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2019-05-06 Catalog P
Pulp-related books and periodicals available from Mike Chomko for May and June 2019 Dianne and I had a wonderful time in Chicago, attending the Windy City Pulp & Paper Convention in April. It’s a fine show that you should try to attend. Upcoming conventions include Robert E. Howard Days in Cross Plains, Texas on June 7 – 8, and the Edgar Rice Burroughs Chain of Friendship, planned for the weekend of June 13 – 15. It will take place in Oakbrook, Illinois. Unfortunately, it doesn’t look like there will be a spring edition of Ray Walsh’s Classicon. Currently, William Patrick Maynard and I are writing about the programming that will be featured at PulpFest 2019. We’ll be posting about the panels and presentations through June 10. On June 17, we’ll write about this year’s author signings, something new we’re planning for the convention. Check things out at www.pulpfest.com. Laurie Powers biography of LOVE STORY MAGAZINE editor Daisy Bacon is currently scheduled for release around the end of 2019. I will be carrying this book. It’s entitled QUEEN OF THE PULPS. Please reserve your copy today. Recently, I was contacted about carrying the Armchair Fiction line of books. I’ve contacted the publisher and will certainly be able to stock their books. Founded in 2011, they are dedicated to the restoration of classic genre fiction. Their forté is early science fiction, but they also publish mystery, horror, and westerns. They have a strong line of lost race novels. Their books are illustrated with art from the pulps and such. -
Queer Geometry and Higher Dimensions: Mathematics in the Fiction of H.P. Lovecraft
Queer Geometry and Higher Dimensions: Mathematics in the fiction of H.P. Lovecraft Daniel M. Look St. Lawrence University Introduction My cynicism and skepticism are increasing, and from an entirely new cause – the Einstein theory. The latest eclipse observations seem to place this system among the facts which cannot be dismissed, and assumedly it removes the last hold which reality or the universe can have on the independent mind. All is chance, accident, and ephemeral illusion - a fly may be greater than Arcturus, and Durfee Hill may surpass Mount Everest - assuming them to be removed from the present planet and differently environed in the continuum of space-time. All the cosmos is a jest, and fit to be treated only as a jest, and one thing is as true as another. 1 Howard Philips Lovecraft lived in a time of great scientific and mathematical advancement. The late 1800s to the early 1900s saw the discovery of x-rays, the identification of the electron, work on the structure of the atom, breakthroughs in the mathematical exploration of higher dimensions and alternate geometries, and, of course, Einstein's work on relativity. From his work on relativity, Einstein postulated that rays of light could be bent by celestial objects with a large enough gravitational pull. In 1919 and 1922 measurements were made during two eclipses that added support to this notion. This left Lovecraft unsettled, as seen in the above quote from a 1923 letter to James F. Morton. Lovecraft's distress is that it seems we can no longer trust our primary means of understanding the world around us. -
Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
Language and Monstrosity in the Literary Fantastic
‘Impossible Tales’: Language and Monstrosity in the Literary Fantastic Irene Bulla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Irene Bulla All rights reserved ABSTRACT ‘Impossible Tales’: Language and Monstrosity in the Literary Fantastic Irene Bulla This dissertation analyzes the ways in which monstrosity is articulated in fantastic literature, a genre or mode that is inherently devoted to the challenge of representing the unrepresentable. Through the readings of a number of nineteenth-century texts and the analysis of the fiction of two twentieth-century writers (H. P. Lovecraft and Tommaso Landolfi), I show how the intersection of the monstrous theme with the fantastic literary mode forces us to consider how a third term, that of language, intervenes in many guises in the negotiation of the relationship between humanity and monstrosity. I argue that fantastic texts engage with monstrosity as a linguistic problem, using it to explore the limits of discourse and constructing through it a specific language for the indescribable. The monster is framed as a bizarre, uninterpretable sign, whose disruptive presence in the text hints towards a critique of overconfident rational constructions of ‘reality’ and the self. The dissertation is divided into three main sections. The first reconstructs the critical debate surrounding fantastic literature – a decades-long effort of definition modeling the same tension staged by the literary fantastic; the second offers a focused reading of three short stories from the second half of the nineteenth century (“What Was It?,” 1859, by Fitz-James O’Brien, the second version of “Le Horla,” 1887, by Guy de Maupassant, and “The Damned Thing,” 1893, by Ambrose Bierce) in light of the organizing principle of apophasis; the last section investigates the notion of monstrous language in the fiction of H. -
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. -
Ye Bc 3Ke of 2358
YE BC 3KE OF 2358 < The Aniolowsk’i Collection. VOLUME II All About Monstres This volume contains dozens of new races and individual creatures for use with the Call of Cthulhu roleplaying game. Included here are the following categories: Outer Gods, Elder Gods, Great Old Ones, Great Ones, Avatars, Servitor Races, Independent Races, Fabulous Creatures, and Unique Entities. These monstrous creations have been collected from over ten years of favorite Call of Cthulhu scenarios; others have been created specifically for this book. The darkly imagi- native work of a diverse group of authors is represented here. Where possible each entry begins with a quote describing the monster or entity. Where much about the creature is known, there may be an additional description. If discussing a god, Great One, or Great Old One, notice of any human cult comes next. Further notes discuss habit, habitat, or attack. An essential aid for players, investigators, and keepers. “I saw the form waver from sex to sex, dividing itself from itself, and then again reunited. Then I saw the body descend to the beastsSample whence file it ascended, and that which was on the heights go down to the depths, even to the abyss of all being... I The principle of life, which makes organism, always Scott David Aniolowski remained, while the outward form changed. ” (after his apprehensio: by -Arthur Machen, “The Great God Pan” minions of the Mythos) CALL OF CTHULHU is a roleplaying game Chaosium publishes many supplements based on the novels and short stories of H.P. and accessories for CALL OF CTHULHU. -
This Paper Examines the Role of Media Technologies in the Horror
Monstrous and Haunted Media: H. P. Lovecraft and Early Twentieth-Century Communications Technology James Kneale his paper examines the role of media technologies in the horror fic- tion of the American author H. P. Lovecraft (1890-1937). Historical geographies of media must cover more than questions of the distri- Tbution and diffusion of media objects, or histories of media representations of space and place. Media forms are both durable and portable, extending and mediating social relations in time and space, and as such they allow us to explore histories of time-space experience. After exploring recent work on the closely intertwined histories of science and the occult in late nine- teenth-century America and Europe, the discussion moves on to consider the particular case of those contemporaneous media technologies which became “haunted” almost as soon as they were invented. In many ways these hauntings echo earlier responses to the printed word, something which has been overlooked by historians of recent media. Developing these ideas I then suggest that media can be monstrous because monstrosity is centrally bound up with representation. Horrific and fantastic fictions lend themselves to explorations of these ideas because their narratives revolve around attempts to witness impossible things and to prove their existence, tasks which involve not only the human senses but those technologies de- signed to extend and improve them: the media. The remainder of the paper is comprised of close readings of several of Lovecraft’s stories which sug- gest that mediation allowed Lovecraft to reveal monstrosity but also to hold it at a distance, to hide and to distort it. -
Terror Handouts
TERROR HANDOUTS This supplement is best used with the Call of Cthulhu (7th Edition) roleplaying game, and optionally the Pulp Cthulhu sourcebook, both available separately. Terror Australis © copyright 2018–2020 Chaosium Inc. All rights reserved. Call of Cthulhu © copyright 1981–2020 Chaosium Inc. Pulp Cthulhu © copyright 2016–2020 Chaosium Inc. All rights reserved. Chaosium Arcane Symbol (the Star Elder Sign) © copyright 1983 Chaosium Inc. All rights reserved. Call of Cthulhu, Chaosium Inc., and the Chaosium logo are registered trademarks of Chaosium Inc. Pulp Cthulhu is a trademark of Chaosium Inc. All rights reserved. Ithaqua © copyright 2020 the Estate of August Derleth. Used with permission. Atlach-Nacha and Tsathoggua © copyright 2020 the Estate of Clark Ashton Smith. Used with permission. Chaosium recognizes that credits and copyrights for the Cthulhu Mythos can be difficult to identify, and that some elements of the Mythos may be in the public domain. If you have corrections or additions to any credits given here, please contact us at [email protected]. This is a work of fiction. This book includes descriptions and portrayals of real places, real events, and real people; these may not be presented accurately and with conformity to the real-world nature of these places, people, and events, and are reinterpreted through the lens of the Cthulhu Mythos and the Call of Cthulhu game in general. No offense to anyone living or dead, or to the inhabitants of any of these places, is intended. This material is protected under the copyright laws of the United States of America. Reproduction of this work by any means without written permission of Chaosium Inc., except for the use of short excerpts for the purpose of reviews and the copying of character sheets and handouts for in-game use, is expressly prohibited. -
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. -
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 -
Herbert West — Reanimator
DARK ADVENTURE RADIO THEATRE: HERBERT WEST — REANIMATOR Written by Sean Branney and Andrew Leman Based on "Herbert West — Reanimator" by H. P. Lovecraft Read-along Script June 18, 2013 ©2013 by HPLHS Inc. All Rights Reserved. NOTICE: This script is provided as a convenience only to DART listeners to follow along with the recorded show. It is not licensed for professional or amateur performance of any kind. Inquiries regarding performance rights should be sent to [email protected] 1 INTRO 1 SFX: static, radio tuning, snippet of ‘30s song, more tuning, static dissolves to: Dark Adventure Radio THEME MUSIC. ANNOUNCER Tales of intrigue, adventure, and the mysterious occult that will stir your imagination and make your very blood run cold. MUSIC CRESCENDO. ANNOUNCER (CONT’D) This is Dark Adventure Radio Theatre, with your host Erskine Blackwell. Today’s episode: H.P. Lovecraft’s “Herbert West -- Reanimator!” THEME MUSIC DIMINISHES. The sound of MOANING, BUBBLING CHEMICALS, and FUNEREAL MUSIC underneath. ERSKINE BLACKWELL A brilliant medical student dreams of bringing life to the dying, and to the dead. How far will he go to achieve his dream? Will his genius unlock the secrets of life and death, or will boundless ambition twist his noble purpose into something monstrous? A few piano notes from the FORHAN’S TOOTHPASTE JINGLE. ERSKINE BLACKWELL (CONT’D) You know, folks, nothing says success quite like a bright radiant smile. And for truly gleaming teeth, there’s no better toothpaste than Forhan’s, now with new Radiol! It’s the very latest thing: a safe extract of radium, scientifically developed in the finest medical laboratories of Europe. -
Eddy, Lovecraft, and 'The Loved Dead'
Digital Scholarship in the Humanities Advance Access published July 29, 2015 Stylometry and Collaborative Authorship: Eddy, Lovecraft, and ‘The Loved Dead’ ............................................................................................................................................................ Alexander A. G. Gladwin, Matthew J. Lavin and Daniel M. Look St. Lawrence University, Canton, NY, USA ....................................................................................................................................... Abstract The authorship of the 1924 short story ‘The Loved Dead’ has been contested by family members of Clifford Martin Eddy, Jr. and Sunand Tryambak Joshi, a leading scholar on Howard Phillips Lovecraft. The authors of this article use stylometric methods to provide evidence for a claim about the authorship of the story and to analyze the nature of Eddy’s collaboration with Lovecraft. Correspondence: Alexander Further, we extend Rybicki, Hoover, and Kestemont’s (Collaborative authorship: A. G. Gladwin, 753 Franklin Conrad, Ford, and rolling delta. Literary and Linguistic Computing, 2014; 29, 422– Ave. Columbus, OH 43205 31) analysis of stylometry as it relates to collaborations in order to reveal the United States. necessary considerations for employing a stylometric approach to authorial E-mail: [email protected] collaboration. ................................................................................................................................................................................