Metallica - The Call of Ktulu (The Call of Cthulhu) Metallica - The Thing That Should Not Be. "The Dunwich Horror" H.P. Lovecraft ∷ Full Unabridged Cinematic Audio Book Horror Drama. At the mountains of madness. At the Mountains of Madness - Short Animation Movie. Patricia MacCormack - Deleuze and the Demonological Text. Patricia MacCormack - The Ethics of Inhuman Art. The Age of Lovecraft — University of Minnesota Press. Howard Phillips Lovecraft, the American author of “weird tales” who died in 1937 impoverished and relatively unknown, has become a twenty-first-century star, cropping up in places both anticipated and unexpected.
Authors, filmmakers, and shapers of popular culture like Stephen King, Neil Gaiman, and Guillermo del Toro acknowledge his influence; his fiction is key to the work of posthuman philosophers and cultural critics such as Graham Harman and Eugene Thacker; and Lovecraft’s creations have achieved unprecedented cultural ubiquity, even showing up on the animated program South Park. The Age of Lovecraft is the first sustained analysis of Lovecraft in relation to twenty-first-century critical theory and culture, delving into troubling aspects of his thought and writings. With contributions from scholars including Gothic expert David Punter, historian W. Lovecraft through Deleuzio-Guattarian Gates | POSTMODERN CULTURE. In A Thousand Plateaus Gilles Deleuze and Félix Guattari invoke H.P. Lovecraft five times. While Lovecraft is mentioned together with such literary figures as Moritz, Woolf and particularly Melville, his work has less in common with those authors than with the abstract demonology of Deleuze and Guattari’s “Becoming-Intense” (sec. 10).
Deleuze and Guattari claim that Lovecraft “attempted to pronounce sorcery’s final word” (TP 251; sec. 10), although Lovecraft has received little attention in comparison with other writers loosely grouped into the usually maligned genres of fantasy, science fiction and gothic horror. In this essay I pull out the evocations in Deleuze and Guattari’s five references to the story Lovecraft wrote with E. In Deleuze and Guattari’s work, becomings pass through stages which can generally be described as devolutionary, and which Deleuze and Guattari call “neoevolutionary.” Lovecraft’s is a task of writing the un-writable. Cthulhu does not hunt. The Mysterious Love of Sonia Greene for H.P. Lovecraft. I have always been curious about Sonia Greene, the woman who married H.P.
Lovecraft. She supported Lovecraft financially for several years, and famously described him as "an adequately excellent lover" who never told her that he loved her. A few years earlier, she had dated Alistair Crowley so she must have had a taste for morose men obsessed with the supernatural. Even more surprising for the Lovecraft fan is that Greene was a Jewish immigrant, a category of person whom Lovecraft often blamed for the downfall of his beloved "chalk-white" civilization. Unlike many women of her era, Greene was independently middle-class. More on Greene after the jump . . . The couple had married in 1924, after a strange two-year courtship in which Lovecraft confessed to Greene that she was the only woman who had ever kissed him in his adult life.
What the hell did Greene see in this guy? In the last year or so of their marriage, Greene lived on the road, traveling for her job. Poems: "To Florence" Stories: It’s OK to admit that H.P. Lovecraft was racist. The World Fantasy Awards, presented at the World Fantasy Convention every fall, have been around for almost 40 years. The trophy for such categories as Novel, Short Fiction and Anthology is a caricatured bust of H.P. Lovecraft, author of such classics of weird fiction as “At the Mountains of Madness” and “The Call of Cthulhu.” Lovecraft is a beloved figure in pop culture, and an influence on everyone from the Argentinian metafictionist Jorge Luis Borges to the film director Guillermo del Toro, as well as untold numbers of rock bands and game designers.
But not everyone who wins a “Howard” likes the idea of keeping Lovecraft’s face around the house. Nnedi Okorafor, who won the WFA for best novel in 2011 (“Who Fears Death”), wrote a blog post about her discomfort with the trophy after a friend showed her a racist poem that Lovecraft wrote in 1912. Perhaps the most egregious response to the WFA petition has come from the prominent scholar and Lovecraft biographer S.T. A New History of the Horror Story: From Homer to Lovecraft. The below essay, by attorney and writer Leslie S. Klinger, is taken from the introduction to In the Shadow of Edgar Allan Poe: Classic Tales of Horror, 1816–1914, a new anthology devoted to recovering those horror writers who are obscured by the looming shadow of Edgar Allan Poe.
In his introduction, Klinger locates the origin of the “tale of terror” not in Poe — as is often claimed — but in Homer. Next, Klinger threads his history of horror through its “flowering” in the late 18th century, in effect providing a sensible context for what would become the modern horror story. In Klinger’s narrative, Poe’s work, as well of that of his disciples, is made all the more fascinating because it is placed in a new context — a new history of horror.
From In the Shadow of Edgar Allan Poe: Edgar Allan Poe did not invent the tale of terror. However, the true “flowering” of stories of horror (picture the emergence of creeping, pustulant vines rather than flowers) began in the late 18th century. The H.P. Lovecraft Archive. "Supernatural Horror in Literature. I. Introduction The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown. These facts few psychologists will dispute, and their admitted truth must establish for all time the genuineness and dignity of the weirdly horrible tale as a literary form. Against it are discharged all the shafts of a materialistic sophistication which clings to frequently felt emotions and external events, and of a naively insipid idealism which deprecates the aesthetic motive and calls for a didactic literature to uplift the reader toward a suitable degree of smirking optimism.
But in spite of all this opposition the weird tale has survived, developed, and attained remarkable heights of perfection; founded as it is on a profound and elementary principle whose appeal, if not always universal, must necessarily be poignant and permanent to minds of the requisite sensitiveness. II. The Dawn of the Horror-Tale III. Mrs. Of Mrs. IV. V. VI. VII. VIII. "Notes on Writing Weird Fiction.