Pickin’ Up Truth Vibrations, Part 1: In the Light of (Turquoise) Experience

There is today an active Gnostic sect. Few people can be said to be consciously enthusiastic members, but it is nonetheless a sect. It teaches a worldview which has evolved somewhat over the sect’s existence, but was from the beginning rooted in Gnosticism and has become increasingly reminiscent of Gnosticism with the passage of time, and in recent years has openly switched to some specifically Gnostic terminology to explain its ideas.

Its adherents wouldn’t necessarily think of it as a religious movement, and many of them actively follow other spiritual traditions in parallel to it – but if they have taken the teachings of this sect seriously, then that will inevitably affect their relationship with those other traditions and how they view them. Different levels of involvement exist, ranging from people who just read a few books or watch a few DVDs to more enthusiastic members who discuss the leader’s teachings enthusiastically on his website forums, or who attend massive, day-long lectures which the sect’s leader holds in major venues like Wembley Arena in order to endlessly restate, reiterate, and reinforce his essential points.

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Dissecting Lovecraft Part 7: Innsmouth, Heald, and Hitler

This article was originally published on Ferretbrain. I’ve backdated it to its original Ferretbrain publication date but it may have been edited and amended since its original appearance.

We’ve previously seen how Lovecraft’s work reached its peak of ambition with At the Mountains of Madness, only for Lovecraft to become disheartened at his failure to sell it. Still, Lovecraft couldn’t stop writing if he wanted to eat, so the next phase of his writing saw him trying to rekindle his enthusiasm for his solo sories whilst doing plenty of revision work to try and scrape out a living.

The Trap is a revision Lovecraft did for Henry Whitehead. This is seen as a “secondary” revision and in truth there does not seem to be much Lovecraft in it to my eyes, though it’s an interest enough story about a mirror that traps a boarding school student who must be rescued by his teacher. The close of the story, in which the student turns up back in the teacher’s room and they need to come up with some sort of convoluted ruse to avoid any dodgy questions arising from the boy just turning up in the teacher’s room in the middle of the night, makes for slightly uncomfortable reading in a “How did this guy who was a teacher in his day job put so much thought into smuggling boys into and out of his room?” sort of way, and to be honest there doesn’t seem to be an enormous amount to it that’s especially Lovecraftian beyond one mild touch in which, as a result of being caught in the mirror, the kid ends up with his organs mirrored so his heart is on the right-hand side and so on, which borrows an entertainingly discomforting idea from The Mound.

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Dissecting Lovecraft Part 5: Home Again, Home Again, Cthulhu Fhtagn

This article was originally published on Ferretbrain. I’ve backdated it to its original Ferretbrain publication date but it may have been edited and amended since its original appearance.

In March 1926, a little over 2 years since he hopped off to New York to get married, Lovecraft accepted an invitation from his aunt Lillian to come back to Providence and live there again, returning in April. This brought a de facto end to his marriage, even if it took some time to actually legally dissolve (and indeed, even after the legal procedures had been carried out Lovecraft was tardy about signing the final decrees, meaning that Sonia’s subsequent marriage was inadvertently bigamous). Lillian’s invitation came in part from the urging of Frank Belknap Long and his family, who had observed Lovecraft’s increasingly miserable state and were afraid of what would happen if he stayed in the city. (Long’s reports on this are inconsistent on whether it was him or his mother who wrote to Lillian imploring her to take Lovecraft back – Joshi points out that it is quite possible that they both worked on the letter in question.)

We’ve previously seen how prior to moving to New York Lovecraft had developed his craft to a high level of accomplishment, only for his New York-era stories to reflect either a glum lack of inspiration at best or bigoted axe-grinding at worst. Back in his habitual stamping ground, however, Lovecraft would begin a productive period of his writing. We get an early look at where his thinking is at in The Materialist Today. In this essay, Lovecraft expresses the view that people, whoever they are, are better off practicing the cultures of their forefathers. In this ethnoseparatist worldview, cultural diversity is fine in theory but in practice can be maintained only by careful segregation; cultural mingling and experimentation leads to disaster.

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Dissecting Lovecraft Part 3: You Never Forget Your First Dunsany

This article was originally published on Ferretbrain. I’ve backdated it to its original Ferretbrain publication date but it may have been edited and amended since its original appearance.

As we’ve previously explored, Lovecraft ended his nine year hiatus from prose fiction with The Tomb. Even as Lovecraft finished that story, he was becoming further entangled in amateur affairs. The current editor of the United Amateur, Andrew Lockhart, had been sent to Federal prison – Lovecraft, a supporter of Lockhart’s vigorous temperance campaigning, claimed that Lockhart had been stitched up by liquor and vice barons – leaving the post vacant. Lovecraft stepped in to ensure that the UAPA’s official organ would make it out, and took the opportunity to and round out its pages with a slew of his own contributions (not missing an opportunity to razz the National Amateur Press Association, which was undergoing an even more acute decline in membership and output than the UAPA).

Despite this unexpected increase in his UAPA workload, Lovecraft persisted in flexing storytelling muscles that had long laid dormant. Over the next few years, as I’ll be outlining here, Lovecraft crafted a plethora of work which for the most part tended to be fairly minor entries in his portfolio when taken individually, but provided important groundwork for Lovecraft both in terms of improving his craft and in pioneering ideas he would later express much more successfully in the major stories of his later career.

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Dissecting Lovecraft Part 2: The Vogon Poetry Phase

This article was originally published on Ferretbrain. I’ve backdated it to its original Ferretbrain publication date but it may have been edited and amended since its original appearance.

Now that we’ve covered Lovecraft’s juvenile works, we can take in his early adult career. Lovecraft’s transition into adulthood was, to put it mildly, a bit of a bumpy one, and it pretty much shut down his fiction output for nearly a decade. During that time, he made his big effort to craft himself into a poet, took up his science writing again, and broke into the hobby world of amateur publishing, all of which I am going to try and take in with this article. I’m also going to include a bit more biographical notes than I intend to include in other portions of this article series, firstly because I think these details are significant to the writing of The Tomb, his return to fiction, and secondly because I think there is a significant enough autobiographical dimension to The Tomb that knowing these details aids greatly in its interpretation. Lastly, I will look at The Tomb itself, to see how Lovecraft’s approach to fiction had developed as a result of life experience and a substantial number of years spent away from such stories.

At the end of Lovecraft’s last year of formal education he suffered a serious breakdown (which may have been purely psychological, or may have been connected to a serious head injury he somehow suffered whilst exploring an abandoned house), and in the future he would feel acutely embarrassed by his failure to obtain a high school graduation certificate or to attend university. One of the few writings Lovecraft issued to the outside world during his 1908-1913 period of seclusion was a letter to the Providence Sunday Journal in late 1909, in which he recounts how on a night-time walkabout on Christmas Eve he stumbled across a group of people who had mistaken Venus for lights from an airship, and was able to point out their mistake.

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Glumscribe: His Thoughts and Words

This article was originally published on Ferretbrain. I’ve backdated it to its original Ferretbrain publication date but it may have been edited and amended since its original appearance.

It’s been a big year or two for Thomas Ligotti and his acolytes. Once upon a time Ligotti was so infamous for his reclusive nature that some believed that he didn’t exist, and that his fiction was written by some other post-Lovecraftian author or committee of authors in a really, really bad mood. Now his existence is increasingly accepted, and his heartfelt objections to that very existence enjoy an increasingly high profile.

Whilst True Detective author Nic Pizzolatto mostly drew on Robert Chambers and his followers when it came to the cosmic horror references in the series to the King In Yellow and Carcosa, these tended to be rather shallow nods; you could have happily replaced them with callouts to any other entity from the Call of Cthulhu core rulebook without materially changing the action or meaning of True Detective. The same is not true of his liftings from Thomas Ligotti; if you removed Ligotti’s hardline anticosmic antinatalism from Rust Cohle, you end up with a radically different character and a radically different character arc over the course of the series. As Ligotti succinctly puts it:

A: There is no grand scheme of things.

B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity.

C: The very notion of a grand scheme of things is a nightmarish obscenity.

From these building blocks, Ligotti has constructed all his fiction, but his unshaking belief in these precepts means that he does not confine this stance to the pages of his stories. In recent years a trickle of nonfictional material has come out of the Ligotti camp, material which makes it simultaneously clear that Ligotti is both deadly serious, and at the same time quite personable to actually talk to.

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