Panther : how I came to Lovecraft

This was the book that started it for me, at age 11. A 1971 ‘schools’ paperback called The Shadow over Innsmouth and Other Stories of Horror, published by Scholastic Book Services of New York in December 1971. Somehow it had made its way to England many years later, and the editor Margaret Ronan had presumably selected the stories for suitability for children (the introduction was apparently by Margaret Sylvester, who as a 15-year old girl had corresponded with Lovecraft in the mid 1930s). It was the first horror book I had read, and — despite its dreadful cheapness in both its production and the price pencilled inside it — I took a whole hour deciding to buy it or not…

A dreadful cover suggesting vampires, though I guess publishers had to ‘start where people are’, back in 1971. And vampires were the hot ticket, back then. But after that taste of Lovecraft (“Colour out of Space”; “The Outsider”; “Shadow over Innsmouth” and others) I hunted down the UK Panther paperback collections — with their superb covers — on the second-hand bookstalls of the local markets.

Panther paperbacks cover gallery after the jump… Continue reading

Alice at R’lyeh

I’ve found another Lovecraft “mash up”. Murray Ewing gives a long and useful account of self-publishing his Alice at R’lyeh, This is a new Carrollian nonsense poem, with illustrations, which imagines a combination of Alice and Lovecraft. Predictably, and as I know myself, embedding the required fonts in a PDF and getting it to print to the required page size was a nightmare of Lovecraftian proportions. But in the end, he writes…

“I could get 100 16-page booklets for a little over £100 […] I went with www.thedigitalprinters.com […] I got the quote, uploaded my PDF, got an email back suggesting a lamination for the covers, okayed that, and then, a week later, I had my box of Alice at R’lyeh booklets. That moment — receiving your actual finished, physical copies, tangy with the scent of fresh ink and peppered with paper-dust — is the first heaven of self-publishing.”

The story of promoting it comes in Part two.

The Interactive Lovecraft – big new project at Vancouver Film School

Interesting news from the Vancouver Film School. There’s an…

“unprecedented cross-disciplinary open-source project that’s tapping the expertise of students and alumni from programs across VFS. […] It’s called The Interactive Lovecraft […] creating a cutting-edge transmedia interactive magazine experience for the tablet marketplace, and laying the foundations of a model that future students will be able to experience with other public domain work as part of the Entertainment Business Management program. The end result – incorporating text, video, and games – will include adaptations of five seminal Lovecraft stories: The Call of Cthulhu, Dagon, The Dunwich Horror, The Rats in the Walls, and The Music of Erich Zann.”

There’s a video “making of” after the jump… Continue reading

A Love Craft exhibition – photos

Photos from inside the “A Love Craft” art exhibition, which has just closed in New York.

There’s also a less stand-offish set of visitor photos from Zazoo & Satori (a prolific tag-team for photographing all the fab NY shows, it seems) on Flickr.

Allison Sommers has her exhibition work online here and The Observatory Room has the full list of artists and a couple of other pictures online.

Fantastic Culture Preservation Society – launch

Just launched, via Facebook (ugh) — the Fantastic Culture Preservation Society

“Welcome to a fledgling network for the subcultures who appreciate horror, science fiction, and fantasy, which we hope will make up the Fantastic Culture Preservation Society. Through this network we hope to educate our community, and preserve our history.” […] “with the demise of many of the fan magazines … vast amounts of information about a substantially large subcultural movement is at risk of being completely lost.”

It seems at the moment to be very movie-oriented, an area I would have thought was already amply covered by the film archivists, various national film organisations, and indie DVD publishers. But it may expand and develop in future. And it does raise a valid point about the need to preserve archival copies of blogs and suchlike before they vanish (as they tend to do).

If you’re interested in the preservation of early videogames and associated material and fan works, there’s the Video Arcade Preservation Society and the UK’s National Videogame Archive.

[ Hat-tip: Theo Fantastique ]

Gore no more

I’m no fan of modern gory horror movies — but it’s disappointing to hear that the proposed Guillermo del Toro feature-film version of Lovecraft’s “At the Mountain of Madness” has been canned. Toro (Pan’s Labyrinth etc) has instead officially announced that he’s signed up with Disney to write, produce and direct a movie version of their Haunted Mansion theme-park attraction. Which sounds like mindless Saturday-morning popcorn kiddie fodder, although I guess that in his hands it may achieve the heights of the first Pirates of the Caribbean film. As to “Mountain of Madness” it seems the studios executives simply wimped out on in the end, despite Toro’s promise of adding buckets of teen-friendly gore…

“it’s very difficult for the studios to take the step of an R-rated, tent-pole movie, with a tough ending and no love story.”