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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 -
Cthulhu Through the Ages Is Copyright © 2014 by Chaosium Inc
AUTHORS Mike Mason, Pedro Ziviani, John French, and Chad Bowser EDITING Mike Mason and Dustin Wright CARTOGRAPHY Stephanie McAlea INVESTIGATOR SHEETS Dean Engelhardt LAYOUT Nicholas Nacario COVER ILLUSTRATION Paul Carrick INTERIOR ILLUSTRATIONS Steven Gilberts, Sam Lamont, Florian Stitz, Paul Carrick, Goomi, Raymond Bayless, Nicholas Nacario. Some images were taken from Wikicommons and are in the public domain. THANKS TO Alan Bligh, John French, Matt Anderson, Penda Tomlin- son, and Dustin Wright. A special thanks to all of our 7th edition kickstarter backers who helped make this book possible. This supplement is best used with the roleplaying game CALL OF CTHULHU, available separately. Find more Chaosium Inc. products at www.chaosium.com Howard Phillips Lovecraft 1890 - 1937 Cthulhu Through the Ages is copyright © 2014 by Chaosium Inc. All rights reserved. The names of public personalities may be referred to, but any resemblance of a scenario character to persons liv- ing or dead is strictly coincidental. Except in this publication and associated advertising, all illustrations for CTHULHU THROUGH THE AGES remain the property of the artists, who otherwise reserve all rights. This adventure pack is best used with the roleplaying game CALL OF CTHULHU, available separately. Find more Chaosium Inc. products at www.chaosium.com Item # 23146 ISBN10: 1568824386 ISBN13: 978-1568824383 Printed in USA Contents Introduction ������������������������������������������������������������������������ 5 Cthulhu Invictus ������������������������������������������������������������������ -
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. -
A Tour Around the Dreamlands
A Tour Around the Dreamlands The Dreamlands were created by H.P. Lovecraft. Lovecraft was obviously enthralled with the writings of Lord Dansany, but he also held a fascination for dreams. Numerous stories and ideas for stories were recorded by Lovecraft in his published work, personal notes, and correspondence. Lovecraft had an amazing ability to weave his core mythos ideas throughout most of his stories. Besides his staple of horror stories, he also wrote many stories about the Dreamlands. These stories, now collectively known as “the Dream Cycle”, include the following stories as the core source material for this tour around the Dreamlands. • Polaris • The White Ship • The Doom that Came to Sarnath • The Cats of Ulthar • Celephais • Ex Oblivione • The Quest of Iranon • The Other Gods • What the Moon Brings • The Dream Quest of Unknown Kadath • The Silver Key • The Strange High House in the Mist • Through the Gates of the Silver Key The story that most defines the Dreamlands is Lovecraft’s novella The Dream Quest of Unknown Kadath. Strangely enough, Lovecraft never published the story and thought it was a bit too much for most readers to swallow; however, it is the Dream Quest that provides so many rich details about the Dreamlands. This Gazetteer corresponds to the amazing map of the Dreamlands created by comic artist Jason B. Thompson. Thompson has worked in Manga and comics. As of this writing, he does artwork for Wizards of the Coast. He also draws maps and dungeons that are superbly drawn. The map he created of the Dreamlands can be ordered in a 24” x 36” poster that is a great gaming aid to use for your adventures. -
Ah! Sweet Idiocy!
AH! SWEET IDIOCY! THE FAN MEMOIRS of Francis T. Laney . Published by Francis T. Laney and Charles Burbee for FAPA at Los Angeles, Anno Domini 1948, This book‘is hand-set in Underwood Pica and printed on special sulphite base paper with little or no rag content. Like the fine books of the 18th and early 19th centuries, it is published unbound, so that gentlemen may have it embellished to match their libraries. **********************^************************************************** CONTENTS: Chapter I The Golden Dawn 1 II A Fan Is Born 7 III The Acolyte Gang 13 IV The Odyssey of the Weird Willys 22 V Utopia in Shangri-La 33 VI Thunder Over Paradise 54 VII On the Outside Looking In VIII On the Inside Looking Out 85 IX Ebb-Tide 100 X Indian Summer 114 XI Death of a Fan 125 PREAMBLE When an individual announces that he is through with fandom, that he is quitting the field; and then implements his withdrawal by pro ducing what is probably the largest one man project in fandom’s en tire history, it is evident that he owes someone an explanation of such contradictory conduct. My motivation for writing these memoirs was a decidedly mixed one. Very probably the strongest single incen tive was to try to explain to myself the inexplicable, to resolve if possible in my own mind the reasons which caused me to get so deeply involved in the amazing happenings which this book chronicles. Once the scales had completely fallen from my eyes and I saw fandom with pitiless objective clarity, I looked back upon Laney the fan with much the same sense of disbelief that a civilized man would feel upon being thrust suddenly face to face with a Yahoo. -
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) -
A Functional Lexematic Analysis of a Horror Short Story
C. I. F., XXIII-XXIV (1997-1998) 99-114 A FUNCTIONAL LEXEMATIC ANALYSIS OF A HORROR SHORT STORY María José Feu Guijarro Universidad de Castilla-La Mancha RESUMEN: El propósito de este artículo es estudiar la aplicación del Modelo Lexe- mático Funcional al análisis del cuento de terrror. Se entiende que “el cuento de terror” es un espacio semántico en sí mismo regido por unas estructuras de categorización típi- cas y, por lo tanto, construido sobre los esquemas conceptuales prototípicos de su géne- ro. En este estudio analizamos en profundidad un cuento de terror de la literatura norteamericana, “Polaris” de H. P. Lovecraft, según el método de Martín Mingorance. La aplicación del MLF nos desvelará los marcos o esquemas conceptuales sobre los cua- les está construida esta historia ABSTRACT: The purpose of this article is to apply Martín Mingorance’s Functional- Lexematic Approach into the analysis of horror-fiction. Horror-fiction is a closed semantic world in itself which displays its own structure of categorization. In this study we analyse in depth a horror-fiction short story by H.P. Lovecraft, “Polaris”, according to Martín Mingorance’s proposal. At the end of the article the complete network of the predicate conceptual schemata of the story is discussed. The general purpose of this study is to propose L. Martín Mingorance’s functional-lexematic model as a method of linguistic description for horror-fiction narrative. In this research we will explain why horror-fiction narrative, as a particular semantic world in itself, is an excellent candidate for the alluded type of linguistic analysis, and how the functional-lexematic model is capable of giving a complete account not only of the pragmatic, semantic and syntactic facts of horror-fiction narratives, but also of the cognitive conceptual schemas of knowledge that build up this type of narrative. -
Natural and Urban Landscapes in HP Lovecraft's Fiction
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 12-2020 Providence Lost: Natural and Urban Landscapes in H. P. Lovecraft's Fiction Dylan Henderson University of Arkansas, Fayetteville Follow this and additional works at: https://scholarworks.uark.edu/etd Part of the American Literature Commons, Comparative Literature Commons, and the Modern Literature Commons Citation Henderson, D. (2020). Providence Lost: Natural and Urban Landscapes in H. P. Lovecraft's Fiction. Theses and Dissertations Retrieved from https://scholarworks.uark.edu/etd/3832 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected]. Providence Lost: Natural and Urban Landscapes in H. P. Lovecraft’s Fiction A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English by Dylan Henderson Oklahoma State University Bachelor of Arts in History, 2007 University of Oklahoma Master of Library and Information Studies, 2010 University of Tulsa Bachelor of Arts in English, 2011 December 2020 University of Arkansas This thesis is approved for recommendation to the Graduate Council. ____________________________________ Sean Dempsey, PhD. Thesis Director ____________________________________ ____________________________________ Lisa Ann Hinrichsen, PhD. Dorothy Stephens, PhD. Committee Member Committee Member Abstract S. T. Joshi, the preeminent scholar of weird fiction, considers H. P. Lovecraft a “topographical realist,” noting that, in his later fiction, Lovecraft creates realistic and painstakingly detailed settings. In “Providence Lost: Natural and Urban Landscapes in H. P. Lovecraft’s fiction,” I explore the significance of Lovecraft’s topographical realism and trace its evolution through Lovecraft’s career. -
Assignment of Copyright from Weird Tales Magazine to August Derleth
, I; ; 'I . ~ .. ~ , " ," ~ •.J I I, ASSIGl& ENT OF GOPYRIGHT r I FOR VALUE RECEIVED, WE, \?EIRD TALES LlAGAZINE PU-rlLISrlED BY S!DRT I I STO RIES, I NC ., or 1.4 . ~e st 49th S'tr-eet , Nor: York 20 , Ne':'l' York, Her-eby assign I I i 1 to August Derleth and 1?'>nald ilandr ei, both of Sauk C~ty , \'ii sco nsin, t h1.s ninth ! day of October, 1947, all our interest (vli.th the exception of magazine &erla.l ,I right s according to previous agreement) as regis tered copyright propri.etors in l r and to the copyrights of the ,follom.ng s tories~ all by Ho..:ard Phi1lips Love- i craft: I DAGON 10/25 9/ 25/ 25 B,XXc- 567392 I ! THE PIGTURE IN TIlE EDU5E 1/24 12/15/25 B,XXe-605167 i r THE HOU1'D 2/24 1/15/ 24 B,XZc-007Z40 THE RATS I N TIlE WALLS 5/24 2/15/24 B,xxe-S09499 I 1 ' THE WHITE APE 4/25 5/15/24 n.xxe-eians 1 r HYPNOS 5,6, 7/24 5/22/24 B, XXe-620017 ! THE FESTIVAL 1/ 25 12/1/24 B,XXe-6 5020l I THE STATU,IENT OF RANDOLPH GARTER 2/25 , 1/1/25 B,xxc- 658584 : I THE MUSIC OF EllICH ZAl'.'N 5/25 4/1/ 25 B,xxc-666644 i THE UNNAllABLE " 7/25 ' 6/1/25 B,nc- 668996 i I THE TEMPLE 9/ 25 8/1/25 B,XXc-668998 1 I i T'dE T01.lB 1/ 26 12/1/25 B,XXC!696158 i I THE GATS OF ULmAR 2/26 1/1/26 B,XXe-7C0191 i II" T'dE OUTSIDER 4/ 26 5/1/26 B,)'J[c-7C0195 ~ TIlE UOON- BOG 6/26 ' 5/1/26 B,XXe-700l94 ,, ; TilE TERRIBLE OLD 1.l1lN 6/26 7/1/26 B,xxc-745166 !, ~ HE I, 9/ 26 6/1/26 B,XXc-745167 i ..'1 r, T'rlE WHITE SHIP 5/27 2/1/27 BJxxc-760506 " "~ THE HORROR AT RED .HOOK 1/ 27 12/ 1/26 B,lXe-760504 ~ :: PIGKl.: AN 'S J!ODlI. -
Open Cthulhu Hpled
Open Cthulhu HPLed SRD Release 1.0a Credits The Open Cthulhu HPLed System Reference Document (SRD) v1.0a draws heavily upon two OGL rulesets for d100 roleplaying: the Delta Green RPG System (sometimes called the “Misery Engine”) and the Legend System by Mongoose Publishing. It uses only the open game content parts of those systems. For details of the Cthulhu Mythos it draws upon OGL material from the Eldritch Tales OSR game and the Cthuloid Bestiary for OSR Games. This edition only references Mythos entities created by H.P. Lovecraft and generic horrors – no references to creations by other authors are included, explicitly or by allusion. Our purpose in creating the Open Cthulhu HPLed SRD is to provide a fully‐OGL ruleset for Lovecraftian gaming in common eras and settings. The rules provided here can be used as‐is to power gritty and deadly games of investigative and cosmic horror. Or, if you are a game designer, you can use these rules as a platform on which to build your own games. Remix this content however you wish! Project Coordinator: Christian T. Rosen ([email protected]) Contributing Writers (new content): David Konrad, Lena Hardaev, Michel Masó, Paul Franzese, Chris Rosen, Michelle Bernay‐Rogers, and Francis Lim. The Open Cthulhu HPLed SRD is copyright © 2019, under the Open Gaming License v1.0a Product Identity: This file contains NO items considered to be Product Identity under the OGL. Everything in the file is Open Content and is thus usable in other games, providing the attached OGL license remains intact. Contents Introduction ............................................................................................................................................ 1 Structure of this Book ........................................................................................................................ -
UNIVERZITA PALACKÉHO V OLOMOUCI Ladislav Masopust A
UNIVERZITA PALACKÉHO V OLOMOUCI Pedagogická fakulta Katedra anglického jazyka Ladislav Masopust IV. ročník – prezenční studium Obor: Učitelství anglického a českého jazyka pro 2. st. ZŠ A Fictitious Universe of the Cthulhu Mythos Diplomová práce Vedoucí diplomové práce: Alexandra Hubáčková, M.A., Ph.D. PhDr. Světlana Obenausová, MLitt, Ph.D. Olomouc 2010 Prohlašuji, že jsem svou diplomovou práci zpracoval samostatně za použití zdrojů uvedených v seznamu literatury. V Olomouci, 15. 3. 2010 Ladislav Masopust Acknowledgements I wish to express my appreciation to Alexandra Hubáčková, M.A., Ph.D. and PhDr. Světlana Obenausová, MLitt, Ph.D. for their supervision on the development of my diploma project. Content Introduction ........................................................................................... 5 1 Lovecraft: A Biography ................................................................... 7 1.1 Childhood ........................................................................................ 7 1.2 Lovecraft, a Nightmarer ............................................................... 10 1.3 First Writing................................................................................... 12 1.4 Whipple Phillips’s Death .............................................................. 14 1.5 Adult Age ....................................................................................... 17 1.6 Amateurdom.................................................................................. 18 1.7 Mother’s Death ............................................................................. -
Lovecraft and the Futility of Divination
Volume 36 | Number 2 | Issue 132, Spring/Summer Article 21 4-15-2018 Letting Sleeping Abnormalities Lie: Lovecraft nda the Futility of Divination [Article] Carol S. Matthews Dutchess Community College Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Matthews, Carol S. (2018) "Letting Sleeping Abnormalities Lie: Lovecraft nda the Futility of Divination [Article]," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 36 : No. 2 , Article 21. Available at: https://dc.swosu.edu/mythlore/vol36/iss2/21 This Special Section is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. Letting Sleeping Abnormalities Lie: Lovecraft nda the Futility of Divination [Article] Abstract By way of divinatory dreams, astrology, geomancy, or other means, the Lovecraft quester discovers that universe is more deeply frightening than anything he could possibly have imagined. Lovecraft’s lack of faith in divination practices, not because of their inefficacy, but rather due to his conviction that humans lack the essential capacity to understand their lowly place in the universe, is ironically not shared by many of his admirers and followers, who have created magical and divination systems galore since Lovecraft’s demise.