Volume 9 Contents for Fall 2020 Issue 2

Total Page:16

File Type:pdf, Size:1020Kb

Volume 9 Contents for Fall 2020 Issue 2 HYPNOS VOLUME 9 CONTENTS FOR FALL 2020 ISSUE 2 COVER DESIGN _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ANNA STROUD Illustrating a scene from Thomas Fredric Jones’ story “Cicadae” CICADAE _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ THOMAS FREDRIC JONES 3 Neither the eerie carousel in this story nor the woman who owns it are what they appear to be NARTHEX OF THE DAMNED _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ LAWRENCE BUENTELLO 11 A widower seeks his beloved wife in a nightmarish realm, which threatens to consume him TRIUMPHANT CHAOS _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ PATRICK RUTIGLIANO 19 Verse EVERY CREEPING THING _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ HARRIS COVERLEY 20 A strange, inexplicable flood almost drowns an old man——or something that looks like a man THE SHADOW-THING _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ CHRIS CORNETTO 23 An alchemist seeks to harness a power he doesn’t understand: the power to resurrect the dead TA’XET _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ CHRISTIAN MACKLAM 30 As a storm batters the coast of British Columbia, a lone lighthouse keeper awaits his doom ILLUMINATIONS _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ J. P. SEEWALD 31 An odd book offers a father a key to his own repressed childhood——and the horrors therein PLYASKA _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ TRAVIS D. ROBERSON 38 A traveling artist paints the most enchanting pictures, though they come with a terrible price WHEN ALL TURNED TO DUST _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ NESTOR DELFINO 41 A scientist races to reverse a chemical reaction that has turned the world’s waters to sand All rights reserved. Except for brief passages quoted in newspaper, magazine, radio, or television reviews, no part of this magazine may be reproduced in any form or by any means without permission in writing from the publisher. Some material contained herein may be in the public domain in certain territories. Hypnos is a work of fiction. Names, places, and incidents are either products of the authors’ imaginations or are used fictitiously. Hypnos is published in the United States by Hypnos Magazine, 920 N. Leverett Ave., #607, Fayetteville, AR 72701. Submission guide- lines, back issues, contact information, and more can be found online at www.hypnosmagazine.com. Questions and comments should be addressed to the editor, DYLAN HENDERSON. Copyright © 2020 by Hypnos Magazine i CONTENTS THE PIECE MAKERS _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ JULEIGH HOWARD-HOBSON 51 Verse THE SHRINE OF THE LIZARD-GOD _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ DAVID R. LLOYD 52 In the middle of the desert, beneath an ocean of sand, something stirs restlessly in the dark HOT DOCTRINE _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ CHARLES WILKINSON 53 An unhappy couple checks into the Hope Springs Guest House, a decision they come to regret WITCH’S GARDEN _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ RONI RAE STINGER 61 Verse THE SPANIEL TREE _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ JOHN WATERFALL 62 A servant sees the brutal crime his young master commits as well as the retribution that follows TROUBLED WATERS _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ MICHAEL MAYES 63 An ex-convict returns to Lake Bennington to face the ghost that murdered his brother THE SPIRE _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ D. J. TYRER 77 Eager for adventure, two college students seek out an entity “alike unto an angel” THE SPECIAL COLLECTION _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ MICHAEL DITTMAN 83 A judge with a guilty conscience will do anything to be reunited with his dead son ANGELS _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ JAY CASELBERG 90 While home for the holidays, a young woman must take part in a nightmarish tradition TEMPLES OF FIRE _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ D. C. MALLERY 93 An American on vacation in Iran can only watch helplessly as her fellow tourists die——one by one HOSPITAL BIRTH _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ CHRISTINE J. WHITLOCK 106 The maternity ward on the fifth floor of a decaying hospital houses an unnatural infestation BEHIND THE WALL _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ TYLOR JAMES 107 From behind the wall, a steady drip calls to a young boy and his sister, urging them to investigate PRECIOUS CARGO _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ KEVIN P. KEATING 114 Two boys, while searching for money and adventure, find only mystery aboard the Lady Cordelia A DROP OF BLOOD _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ D. L. HENDERSON 117 The curator of an awful little museum collects geodes that, when cracked open, drip blood REPRINT: AUGUST HEAT _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ W. F. HARVEY 123 An artist is suddenly inspired to draw a picture of a condemned murderer, whom he then meets CONTRIBUTORS _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 126 ii Cicadae By THOMAS FREDRIC JONES T WAS JUST PAST NOON ON SATURDAY, this, he’d looked around guiltily to see if anyone was and for more than an hour Michael had been observing him. I watching impatiently as the old man shuffled to- He’s probably worried about that hellish Mrs. ward him from the farthest row of carousel ponies. Not Aldrich returning, Michael said to himself bitterly. He once had the man looked in his direction on the needn’t worry——she won’t be leaving the compart- platform, and Michael couldn’t help feeling that the ment for a while yet. old coot was ignoring him on purpose. Particularly Somehow, in a limited way, Michael could now maddening was the fact that the eighty- or ninety-year- intuit Mrs. Aldrich’s thoughts. Somehow he knew that old geezer kept halting to examine every animal that she was in the nearby engine compartment (perhaps happened to strike his fancy.
Recommended publications
  • Extraterrestrial Places in the Cthulhu Mythos
    Extraterrestrial places in the Cthulhu Mythos 1.1 Abbith A planet that revolves around seven stars beyond Xoth. It is inhabited by metallic brains, wise with the ultimate se- crets of the universe. According to Friedrich von Junzt’s Unaussprechlichen Kulten, Nyarlathotep dwells or is im- prisoned on this world (though other legends differ in this regard). 1.2 Aldebaran Aldebaran is the star of the Great Old One Hastur. 1.3 Algol Double star mentioned by H.P. Lovecraft as sidereal The double star Algol. This infrared imagery comes from the place of a demonic shining entity made of light.[1] The CHARA array. same star is also described in other Mythos stories as a planetary system host (See Ymar). The following fictional celestial bodies figure promi- nently in the Cthulhu Mythos stories of H. P. Lovecraft and other writers. Many of these astronomical bodies 1.4 Arcturus have parallels in the real universe, but are often renamed in the mythos and given fictitious characteristics. In ad- Arcturus is the star from which came Zhar and his “twin” dition to the celestial places created by Lovecraft, the Lloigor. Also Nyogtha is related to this star. mythos draws from a number of other sources, includ- ing the works of August Derleth, Ramsey Campbell, Lin Carter, Brian Lumley, and Clark Ashton Smith. 2 B Overview: 2.1 Bel-Yarnak • Name. The name of the celestial body appears first. See Yarnak. • Description. A brief description follows. • References. Lastly, the stories in which the celes- 3 C tial body makes a significant appearance or other- wise receives important mention appear below the description.
    [Show full text]
  • Cthulhu Monsters a Field Observer's Handbook of Preternatural Entities
    --- S. PETERSEN'S FIELD GUIDE TO Cthulhu Monsters A Field Observer's Handbook Of Preternatural Entities Paintings and Descriptions From the Cthulhu Mythos As Created by H.P. Lovecraft, With Augmentations for Today Sandy Petersen Tom Sullivan Lynn Willis with Peter Dannseys E.C. Fallworth L.N. Isinwyll Ivan Mustoll Chaosium Inc. Publication 5105 The 27 Most Frequently Encountered Monsters Howard Phillips Lovecraft 1890 - 1937 t PETERSEN'S Field Guide To Cthulhu :Monsters A Field Observer's Handbook Of Preternatural Entities Sandy Petersen conception and text TOIn Sullivan 27 original paintings, most other drawings Lynn ~illis project, additional text, editorial, layout, production Chaosiurn Inc. 1988 The FIELD GUIDe is p «blished by Chaosium IIIC . • PETERSEN'S FIELD GUIDE TO CfHUU/U MONSTERS is copyrighl e1988 try Chaosium IIIC.; all rights reserved. _ Similarities between characters in lhe FIELD GUIDE and persons living or dead are strictly coincidental . • Brian Lumley first created the ChJhoniwu . • H.P. Lovecraft's works are copyright e 1963, 1964, 1965 by August Derleth and are quoted for purposes of ilIustraJion_ • IflCide ntal monster silhouelles are by Lisa A. Free or Tom SU/livQII, and are copyright try them. Ron Leming drew the illustraJion of H.P. Lovecraft QIId tlu! sketclu!s on p. 25. _ Except in this p«blicaJion and relaJed advertising, artwork. origillalto the FIELD GUIDE remains the property of the artist; all rights reserved . • Tire reproductwn of material within this book. for the purposes of personal. or corporaJe profit, try photographic, electronic, or other methods of retrieval, is prohibited . • Address questions WId commel11s cOlICerning this book.
    [Show full text]
  • Errata for H. P. Lovecraft: the Fiction
    Errata for H. P. Lovecraft: The Fiction The layout of the stories – specifically, the fact that the first line is printed in all capitals – has some drawbacks. In most cases, it doesn’t matter, but in “A Reminiscence of Dr. Samuel Johnson”, there is no way of telling that “Privilege” and “Reminiscence” are spelled with capitals. THE BEAST IN THE CAVE A REMINISCENCE OF DR. SAMUEL JOHNSON 2.39-3.1: advanced, and the animal] advanced, 28.10: THE PRIVILEGE OF REMINISCENCE, the animal HOWEVER] THE PRIVILEGE OF 5.12: wondered if the unnatural quality] REMINISCENCE, HOWEVER wondered if this unnatural quality 28.12: occurrences of History and the] occurrences of History, and the THE ALCHEMIST 28.20: whose famous personages I was] whose 6.5: Comtes de C——“), and] Comtes de C— famous Personages I was —”), and 28.22: of August 1690 (or] of August, 1690 (or 6.14: stronghold for he proud] stronghold for 28.32: appear in print.”), and] appear in the proud Print.”), and 6.24: stones of he walls,] stones of the walls, 28.34: Juvenal, intituled “London,” by] 7.1: died at birth,] died at my birth, Juvenal, intitul’d “London,” by 7.1-2: servitor, and old and trusted] servitor, an 29.29: Poems, Mr. Johnson said:] Poems, Mr. old and trusted Johnson said: 7.33: which he had said had for] which he said 30.24: speaking for Davy when others] had for speaking for Davy when others 8.28: the Comte, the pronounced in] the 30.25-26: no Doubt but that he] no Doubt that Comte, he pronounced in he 8.29: haunted the House of] haunted the house 30.35-36: to the Greater
    [Show full text]
  • H. P. Lovecraft-A Bibliography.Pdf
    X-'r Art Hi H. P. LOVECRAFT; A BIBLIOGRAPHY compiled by Joseph Payne/ Brennan Yale University Library BIBLIO PRESS 1104 Vermont Avenue, N. W. Washington 5, D. C. Revised edition, copyright 1952 Joseph Payne Brennan Original from Digitized by GOO UNIVERSITY OF CALIFORNIA L&11 vie 2. THE SHUNNED HOUSE. Athol, Mass., 1928. bds., labels, uncut. o. p. August Derleth: "Not a published book. Six or seven copies hand bound by R. H. Barlow in 1936 and sent to friends." Some stapled in paper covers. A certain number of uncut, unbound but folded sheets available. Following is an extract from the copyright notice pasted to the unbound sheets: "Though the sheets of this story were printed and marked for copyright in 1928, the story was neither bound nor cir- culated at that time. A few copies were bound, put under copyright, and circulated by R. H. Barlow in 1936, but the first wide publication of the story was in the magazine, WEIRD TALES, in the following year. The story was orig- inally set up and printed by the late W. Paul Cook, pub- lisher of THE RECLUSE." FURTHER CRITICISM OF POETRY. Press of Geo. G. Fetter Co., Louisville, 1952. 13 p. o. p. THE CATS OF ULTHAR. Dragonfly Press, Cassia, Florida, 1935. 10 p. o. p. Christmas, 1935. Forty copies printed. LOOKING BACKWARD. C. W. Smith, Haverhill, Mass., 1935. 36 p. o. p. THE SHADOW OVER INNSMOUTH. Visionary Press, Everett, Pa., 1936. 158 p. o. p. Illustrations by Frank Utpatel. The only work of the author's which was published in book form during his lifetime.
    [Show full text]
  • Do You Believe in the Lord and Saviour Cthulhu?
    Do you believe in the Lord and Saviour Cthulhu? The application of Lovecraft and his Cthulhu Mythos in Western Esotericism Nadine Eekhout s1526804 M.A. Davidsen 2018-2019 MA Theology and Religious Studies thesis 09-07-2019 1 Table of Contents 1. Introduction ........................................................................................................................... 3 1.1 H.P Lovecraft: Writer or Prophet? .................................................................................... 3 1.2 Introduction to Cthulhu Mythos ...................................................................................... 5 1.3 Introduction Fiction-based Religions ............................................................................... 7 1.4 Lovecraftian Magick: From Fiction to Magick ................................................................ 10 2. Method ................................................................................................................................ 12 3. Analyzing the Man, the Mythos and the Magick ............................................................... 15 3.1 Adaptations of Lovecraftian magick into an existing religious frame….……….……………..15 3.1.1 The Church of Satan: Cthulhu versus Satan .......................................................... 15 3.1.2 Temple of Set ....................................................................................................... 16 3.1.3 Grant’s Typhonian Order .....................................................................................
    [Show full text]
  • Hidden Leaves from the Necronomicon XIX Their Hidden
    Hidden Leaves From The Necronomicon XIX Their Hidden Place I have seen much unmeant for mortal eyes in my wanderings beneath that dark and forgotten city. It is not the splendours of Irem that haunt my dreams with this madness, but another place, a place shrouded in utter silence; long unknown to man and shunned even by ghoul and nightgaunt. A stillness likened to millions of vanished years pressed with great heaviness upon my soul as I trod those labyrinths in terror, ever fearing that my footfalls might awaken the dread architects of this nameless region where the hand of time is bound and the wind does not whisper. Great was my fear of this place, but greater was the strange sleep-like fascination that gripped my mind and guided my feet ever downwards through realms unknown. My lamp cast it's radiance upon basalt walls, revealing mighty pillars hewn surely by no human hand, where curiously stained obelisks engraved with frightful images and cryptic characters reared above me into the darkness. A passage sloped before me, I descended. For what seemed to be an eternity I descended rapt in contemplation of the grim icons that stretched endlessly on either hand, depicting the strange deeds of Those Great Ones born not of mortal womb. They had dwelt here and passed on, yet the walls of the edifice bore Their mark: vast likenesses of those terrible beings of yore carved beneath a firmament of unguessed asterisms. Endlessly the way led downwards, ever downwards. The passage oftime had fled from my mind, Hypnos and eternity held my soul.
    [Show full text]
  • A Structuralist Approach to Understanding the Fiction of HP Lovecraft
    University of Rhode Island DigitalCommons@URI Open Access Dissertations 1992 Out of the Shadows: A Structuralist Approach to Understanding the Fiction of H. P. Lovecraft James A. Anderson University of Rhode Island Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Anderson, James A., "Out of the Shadows: A Structuralist Approach to Understanding the Fiction of H. P. Lovecraft" (1992). Open Access Dissertations. Paper 696. https://digitalcommons.uri.edu/oa_diss/696 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. OUT OF THE SHADOWS: A STRUCTURALIST APPROACH TO UNDERSTANDING THE FICTION OF H.P. LOVECRAFT BY JAMES A. ANDERSON A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 1992 Abstract Although Howard Phillips Lovecraft (1890-1937) is generally regarded as one of the world's finest writers of horror and science fiction, his work has received little critical attention by mainstream critics. This study takes Lovecraft out of the shadows of literature by shedding light upon his work through a structural analysis of fifteen of his stories. This analysis shows that Lovecraft's fiction, while it may appear fantastic, expresses early twentieth century naturalism in a cosmic context. Part One subjects four of Lovecraft's best known stories to a detailed structural analysis using the theories of Roland Barthes and Gerard Genette to isolate Lovecraft's major themes and narrative techniques.
    [Show full text]
  • August Derleth Young Writers' Anthology
    August Derleth Young Writers’ Anthology 2013 Fifth & Sixth Grade Who was August Derleth? August Derleth was Wisconsin’s most prolific writer, producing over 150 books in his lifetime. He wrote poetry, short stories, journals, historical and romantic novels, mysteries and books for children. He was also an editor, publisher, and the owner of Arkham House, a publishing house devoted exclusively to the publication of ghost stories, fantasy, science fiction and the macabre. August Derleth was a man of simple needs. He was very generous in sharing his talents and interests with students and aspiring writers. Derleth was a born naturalist and a realistic critic. His complex nature made him the subject of controversy, but those who knew him well defend his nonconformity. They point out his fondness for another nonconformist, Henry Thoreau, and would liken them, forgetting that Thoreau was a much more reclusive man. August Derleth loved his small town, Sauk Prairie, and the people who lived there. He loved his people, not in spite of their human qualities, but because of them. Many of his writings tell about life in Sauk Prairie and he saw and experienced it. This may well be the measure of his writing stature. ANNE HORJUS ILLUSTRATOR The multitalented, Dutch artist Anne Horjus was raised in a small village near the Wadden Sea in the Northern part of the Netherlands known as Friesland. From kindergarten on he (yes, Anne, pronounced Ann-uh, is an old fashioned Friesian boys name) had to bike to school. Everyday he traveled through farm fields and other tiny villages, passing many Friesian farms and countless migrating birds using the coastline as their route.
    [Show full text]
  • Eldritch Horror Components Except for the Components Itself, Charred Skin and Still-Hot Embers Flaking from the Limb
    THE CHARRED MAN EXPANSION OVERVIEW Calvin Wright huddled in a corner of the empty barn. His tattered In the Masks of Nyarlathotep expansion, investigators must clothes were covered in dirt and bloodstains and reeked of death. It embark on an epic, world-spanning campaign to hinder the had been weeks since he had been able to change them. The ringing devious plots of multiple cults. Should they fail, Nyarlathotep, in his ears was growing louder. It is coming, Calvin thought to the Messenger of the Outer Gods, will succeed at opening the himself. Sure enough, tenebrous tendrils of inky-black smoke snaked Great Gate and bringing doom upon the Earth. This expansion their way toward him from cracks in the walls. includes two new Ancient Ones and new investigators, Calvin stared ahead, unblinking, unflinching, as the tendrils Monsters, and encounters. lashed violently past him, slicing his cheek, blood oozing from the This expansion also features new mechanics, including Personal fresh wound. He dug his fingernails into his forearm and clenched Stories, Unique Assets, Focus, and Resources. In addition, it his teeth as the dark shapes coalesced gradually into the vaguely introduces a new way to play: campaign mode. humanoid shape of a creature he had come to know all too well. Appearing to be burnt from head to toe, the creature’s skin was pitch black and gave off a faint orange glow, as if it burned from within. “What do you want, demon?” Calvin growled. USING THIS EXPANSION The entity responded with a voice that sounded to Calvin like the snapping of bones.
    [Show full text]
  • Regeln Für Mystische-Ruinen- Brandblasen Werfen
    DER VERBRANNTE ÜBERBLICK Calvin Wright kauerte in der Ecke einer leeren Scheune. Seine zerlumpte Die Erweiterung Masken des Nyarlathotep schickt die Ermittler auf Kleidung war mit Blut und Schmutz verkrustet und stank nach Verwesung; eine epische, weltumspannende Kampagne, bei der es darum geht, er hatte sie seit Wochen nicht gewechselt. Das Pfeifen in seinen Ohren die teuflischen Pläne mehrerer Kulte zu durchkreuzen. Sollten sie wurde zusehends lauter. ‚Er ist im Anmarsch‘, dachte Calvin bei sich. Bald scheitern, wird Nyarlathotep, der Bote der Äußeren Götter, das Große schon krochen schattenhafte Tentakel aus tintenschwarzem Rauch durch die Tor öffnen und damit das Schicksal der Erde besiegeln. Mit dabei sind Risse in den Wänden und schlängelten auf ihn zu. zwei neue Große Alte sowie zahlreiche neue Ermittler, Monster und Ohne zu blinzeln, ohne auch nur mit der Wimper zu zucken, starrte Begegnungen. Calvin geradeaus, während die Fangarme an ihm vorbeischossen und seine Außerdem bietet die Erweiterung brandneue Spielmechaniken in Wange aufschlitzten. Blut quoll aus der frischen Wunde. Er krallte sich Form von persönlichen Geschichten, besonderen Unterstützungen, mit den Fingernägeln in seine Unterarme und biss die Zähne zusammen, Fokusmarkern und Ressourcen. Darüber hinaus gibt es eine völlig während die dunklen Formen allmählich zu einer menschenähnlichen neue Spielvariante: den Kampagnenmodus. Gestalt verschmolzen, die ihm nur allzu gut bekannt war. Sie schien von Kopf bis Fuß verbrannt zu sein, hatte kohlrabenschwarze Haut und verströmte ein fahles rötliches Leuchten, als würde sie von innen heraus glühen. ERWENDUNG DER RWEITERUNG „Was willst du, Dämon?“, fauchte Calvin. V E Das Wesen antwortete mit einer Stimme, die Calvin an das Knacken von Um mit der Erweiterung Masken des Nyarlathotep zu spielen, Knochen erinnerte.
    [Show full text]
  • The Numinous in Gothic and Post-Gothic Ghost Experience
    University of Connecticut OpenCommons@UConn Honors Scholar Theses Honors Scholar Program Spring 5-6-2012 Evolution of Effect: The uminouN s in Gothic and Post-Gothic Ghost Experience Literature Ryan P. Kennedy University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/srhonors_theses Part of the English Language and Literature Commons Recommended Citation Kennedy, Ryan P., "Evolution of Effect: The uminousN in Gothic and Post-Gothic Ghost Experience Literature" (2012). Honors Scholar Theses. 252. https://opencommons.uconn.edu/srhonors_theses/252 Kennedy 1 Evolution of Effect: The Numinous in Gothic and Post-Gothic Ghost Experience Literature by Ryan P. Kennedy A Thesis submitted to the Honors Department, University of Connecticut In Partial Fulfillment of the Requirements for The Honors B.A. Degree in English Storrs, Connecticut April 2012 Kennedy 2 The earliest instances of Gothic fiction can best be described as the guilty pleasures of a self-congratulatory period of Enlightenment. The empiricism of thinkers like John Locke had come to dominant acceptance, and the belief was that the reproducible evidence of the senses was the only thing that could be upheld as truth. In this sort of atmosphere, seemingly spectral appearances were written off; the belief was that, if a spirit would not kindly consent to the demands of scientific rigor, then there was no reason to entertain their existence. E.J. Clery, author of several books on the rise of the Gothic school and the development of supernatural fiction offers an explanation for the change in perspective in regards to ghostly subject matter: “It is as though the urban relocation of the supernatural has effected a change in the very nature of superstition.
    [Show full text]
  • Justin Woodman Dept
    Dr. Justin Woodman Dept. of Professional & Community Education (Social Anthropology) Goldsmiths College University of London New Cross London SE14 6NW Tel: 020 8908 0272 E-mail: [email protected] Alien Selves: Modernity and the Social Diagnostics of the Demonic in “Lovecraftian Magick”. (First published in the Journal for the Academic Study of Magic, 2004) Justin Woodman Introduction This article examines the significance of the category of the ‘demonic’ as applied within the theory and practice of ‘Lovecraftian’ magick1: a ‘style’ of magical practice inspired by the fictional universe of the ‘Cthulhu mythos’ created by the author H. P. Lovecraft, and popularised within certain sectors of the contemporary Euro-American magical subculture. For these contemporary ‘Lovecraftian’ magicians, the demonic is mobilised as a potent ‘apocalyptic’ weapon in contesting the alienating consequences of modernity, and forms an ambivalent moral category distinct from Christianised conceptions of supernatural evil. An equivalent moral ambivalence has also been noted in a number of recent anthropological accounts of postcolonial African modernities2 - modernities partly characterised by an emerging (and global) tendency ‘to interpret modern processes of change in terms of ‘witchcraft’’ 3. These accounts recognise that the idiom of the demonic - both in African contexts and more widely - encompasses a simultaneous fascination with and desire to be ‘modern’, and a deep anxiety about where society is heading. The demonic, in this 0 understanding, is not a
    [Show full text]