The Annotated “The Lurking Fear”
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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. -
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. -
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 -
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. -
S. Petersen's Field Guide to Lovecraftian
7th Edition Horror Roleplaying in the Worlds of H. P. Lovecraft Petersen’s Field Guide to Lovecraftian Horrors SampleBy Sandy Petersen file Revised by Mike Mason Chaosium Inc. 1 Concept and text : Sandy Petersen Original project development and editorial : Lynn Willis Revised edition editorial and development : Mike Mason Professor Westbury Illinois Carter Foreword: Mike Mason Licensing: Michael O’Brien, James Lowder, and Mike Mason With Special thanks to Nick Nacario and Christian Grussi Howard Phillips Lovecraft Illustrations : Loïc Muzy, Mariusz Gandzel & Claire Delépée 1890–1937 S Petersen Guide to Lovecraftian Horrors © copyright 2015, 2020 Chaosium Inc. All rights reserved. Call of Cthulhu © copyright 1981–2020 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. Nyogtha © copyright 2020 the Estate of Henry Kuttner. Used with permission. Some Henry Kuttner elements may be in the public domain. Chthonian and Yibb-Tstll © copyright 2020 Brian Lumley. Used with permission. Abhoth, 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. -
AH Archive Catalog NEW 2:27:2021
ARKHAM HOUSE: AN IMPORTANT ARCHIVE FROM THE FILES OF AUGUST DERLETH L.W. Currey, Inc. John W. Knott, Jr., Bookseller I. A Brief History of Arkham House II. The Importance of Arkham House III. The Importance of August Derleth as Editor and Publisher IV. Description and Calendar of the Arkham House Archive I. A BRIEF HISTORY OF ARKHAM HOUSE In 1939 a promising Midwestern mainstream novelist and a popular Midwestern writer of pulp fiction co- founded a small press to publish a hardbound book to preserve the writing and perpetuate the memory of their dearly departed friend and mentor, Howard Phillips Lovecraft. Arkham House was officially in business when August Derleth and Donald Wandrei signed the George Banta Publishing Company's "Proposal for Printing" THE OUTSIDER AND OTHERS by H. P. Lovecraft dated 25 August 1939. 1268 copies of this "landmark in the history of weird fiction and American publishing" (Joshi) were printed and most were sold for $5.00 each (then a high list price for a book of fiction). THE OUTSIDER AND OTHERS was the first of three projected volumes of Lovecraft's works Arkham House planned to publish. Derleth and Wandrei (with the considerable assistance of Robert H. Barlow) compiled a second omnibus volume, BEYOND THE WALL OF SLEEP, published in 1943, which was followed by MARGINALIA a lesser so-called "stop-gap" volume published in 1944 to satisfy readers until Lovecraft's letters could be located, transcribed and edited (the envisioned single volume of letters was ultimately expanded to five). In the beginning neither Derleth nor Wandrei intended to publish books by any writer except Lovecraft, but at the suggestion of William C. -
Magic, Politics and the Comics Medium in Alan Moore and Jacen Burrow’S Providence
‘An altered view regarding the relationship between dreams and reality’: Magic, politics and the comics medium in Alan Moore and Jacen Burrow’s Providence Matthew J. A. Green, University of Nottingham Abstract Alan Moore reports that through researching Providence he ‘became more fully acquainted with academic literary criticism’ and the extensive evidence of research throughout the series supports this claim. In this article, I argue that Providence uses the comics form to assert the value of humanities research, and of the arts more broadly, and to educate its audience in reading and research practices (some of which are more providential than others). My focus is on the relationships between imagination and the historical realities of readers; while the latter are not detailed at length, the discussion does map onto the real world of Brexit, the aftermath of the 2016 US Presidential election and austerity politics because Moore’s underlying premise is that it is possible to trace the origins of our contemporary moment through the societal anxieties encoded in Lovecraft’s fiction. The analysis combines key concepts from adaptation studies with the theoretical model of the comics system proposed by Thierry Groensteen; moreover, it both draws upon and extends Brian McHale’s work on metafiction to suggest ways of extending Groensteen’s model in order to better understand the way in which Providence uses the comics medium to put into practice his hopes concerning the world-altering potential of art and scholarship. Keywords Alan Moore H. P. Lovecraft adaptation studies and comics studies literature and politics literature and history postmodernism 1 of 32 In the times that we are moving through at present, with our leaders shameless and entirely unapologetic in their greed and callousness, with our environment teetering on the brink of finding out whether there’s Life on Venus, with unanticipated new monstrosities arising from our complex global situation, surely it’s time we realised that the culture imposed upon us from above is toxic to us. -
Original Copy the Tomb (1917) Dagon (1917)
Original Copy Pirated Copy The Tomb (1917) The Tomb (1917) Dagon (1917) Dagon (1917) Polaris (1918) Polaris (1918) Beyond the Wall of Sleep (1919) Beyond the Wall of Sleep (1919) Memory (1919) Memory (1919) Old Bugs (1919) Old Bugs (1919) The Transition of Juan Romero (1919) The Transition of Juan Romero (1919) The White Ship (1919) The White Ship (1919) The Doom That Came to Sarnath (1919) The Doom That Came to Sarnath (1919) The Statement of Randolph Carter (1919) The Statement of Randolph Carter (1919) The Terrible Old Man (1920) The Terrible Old Man (1920) The Tree (1920) The Tree (1920) The Cats of Ulthar (1920) The Cats of Ulthar (1920) The Temple (1920) The Temple (1920) Facts Concerning the Late Arthur Jermyn and Facts Concerning the Late Arthur Jermyn and His Family (1920) His Family (1920) The Street (1920) The Street (1920) Celephaïs (1920) Celephaïs (1920) From Beyond (1920) From Beyond (1920) Nyarlathotep (1920) Nyarlathotep (1920) The Picture in the House (1920) The Picture in the House (1920) Ex Oblivione (1921) Ex Oblivione (1921) The Nameless City (1921) The Nameless City (1921) The Quest of Iranon (1921) The Quest of Iranon (1921) The Moon-Bog (1921) The Moon-Bog (1921) Original Copy Pirated Copy The Outsider (1921) The Outsider (1921) The Other Gods (1921) The Other Gods (1921) The Music of Erich Zann (1921) The Music of Erich Zann (1921) Herbert West — Reanimator (1922) Herbert West — Reanimator (1922) Hypnos (1922) Hypnos (1922) What the Moon Brings (1922) What the Moon Brings (1922) Azathoth (1922) Azathoth (1922) -
HP Lovecraft & the French Connection
University of South Carolina Scholar Commons Theses and Dissertations 2015 H.P. Lovecraft & Ther F ench Connection: Translation, Pulps and Literary History Todd David Spaulding University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Comparative Literature Commons Recommended Citation Spaulding, T. D.(2015). H.P. Lovecraft & eTh French Connection: Translation, Pulps and Literary History. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3152 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. H. P. Lovecraft & The French Connection: Translation, Pulps and Literary History by Todd David Spaulding Bachelor of Arts State University of New York at Geneseo, 2006 Master of Arts University of South Carolina, 2010 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in Comparative Literature College of Arts and Sciences University of South Carolina 2015 Accepted by: Jeanne Garane, Major Professor Alexander Beecroft, Committee Member Michael Hill, Committee Member Meili Steele, Committee Member S. T. Joshi, Committee Member Lacy Ford, Vice Provost and Dean of Graduate Studies ©Copyright by Todd David Spaulding, 2015. All Rights Reserved. ii Dedication To my best friend, my wife and everything in between, Nathacha. iii Acknowledgements I would like to thank Dr. Jeanne Garane whose guidance, suggestions and editing has helped me beyond belief. Thank you for your patience and willingness to help me pursue my interests. I would like to personally thank the following French experts on H. -
Dark Adventure Radio Theatre: Mad Science
DARK ADVENTURE RADIO THEATRE: MAD SCIENCE Written by Sean Branney and Andrew Leman Based on "Beyond the Wall of Sleep" and "From Beyond" by H.P. Lovecraft "The Electric Executioner" by H.P. Lovecraft and Adolphe de Castro and "Winged Death" by H.P. Lovecraft and Hazel Heald Read-along Script August 9, 2019 ©2019 by HPLHS Inc. All Rights Reserved. NOTICE: This script is provided as a convenience only to DART listeners to follow long 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] INTRODUCTION 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, today featuring a special anthology episode: Mad Science. THEME MUSIC DIMINISHES AND EPISODE MUSIC BEGINS. LESTER MAYHEW Science. Mankind’s effort to bring a small light of understanding and meaning to the swirling darkness that surrounds us. But mankind’s ambitious steps into the unknown sometimes probe the unknowable. Or that which we should not know. The pursuit of knowledge can come at a terrible cost and lead to hideous results. Join us for four tales by an author who well understood the wonder and the terror of science, and the frailty of the human mind. Tonight we bring you H.P. Lovecraft’s “Beyond the Wall of Sleep”, “The Electric Executioner”, “Winged Death”, and “From Beyond”. -
Ebook Download at the Mountains of Madness and Other Stories Ebook
AT THE MOUNTAINS OF MADNESS AND OTHER STORIES PDF, EPUB, EBOOK H. P. Lovecraft | 192 pages | 13 Sep 1991 | Random House USA Inc | 9780345329455 | English | New York, United States At the Mountains of Madness and Other Stories PDF Book Beyond the Wall of Sleep 2. Rating details. The Penguin English Library - collectable general readers' editions of the best fiction in English, from the eighteenth century to the end of the Second World War. We have over episodes available now and new episodes every two weeks. Ia percaya ada suatu kekuatan lain yang hidup di antara manusia dan kelompok ini sangat rahasia sehingga mampu membunuh orang-orang yang mengetahuinya. View 1 comment. Eight of them understood navigation with compass and sextant, as did Pabodie, Atwood, and I. DeviantArt is the world's largest online social community for artists and art enthusiasts, allowing people to connect through the creation and sharing of art. Improve this answer. Add to Wishlist. Although Lovecraft's readership was limited during his life, his reputation has grown over the decades. As I pointed out in my comment on M. Meski demikian, bukan berarti ceritanya jelek. Thus, it is possible that the similarities you have noticed between The Thing and Mountains of Madness were not inserted by Carpenter, but by Campbell. Buku2nya menjadi acuan pedoman bagi para pencinta novel horor maupun novel fiksi ilmiah. Enabling JavaScript in your browser will allow you to experience all the features of our site. Refresh and try again. I never heart of Amazing Tales. Wireless reports have spoken of the breath-taking four-hour nonstop flight of our squadron on November 21 over the lofty shelf ice, with vast peaks rising on the west, and the unfathomed silences echoing to the sound of our engines. -
H. P. Lovecraft and His Science Fiction-Horror Fernando Darío González Grueso Tamkang University
ISSN: 2519-1268 Issue 6 (Smmer 2018), pp. 41-65 DOI: 10.6667/interface.6.2018.60 H. P. Lovecraft and his Science Fiction-Horror fernando darío gonzález grueso Tamkang University Abstract H. P. Lovecraft is best known and most studied because of his Cosmic Horror, and his develop- ments on the element of horror in Weird Literature; in fact, his pioneering Supernatural Horror in Literature, published in 1927, is commonly accepted as one of the most important essays at this respect. However, one of the priorities of this article is to prove that some of his works belong to the genre named Science Fiction. His approach to sciences since his early childhood, and his “repulsion” against to any nonscientific materialistic beliefs drove him to create Science Fiction, not exclusively horror stories. In fact, H. P. Lovecraft is the most important, and one of the earli- est introducers of horror into Science Fiction. For that reason, and after an introduction stating how his aesthetic and rhetoric views, as well as several issues concerning his political and social ideas of the America where he was born, interfered with his popularity and the recognition of his work until almost the last quarter of the 20th century, this study shall show relevant poetic elements, as well as themes and motifs –extracted from Science Fiction. History. Science, Vision, written by Scholes, R., & Rabkin, E. S. (1977), one of the pillars in Science Fiction studies–, scien- tific theories and hypothesis employed, and facts found in Lovecraft’s work. The analysis will focus on the manner in which such components can be observed specifically in seventeen of his writings, although they also arise in some other works that belong to Weird literature and Space Opera.