Showing posts with label historical notes. Show all posts
Showing posts with label historical notes. Show all posts

Tuesday, June 26, 2007

Anne Rice - the Creator of the Vampire Chronicles

Anne Rice was born and raised in New Orleans, and uses the city in many of her novels. Her mother died when she was young, and her first child died at the age of five from leukemia in 1972. She has another child with her husband Stan, of 34 years. Her husband Stan was poet and painter and died in 2002. Some of his work can be found in Queen of the Damned. Anne has a Master of Arts in creative writing from San Francisco State University. Interview with the Vampire was her first novel, published in 1976.

In an interview with Larry King after the release of Memnoch the Devil, Rice explained her fascination with vampires. She said that the vampires were a vehicle for her to explore her own views on life, good, evil, and religion. The vampires are a natural metaphor for people because of their affluence, powers, and greed. Lestat, the main vampire in the chronicles, is described as Rice's bad-self, questioning the boundaries of good and evil, and helping her to overcome her anxiety. When she first began the series she compared herself to Louis, a weak and overly sensitive vampire, but as time passed and the series grew she saw some changes in her own feelings and came to relate with the character of Lestat.

Lestat . . . it's hard to describe Lestat. Lestat, in a way, is my whole life, because even when I'm not writing about Lestat, I'm looking at the world through Lestat's eyes, and it's Lestat who has made me a world traveler. Lestat who's transported me out of myself, and my preoccupation with my limitations, both physical and spiritual. Lestat is more than just a created character to me. He is a symbol of some kind of freedom and dominance, and yet I never kid myself about his evil. He represents the ruthless side in us, but he's part of my thoughts night and day. And, part of my conversation night and day, I suppose. Almost everything I see, I ask myself "What would Lestat think of this . . . how would Lestat react to this," so I would say that he is the other half of me, but he is the male ruthless half of me that, thank God, does not exist, except in fiction.

Anne Rice's vampires have created a cult following. The wide variety of web sites and information available about these characters is a good indication of their popularity. People are looking for something to follow, someone to admire, and many have associated these feelings with the vampire Lestat. He offers a way for people to explore deep questions and to live on the edge of life, without actually taking the risk themselves. Lestat experiences many things that mortals have experienced and he continues to live on. It gives us all hope that we will one day reach a place of contented bliss, even though Lestat never reaches it himself. Many people are fascinated with the idea of immortality. Often people say they would like to live forever, but it is also comforting to know that it will never happen. I think this is also a way of exploring our own beliefs about death and the afterlife.

Rice's style is appealing because it is easy to read and very descriptive. The images appear in your mind as you read. The simplicity combined with the sometimes complex emotions creates a book for the masses that is easily adapted into a cult following. Rice offers answers to reader's questions at one of her web sites. These give some insight into her own views on why the books have gained so much popularity.

"Why do you think that your fans are so attracted to the concept of tormented immortality?"
-- Frank Joseph D. from California

Rice answered:

"Well, I think we all want to be immortal. We all want to be immortal, yet we're all relieved that there is the possibility of death...that suffering would not be eternal. We can conceive of the eternal, but we really don't have to put up with it, and it's an idea...an idea planted in our minds with consciousness, and we don't know what to make of it all. We don't know what to make of the fact that we can conceive of being immortal, and yet we're not immortal."

"The thing that I find more often than not, is that there is a part of almost all those characters in us, either at previous stages of our lives, or right now, and that would be to me the explanation as to why so many people, from so many different backgrounds, have taken THE VAMPIRE CHRONICLES, and given these vampires a special place in their hearts."
-- Luke C. from Australia

Rice answered:

"Well, I really treasure your comment. I think that if any literature or any story telling is going to have value, what you say has to be true the characters have to have hearts of human beings in them, they have to have deeply human traits. The author has to be telling everything that he or she knows about human beings, and so there must be levels and levels of truth, and I hope my books live up to that."

"Why does everyone connect so much with Lestat? Why do I catch myself still thinking about him, over a year after I read the books?"
-- Beary L. from Ontario

Rice answered:
"I wish I knew. I know I, myself, identify completely with Lestat. I can say Lestat is my other self, he's my male self. He and I travel together. He does the things I wish I could do, but can't. I love the fact that people identify with him. I worked very hard, and at the same time, it was a great joy to get a very intimate voice in the Lestat books. Lestat really sounds like he's sitting at the table, talking to you, because that's the way I feel about him when I'm writing--that he's right there, telling me the story, leaning over my shoulder, telling me to get it right, pointing out things I should change, breathing down my neck, doing everything but biting me! Which he wouldn't dare!"
source: http://www.wsu.edu/~delahoyd/rice.bio.html

Sunday, June 24, 2007

Bram Stoker and Dracula


Bram Stoker (1847-1912) is best known as the author of Dracula (1897), one of the most famous horror novels of all time.

Abraham Stoker was born in Clontarf, Ireland in 1847. He was a sickly child, bedridden for much of his boyhood. As a student at Trinity College, however, he excelled in athletics as well as academics, and graduated with honors in mathematics in 1870. He worked for ten years in the Irish Civil Service, and during this time contributed drama criticism to the Dublin Mail. His glowing reviews of Henry Irving's performances encouraged the actor to seek him out. The two became friends, and in 1879 Stoker became Irving's manager. He also performed managerial, secretarial, and even directorial duties at London's Lyceum Theatre. Despite an active personal and professional life, he began writing and publishing novels, beginning with The Snake's Pass in 1890. Dracula appeared in 1897. Following Irving's death in 1905, Stoker was associated with the literary staff of the London Telegraph and wrote several more works of fiction, including the horror novels The Lady of the Shroud (1909) and The Lair of the White Worm (1911). He died in 1912.

Although most of Stoker's novels were favorably reviewed when they appeared, they are dated by their stereotyped characters and romanticized Gothic plots, and are rarely read today. Even the earliest reviews frequently decry the stiff characterization and tendency to melodrama that flaw Stoker's writing. Critics have universally praised, however, his beautifully precise place descriptions. Stoker's short stories, while sharing the faults of his novels, have fared better with modern readers. Anthologists frequently include Stoker's stories in collections of horror fiction. "Dracula's Guest," originally intended as a prefatory chapter to Dracula, is one of the best known.

Dracula is generally regarded as the culmination of the Gothic vampire story, preceded earlier in the nineteenth century by Dr. William Polidori's "The Vampyre," Thomas Prest's Varney the Vampyre, J. S. Le Fanu's Carmilla, and Guy de Maupassant's "Le Horla." A large part of the novel's initial success was due, however, not to its Gothicism but to the fact, noted by Daniel Farson, that "to the Victorian reader it must have seemed daringly modern." An early reviewer of Dracula in the Spectator commented that "the up-to-dateness of the book--the phonograph diaries, typewriters, and so on--hardly fits in with the mediaeval methods which ultimately secure the victory for Count Dracula's foes." Stoker utilized the epistolary style of narrative that was characteristic of Samuel Richardson and Tobias Smollett in the eighteenth century, and that Wilkie Collins further refined in the nineteenth. The narrative, comprising journal entries, letters, newspaper clippings, a ship's log, and phonograph recordings, allowed Stoker to contrast his characters' actions with their own explications of their acts.

Some early critics noted the "unnecessary number of hideous incidents" which could "shock and disgust" readers of Dracula. One critic even advised keeping the novel away from children and nervous adults. Initially, Dracula was interpreted as a straightforward horror novel. Dorothy Scarborough indicated the direction of future criticism in 1916 when she wrote that "Bram Stoker furnished us with several interesting specimens of supernatural life always tangled with other uncanny motives." In 1931 Ernest Jones, in his On the Nightmare, drew attention to the theory that these "other uncanny motives" involve repressed sexuality. Critics have since tended to view Dracula from a Freudian psychosexual standpoint; however, the novel has also been interpreted from folkloric, political, feminist, medical, and religious points of view.

Today the name of Dracula is familiar to many people who may be wholly unaware of Stoker's identity, though the popularly held image of the vampire bears little resemblance to the demonic being that Stoker depicted. Adaptations of Dracula in plays and films have taken enormous liberties with Stoker's characterization. A resurgence of interest in traditional folklore has revealed that Stoker himself did not conform to established vampire legend. Yet Dracula has had tremendous impact on readers since its publication. Whether Stoker evoked a universal fear, or as some modern critics would have it, gave form to a universal fantasy, he created a powerful and lasting image that has become a part of popular culture.

Stories and novels appear just now in plenty stamped with a more or less genuine air of belief in the visibility of supernatural agency. The strengthening of a bygone faith in the fantastic and magical view of things in lieu of the purely material is a feature of the hour, a reaction--artificial, perhaps, rather than natural--against late tendencies in thought. Mr. Stoker is the purveyor of so many strange wares that Dracula reads like a determined effort to go, as were, "one better" than others in the same field. How far the author is himself a believer in the phenomena described is not for the reviewer to say. He can but attempt to gauge how far the general faith in witches, warlocks, and vampires--supposing it to exist in any general and appreciable measure--is likely to be stimulated by this story. The vampire idea is very ancient indeed, and there are in nature, no doubt, mysterious powers to account for the vague belief in such beings. Mr. Stoker's way of presenting his matter, and still more the matter itself, are of too direct and uncompromising a kind. They lack the essential note of awful remoteness and at the same time subtle affinity that separates while it links our humanity with unknown beings and possibilities hovering on the confines of the known world. Dracula is highly sensational, but it is wanting in the constructive art as well as in the higher literary sense. It reads at times like a mere series of grotesquely incredible events; but there are better moments that show more power, though even these are never productive of the tremor such subjects evoke under the hand of a master. An immense amount of energy, a certain degree of imaginative faculty, and many ingenious and gruesome details are there. At times Mr. Stoker almost succeeds in creating the sense of possibility in impossibility; at others he merely commands an array of crude statements of incredible actions. The early part goes best, for it promises to unfold the roots of mystery and fear lying deep in human nature; but the want of skill and fancy grows more and more conspicuous. The people who band themselves together to run the vampire to earth have no real individuality or being. The German man of science is particularly poor, and indulges, like a German, in much weak sentiment. Still Mr. Stoker has got together a number of "horrid details," and his object, assuming it to be ghastliness, is fairly well fulfilled. Isolated scenes and touches are probably quite uncanny enough to please those for whom they are designed.

source: bookrags.com

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Friday, June 22, 2007

Lilith - The First Woman of Adam

According to Rabbinical mythology, the Talmudists say that Adam had a wife before Eve, whose name was Lilith. Refusing to submit to Adam, she left Paradise for a region of the air. She still haunts the night as a spectre, and is especially hostile to new-born infants. Some superstitious Jews still put in the chamber occupied by their wife four coins, with labels on which the names of Adam and Eve are inscribed, with the words, “Avaunt thee Lilith!” The fable of Lilith was invented to reconcile Genesis i with Genesis ii. Genesis i represents the simultaneous creation of man and woman out of the earth; but Genesis ii represents that Adam was alone, and Eve was made out of a rib, and was given to Adam as a helpmeet for him.

In Eden Bower D G Rosetti says “It was Lilith, the wife of Adam … / Not a drop of her blood was human, / But she was made like a soft sweet woman.” Goethe introduced her in his Faust . The mage is introduced by Mephistopheles to various apparitions on Walpurgis Night in the Hartz Mountains. Presented with a whirling crowd, Faust asks: “Who's that?”; Mephistopheles replies: “Her features closely scan - ‘Tis the first wife of the first man”. “Who, say you?” asks Faust; and the Spirit answers: “Adam's first wife, Lilith. / Beware - beware of her bright hair, / And the strange dress that glitters there: / Many a young man she beguileth, / Smiles winningly on youthful faces, / But woe to him whom she embraces!”.

In Assyrian demonology, a female demon appears, represented as winged, with dishevelled hair. Such demons were banished from Hebrew religion, and hardly appear in the Old Testament except in poetic imagery. But these ‘hairy ones', nocturnal ‘goblins', are exactly like the Arabian jinn . They haunted waste and desert places in fellowship with jackals. There is a Mohammedan story of Bilkis, Queen of Sheba, who married Solomon. She had hair on her ankles and was thus shown to be a jinniyyah by descent. The Arab writers say that Lilith was an evil spirit, the first wife of Adam, and that her children were the jinns or devils. She is said to have had 784 children, as the letters of her name have this numerical value. Her name is found in the Assyrian inscriptions as Li-lit , ‘the black', an ‘evil spirit'. She was said to have stimulated ‘nocturnal impurities', and to have been more especially dangerous to married women at the birth of their first child, upon which occasion the Arabian nurses still throw stones at the foot of the bed to drive her away.

The night devil of Isaiah xxxiv, 14, she was especially feared in Babylonia where a special class of priests, the Ashipu , were employed to ward off the harmful effects of witchcraft. Her designation was originally applied to certain spirits of the northern Semites; it was only later that it was applied to the person of Lilith of the Talmud, the first wife of Adam. She may be equated with the ghoul of pre-Islamic myth and with Ninlil , the Babylonian goddess. A very common practice, constantly found in the Mesopotamian exorcism tablets is that of the use of magic knots. These were tied by the ashipu for the protection of a pregnant woman. A magic knot could be tied by a sorcerer or witch to invoke spirits and to gain power over an enemy. By loosing of the knot the power of an evil spirit was broken. One of these maqla tablets, directed against witchcraft, ends with the words, “Her knot is loosed, her sorcery is brought to naught, and all her charms fill the desert”, where the desert symbolizes the underworld.

Rabbinic literature is full of the doings of Lilith, who bore Adam devils and spirits. Whoever slept alone in a room was likely to be beset by her. The Rabbis believed, too, that a man might have children by allying himself with a demon, and although they might not be visible to human beings, yet when that man was dying they would hover round his bed, to hail him as their father. At the funeral of a bachelor the Jews of Kurdistan cast sand before the coffin to blind the eyes of the unbegotten children of the deceased. Among the Jews in Palestine, Lilith (or the evil eye in general) is averted from the bed by hanging a charm over it consisting of a special cabalistic paper in Hebrew together with a piece of rue, garlic, and a fragment of looking glass. It is said sometimes that women find their best gowns, which they have carefully put away in their bridal chests, have been worn by female spirits during their confinement, because they did not utter the name of God in locking them up. On the first possible Sabbath all the relations assemble in the woman's room and make a hideous noise to drive away the evil spirits.

We may note that Asmodeus was the counterpart of Lilith, as being dangerous to women. Cognate with the concept of Asmodeus is the curious Arab belief in a female demon accompanying every woman, and having as many children as her counterpart. Just as Lilith took the place of Eve, evidently this spirit is intended, in one of her phases (that of bearing children), to do the same for each man. She is very dangerous to pregnant women and newly married people; that is to say, just as Asmodeus becomes jealous of interference with his rights, so does this female spirit admit of no dallying with other women. She is said to destroy the creative power of men and to make women barren, and to her is due epilepsy as the penalty for pouring water over the threshold of the door without naming God, on a Friday, or to quench the fire. She may appear as an owl, a Jewess, a camel, or a black man. There is a story that Solomon once met a singular looking woman and asked her whether she was jinn or human. She answered that she was the female spirit “ … that puts hatred between husband and wife; I make women miscarry; I make them barren; I make men impotent; I make husbands love other men's wives, women other men's husbands; in short, I do all contrary to the happiness of wedded life”. In The Testament of Solomon, one Obizuth is the name of the female spirit that visits women in childbirth, and if she is lucky she strangles the babe.

According to Rabbinical tradition among the Jews, Lilith has her strange story thus related in Jewish legends. “When the blessed God created the first man, whom he formed alone, without a companion, he said, ‘It is not good that the man should be alone': and therefore he created a woman also out of the ground, and named her Lilith. They immediately began to contend with each other for superiority. The man said: ‘It behoves thee to be obedient; I am to rule over thee'. The woman replied: ‘We are on a perfect equality; for we are both formed out of the same earth'. So neither would submit to the other. Lilith, seeing this, uttered the Shem-hamphorash ”, that is, pronounced the name Jehovah , “and instantly flew away through the air. Adam then addressed himself to God, and said: ‘Lord of the universe! The woman whom thou gavest me, has flown away from me'. God immediately dispatched three angels to bring back the fugitive. He said to them: ‘If she consent to return, well; but if not, you are to leave her, after declaring to her that a hundred of her children shall die every day'. These angels then pursued her, and found her in the midst of the sea, in the mighty waters in which the Egyptians were to be afterwards destroyed. They made known to her the divine message, but she refused to return. They threatened, unless she would return, to drown her in the sea. She then said: ‘Let me go; for I was created for no other purpose than to debilitate and destroy young infants; my power over the males will extend to eight days, and over the females to twenty days, after their birth'.

“On hearing this, the angels were proceeding to seize her and carry her back to Adam by force: but Lilith swore by the name of the living God, that she would refrain from doing any injury to infants, wherever or whenever she should find these angels, or their names, or their pictures, on parchment or paper, or on whatever else they might be written or drawn: and she consented to the punishment denounced against her by God, that a hundred of her children should die every day. Hence it is that every day witnesses the death of a hundred young demons of her progeny. And for this reason we write the names of these angels on slips of paper or parchment, and bind them upon infants, that Lilith, on seeing them, may remember her oath, and may abstain from doing our infants any injury”. Another rabbinical writer says: “I have also heard that when the child laughs in its sleep in the night of the Sabbath or of the new moon, the Lilith laughs and toys with it; and that it is proper for the father, or mother, or any one that sees the infant laugh, to tap it on the lips, and say, ‘Hence, begone, cursed Lilith; for thy abode is not here'. This should be done three times, and each repetition should be accompanied with a pat on the mouth. This is of great benefit, because it is in the power of Lilith to destroy children whenever she pleases”.

Lilith warrants special attention, not only as principal female demon, but because, unlike others mentioned, she was conceived to possess human rather than animal form, and also on account of her prominence in the later Jewish literature. According to Rabbinic teaching Lilith was the night demon par excellence . By a mistaken etymology the name was supposed to be derived from the Hebrew word lailah , (‘night'), a derivation favoured by the similarity of the two words, and also by the fact that Lilith was supposed to be specially active at night-time. Modern scholars prefer to associate it with the Sumerian word for ‘wantonness', and explain her as the demoness who inspires lust. However, it is very probable that she is referred to in Psalm 91 where the psalmist says: “Thou shalt not be afraid for the terror by night”.

In the Rabbinic literature Lilith is usually portrayed with long flowing hair, and as possessing wings. She is the queen of the Lilin , which form one of the great classes of demons. It is enjoined that a man should not go out alone at night because an evil spirit, Agrath bath Mahlath , (to be identified with Lilith), together with eighteen myriads of destroying angels, roams about and is permitted to destroy anyone whom she meets. Though specially dangerous to children, the Lilin also attack men. Thus the injunction that a man be forbidden to sleep alone in a house, lest, ignoring this warning, he be seized by Lilith. Formulas for exorcizing Lilith are given. This Jewish conception of Lilith appears to have much in common with the empousa of the Greeks and with the strix and lamia of the Romans. Whilst the name and leading characteristics were clearly derived from the Babylonian demonology, the conception may also have been influenced by Persian ideas.

Alone among the spirits known through Jewish tradition, Lilith retained her position during the Middle Ages, and indeed strengthened it by virtue of the closer definition of her activities. Originally a wind-spirit, derived from the Assyrian lilitu , with long dishevelled hair, and wings, during Talmudic times the confusion of her name with the word for night transformed her into a night spirit who attacks those who sleep alone. Laylah appears also as the angel of night, and of conception. Out of the assimilation to one another of these two concepts grew the view that prevailed during the Middle Ages. Though Lilith and the popularly derived plurals, the lilin , and the liliot , appeared often in nondescript form, merely as another term for demons, as when we are told that the liliot assemble in certain trees, the lilits proper possessed two outstanding characteristics in medieval folklore which gave them distinct personality: they attacked new born children and their mothers, and they seduced men in their sleep. As a result of the legend of Adam's relations with Lilith, although this function was by no means exclusively theirs, the lilits were most frequently singled out as the demons who embrace sleeping men and cause them to have nocturnal emissions which are the seed of a hybrid progeny. It was in her first role, however, that Lilith terrorized medieval Jewry. As the demon whose special prey is lying-in women and their babes, it was found necessary to adopt an extensive series of protective measures against her.

All sorts of means are used to circumvent the malign influences of Lilith and her demons and both men and women appear to be in need of this protection. According to the usual amuletic practice, wearing an amulet inscribed with her name protects against her activities and this practice accounts for the numerous amulets thus found inscribed. Amulets inscribed with the name of Lilith alone can possibly have been worn by men and indeed could be worn by everyone with advantage at all times but those inscribed with the alternative names of Lilith or with the names of the angels sent in pursuit of her, were intended to be of use to women only, particularly near the time of their delivery. The usual custom was to write these charms on pieces of paper and hang them around the mother's bed and even until recent times, the ‘Song of Degrees' (Psalm 121) was thus written and used. Metallic amulets inscribed with this psalm were worn by men as well as women at all times and became an article of decoration. They are extremely common.

Elijah the Prophet, that great performer of miracles, on one occasion encountered Lilith, doubtless secure in the fact that he was himself originally an angel and so immune from her attentions. Elijah's angelic name was Sandalphon , and he is one of the greatest and mightiest of the fiery angelic hosts. He imposed restrictions on Lilith's activities which, after dire threats, she was compelled to accept. The most important of these conditions was that if any of the numerous names of Lilith were inscribed near a childbed, and particularly if the inscription of Psalm 121 was associated with it, Lilith would be compelled to abandon her right to injure that particular mother or her child. In addition, the names of the three angels who were sent to recall her to her wifely duties and whose message she disobeyed were to be equally effective in neutralising her activities.

We have seen that Lilith undoubtedly derives from very ancient sources, appearing as Lilatu , ‘a female demon' in Assyrian literature and earlier still as Lillaku in Sumerian tablets of the story of Gilgamesh in which she was supposed to have lived in a willow tree. A connection between these similarly named demons can scarcely be denied. According to David de Pomis (Venice, 1587 CE) Lilith is a wild animal, or an evil spirit, or, as some say, a bird, which flits about alone at night and fills the air with wailing. Solomon ben Abraham (Salerno, 1160 CE) said that Lilith “grows out of the wind just as the salamander grows from the fire”. Lilith represents the classical example of the succubus in Jewish mythology. The incubus is a spirit which, taking the semblance of a man, has intercourse with mortal women. The succubus is a similar spirit which in the form of a woman behaves in a like manner with mortal men. The Hebrew Lilith was regarded as queen of the succubi by the theologians who spent much time investigating such matters. St Augustine states that “devils do indeed collect human semen, by means of which they are able to produce bodily effects”. St Thomas Aquinas did much to prove that incubi and succubi were demons sent to tamper with frail humanity. But in the 17th century CE Peter Sinistrari made the unorthodox claim that such visitants were not demons but semi-angels who honoured mankind by contact, echoing Gnostic ideas. Many renowned people, including Caesar, Alexander the Great, and Plato, have the distinction of descent from such unnatural unions, which is not impossible when one takes into consideration that Hieronymus relates a story of a young woman who called for help against the attack of an incubus, which, on being pulled from under the bed where it had rushed to hide, proved to be none other than the good Bishop Sylvanus.

The succubus has always been a rarer phenomenon than the incubus. There are far more male than female devils. Pico della Mirandola tells us that he knew an old man of eighty-four years who had slept for half his life with a female devil; and another of seventy, who had enjoyed the same advantages. Sprenger reports that a German magician “had carnal connection with a woman before the very eyes of his wife and friends who were present during this action but were prevented from seeing her form”. Gregory de Tours tells of a holy bishop of Tuvergne, Eparchius, who had also been exposed to the temptations of a demon. He awoke one night with the thought of praying in the church; he arose and left for the church; on arriving he found the basilica resplendent with an infernal light and filled entirely with demons, who committed the most horrible deeds in front of the altar; he saw Satan in women's clothes sitting in the bishop's chair and presiding over these immoral mysteries. “Infamous whore”, he cried, “thou art not satisfied with poisoning all and everything with thy pollutions, thou even defamest God's sacred spots with thy loathsome body”. “Since thou give me the name of whore”, answered the prince of demons, “I shall present you with many instances of it and will make you lust after the body of woman”. Satan disappeared in a cloud of stench but he kept his word and poor Eparchius felt the torments of the fleshly appetites every night until his death. The similar temptations of St Anthony are too well known to need repeating. Despite the saint's advanced and revered age Satan did not disdain from decorating his lonely hermitage with obscene and passionate pictures.

In The Sayings of Rabbi Eliezer , Samael (Satan) is charged with being the one (in the guise of a serpent) who tempted Eve and seduced her. In Jewish tradition Lilith was the bride of Samael. She predated Eve, and had relations with Adam in Paradise. According to Rabbi Eliezer, Lilith bore Adam every day 100 children. The Zohar describes Lilith as “a fiery female who at first cohabited with Adam” but, when Eve was created, “flew to the cities of the sea coast”, where she is “still trying to ensnare mankind”. In the Cabala she is the demon of Friday, and is represented as a naked woman whose body terminates in a serpents tail. The rabbis regard Lilith as the first temptress, as Adam's demon wife, and as the mother of Cain. In Talmudic lore, as also in the Cabala, most demons are mortal, but Lilith will “continue to exist and plague man until the Messianic day, when God will finally extirpate uncleanliness and evil from the face of the earth”. The scholar Scholem says in an article that Lilith and Samael “emanated from beneath the throne of Divine Glory, the legs of which where somewhat shaken by their joint activity”. It is known of course that Samael was once a familiar figure in Heaven, but not that Lilith was up there also, assisting him. Lilith went by a score of names, some of which she revealed to Elijah, when she was forced to do so by the Old Testament prophet. Moses Gaster in his Studies and Texts in Folklore lists some of these: Abeko, Abito, Amizo, Batna, Eilo, Ita, Izorpo, Kea, Kokos, Odam, Partasah, Patrota, Podo, Satrina, Talto . Another listing is given by Hanauer in his Folklore of the Holy Land , namely: Abro, Amiz, Amizu, Avitu, Bituah, Ik, Ils, Kalee, Kakash, Kema, Partashah, Petrota, Pods, Raphi, Satrinah, Thiltho. Other sources provide: Abyzu, Ailo, Alu, Gallu, Gelou, Gilou, Lamassu, Zahriel, Zephonith. The name of the land to which Lilith betook herself in her flight from Paradise is recorded as Zamargad , near the Red Sea, where she set up her abode and mated with the demons who were well known to be living on those shores.

Her principal copulation there was with the archdemon Beelzeboul. The fruit of their union, a nameless male demon, yet writhes, enchained by King Solomon, at the bottom of the Red Sea. Of Lilith's other numberless progeny few are known. Yet obscure texts do name one son and a daughter, Hurnim and Hurmiz respectively. Also, Arabian tradition tells of a lone daughter of Adam who emulated her nefarious practices. This daughter of Adam, Anak , is apparently to be blamed for belief in talismans and other evil practices. This lady, so it is said, was the first “to reduce the demons to serve her by means of charms”. God had given Adam a sprinkling of magic words, just to enable him to control a few spirits, and these words he communicated to Eve. She preserved them quite faithfully until Anak extracted them from her while she slept. It is not stated how this robbery was effected; perhaps the words were impressed in cuneiform characters on clay tablets, or she may have extracted them as did Isis from the great Sun god Ra ; however, once Anak was in possession, she “conjured evil spirits, practised the magical art, pronounced oracles, and gave herself up openly to impiety”. Interestingly, the name of Lilith survives in an ancient curse of Coptic Christian origin. This text on parchment, preserved in the Louvre, is uttered to separate a man from a woman. It comes from the tenth century CE. The utterance, to be written on a blade-shaped parchment goes: “ Tartari, Saro, Ptha, Astabias, Thatha, Eibethatha, Lahkimaia, Kaha, Alaha, Lilith, put hatred and separation, put hatred and separation between Sipa son of Siheu , and Ouarteihla daughter of Cauhare. They must not be able to look at each other's faces, yea, yea!”.

Amulets to protect pregnant women and women in child-bed were as common among the Hebrews as among pagan nations. Wallis Budge gives details in his treatise on amulets. They were written upon parchment, and also upon the door and walls of the chamber wherein the woman lay. And if they were to be really effective, the texts had to be written in ink in which holy incense had been mixed, and even the copyist had to be a man ceremonially pure and a believer. One of the most important and powerful child-bed amulets is contained in the rare Hebrew work generally known as the Sepher Raziel , ‘The Book of Raziel', bequeathed to the faithful by the preceptor angel of Adam himself. This amulet contains figures representative of Adam, Eve and Lilith. Above these are the names of the three angels sent after Lilith, Senoi, Sansenoi, and Semangeloph. There seals are given. The Hebrew text says that the woman will be protected by the name of God from all the evils and calamities which are enumerated therein. This amulet had a double purpose. The three figures of the angels and their names and seals protected the newly born infant and its mother. And the text warded off any and every evil which Lilith might attempt to do to either. Contained in the text are the names of the Seventy Great Angels whose protection is secured by the amulet.

Two other amulets are illustrated in the Book of Raziel. At the four corners are the names of the four rivers of Paradise, Pishon, Gihon, Prath and Hiddekel. Inside two concentric circles is the Hexagram, or so-called ‘Shield of Solomon' and fourteen groups of three letters and the words “Go forth thou and all the people who are in thy train”, and permutations of the initial letters of the Hebrew words for ‘holiness' and ‘deliverance'. Between the circles are the names of Adam, Eve, and Lilith, the three angels, and also that of the angel Khasdiel, with the words: “He hath given his angels charge concerning thee, that they may keep thee in all thy ways. Amen. Selah.” Another amulet is similar, except that the two triangles of the hexagram are arranged base to base. In the inner circle are fourteen groups of three letters which have esoteric significations.

Concerning apotropaic procedures to ward of the influence of Lilith and her cohorts, Gershon Scholem describes an antidemonic rite both ancient and curious. He says that until quite recently, and indeed occasionally to this day, Jewish burials in Jerusalem were often marked by a strange happening. Before the body was lowered into the grave ten men danced round it in a circle, reciting a psalm which in the Jewish tradition has generally been regarded as a defence against demons, i.e. Psalm 91, or another prayer. Then a stone was laid on the bier and the following verse (Genesis xxv, 6) recited: “But unto the sons of the concubines, which Abraham had, Abraham gave gifts, and sent them away”. This strange dance of death was repeated seven times. The rite, which in modern times has been unintelligible to most of the participants, has to do with Cabalistic conceptions about sexual life and the sanctity of the human seed. Here we have an entire myth, the object of which is to mark off the act of generation from other sexual practices, which were interpreted as demonic in nature, and especially from onanism.

According to Talmudic tradition, demons are spirits made in the Friday evening twilight, who, because the Sabbath has intervened, have received no bodies. From this later authorities drew the inference, implicit in the Talmudic sources, that the demons have been looking for bodies ever since, and that this is why they attach themselves to men. This entered into combination with another idea. After the murder of Abel by his brother, Adam decided to have no further dealings with his wife. Thereupon female demons, succubi, came to him and conceived by him; from this union, in which Adam's generative power was misused and misdirected, stem a variety of demons. The Cabalists took up these old conceptions of demonic generation in pollution or other practices. They are systematized in the Zohar, which develops the myth that Lilith, queen of the demons, or the demons of her retinue, do their best to provoke men to sexual acts without benefit of a woman, their aim being to make themselves bodies from the lost seed.

To the Cabalists, the union between man and woman, within its holy limits, was a venerable mystery, as one may judge from the fact that the most classical and widely circulated Cabalistic definition of mystical meditation is to be found in a treatise about the meaning of sexual union in marriage (Joseph Gikatila, c.1300 CE). Abuse of a man's generative powers was held to be a destructive act, through which not the holy, but the ‘other side', obtains progeny. An extreme cult of purity led to the view that every act of impurity, whether conscious or unconscious, engenders demons.

Abraham Saba, an early sixteenth century CE Cabalist who had come to Morocco from Spain, was first to establish a strange connection between this conception and a man's death. All the illegitimate children that a man has begotten with demons in the course of his life appear after his death to take part in the mourning for him and his funeral. For all those spirits that have built their bodies from a drop of his seed regard him as their father. And so, especially on the day of his burial, he must suffer punishment; for while he is being carried to the grave, they swarm around him like bees, crying: “You are our father”, and they complain and lament behind his bier, because they have lost their home and are now being tormented along with the other demons which hover bodiless in the air.

According to others, the demons claim their inheritance on this occasion along with the other sons of the deceased and try to harm the legitimate children. Those who dance seven times round the dead man do so in order to form a sacral circle, which will prevent these unlawful children from approaching the deceased, sullying his corpse, or doing other harm. Hence the verse from Genesis about the ‘sons of the demonic concubines', whom Abraham sent away lest they harm Isaac, his legitimate son. A similar rite, in which the bier is set down on the ground seven times on the way to the cemetery, has the same purpose. Most important of all, the Cabalists strictly forbade the children, and especially the sons of the deceased from escorting him to his last resting place. In his lifetime, it was held, a pious man should expressly forbid ‘all his children' to follow him to the grave; by so doing, he will keep his illegitimate demonic offspring away and, in case any of them should nonetheless get through to his grave, prevent them from endangering his true children, begotten in purity. It is known that some Jews in their lifetime sternly ordered their children not to make the slightest plaint or weep until the dead body in the cemetery had been purified by washing, cleansing, and the cutting of the finger and toenails, because the unclean spirits are thought to have no further part in the body, once it is cleansed. Another noteworthy rite is connected with similar conceptions. Especially in a leap year, the Cabalists fasted on Monday and Thursday of certain weeks in the wintertime, in order to ‘correct', by special prayers and acts of penance, the taint which it is said a man inflicts on his true form by involuntary ejaculation in the night and by masturbation.

But it is not only in unlawful sexual practices that Lilith takes a hand. Even legitimate union between man and wife is endangered by her, for here too she tries to infringe on the domain of Eve. Accordingly, we find widespread observance of a rite recommended by the Zohar, the purpose of which was to keep Lilith away from the marriage bed: “In the hour when the husband enters into union with his wife, he should turn his mind to the holiness of his Lord and say: ‘Veiled in velvet - are you here? / Loosened, loosened be your spell! / Go not in and go not out! / Let there be none of you and nothing of your part! / Turn back, turn back, the ocean rages, / Its waves are calling you. / But I cleave to the holy part, / I am wrapped in the sanctity of the King.' Then for a time he should wrap his head and his wife's head in cloths, and afterwards sprinkle his bed with fresh water”.

The symbolism of erotic demonic activities is encountered down the ages, even by such as the venerable Doctor Dee in his workings with Edward Kelley. On 15 August 1584 CE their first Prague action began with an extraordinary series of alchemical visions. Madimi appeared, in apocalyptic mood: “Woe be to women great with child, for they shall bring forth monsters … Woe unto the Virgins of the Earth, for they shall disdain their virginity, and become concubines for Satan”. According to Cabalistic tradition, quoted by Dion Fortune, Lilith taught wisdom to Adam; and he could not forget her. This writer also quotes another tradition which holds that it was Lilith who performed the office of the Serpent in tempting Adam to eat the forbidden fruit in the Garden of Eden. A rare illustration of this appears in Queen Mary's Psalter (1553 CE). In The Secret Doctrine , Madame Blavatsky regards Lilith as having appeared in the primordial ages, and describes her as “An ethereal shadow … an actual living female monster millions of years ago”. She is linked by the theosophists with the planet Saturn. The importance attached to Lilith in witchcraft is attested by Doreen Valiente, who regarded her as one of the presiding goddesses of the Craft, calling her “the personification of erotic dreams, the suppressed desire for delights”. According to Gerald Gardner there is a tradition of the continuous worship of Lilith to the present time in witchcraft, and that hers is the name sometimes given to the Goddess being personified, in ritual, by the coven Priestess. Leland in his Etruscan-Roman Remains identifies Lilith with Herodias, or Aradia. He notes that she is mentioned in the old Slavonian spells and charms, and therein has twelve daughters, an instance of the witches thirteen perhaps. In Irish tradition Lilith gives her favours especially to ‘celibates, mystics and hermits'. Yeates calls the Sidhe her ‘children'. In Voudoun she is assimilated with the loa Erzulie. Modern magicians have deliberately used the mechanism of intercourse with spirits in their rituals of magica sexualis . The activities of such as Crowley and his adherents are perhaps too well known now from published accounts to warrant any exposition here.

source: white dragon.org.uk

Tuesday, June 19, 2007

The Man Behind the Cthulhu Mythos


Howard Phillips Lovecraft, American poet and author of macabre short novels, was born on 20 August 1890 in Providence, Rhode Island. He came from distinguished British ancestry on both sides of his family. His mother made him wear his hair long until the age of six and treated him like a girl. His father was Winfield Scott Lovecraft a travelling salesman, who went mad, probably from syphilis and died when his son was five. At the time of his birth Lovecraft's family was quite well-to-do, most of the wealth derived from the extensive business interests of Lovecraft's maternal grandfather, Whipple Van Buren Phillips. This prosperity, however, was not to last. At the death of Whipple Phillips in 1904 his fortune was squandered and the Lovecrafts were forced to move out of their Victorian home into cramped quarters at 598 Angell Street. Lovecraft was devastated by the loss of his birthplace, and apparently contemplated suicide, as he took long bicycle rides and looked wistfully at the watery depths of the Barrington River. But the thrill of learning banished those thoughts. Lovecraft suffered from terrifying nightly disturbances and nightmares which lasted until his own death. This deeply personal material also marked his stories.

Lovecraft was a precocious youth: he was reciting poetry at age two, reading at age three, and writing at age six or seven. His earliest enthusiasm was for the Arabian Nights, which he read by the age of five; it was at this time that he adapted the pseudonym of “Abdul Alhazred,” who later became the author of the mythical Necronomicon. The next year, however, his Arabian interests were eclipsed by the discovery of Greek mythology, gleaned through Bulfinch’s Age of Fable and through children’s versions of the Iliad and Odyssey. But Lovecraft had by this time already discovered weird fiction, and his interest in the weird was fostered by his grandfather, who entertained Lovecraft with off-the-cuff weird tales in the Gothic mode.

Lovecraft grew up as a fringe member of the conservative New England aristocracy, and was educated at local schools. He was somewhat lonely and suffered from frequent illnesses, many of them apparently psychological. His attendance at the Slater Avenue School was sporadic, and he was often kept away from school by his overprotective mother, but Lovecraft was soaking up much information through independent reading. At about the age of eight he discovered science, first chemistry, then astronomy. During this time he found the works of Edgar Allan Poe, who had visited several times the library in Province, and whose model inspired Lovecraft in his literary aspirations. He also read works by Ambrose Bierce, Arthur Machen, Algernon Blackwood, M.R. James, and Lord Dunsany (1878-1957), who inspired him to write the short novel The dream-quest of unknown Kadath (1926).


Lovecraft later believed that Hellenism and astronomy were the two central influences of his early years, the latter especially because it led directly to his "cosmic" philosophy wherein mankind and the world are but a flyspeck amidst the vortices of infinite space. Lovecraft’s first appearance in print occurred in 1906, when he wrote a letter on an astronomical matter to The Providence Sunday Journal. Shortly thereafter he began writing a monthly astronomy column for The Pawtuxet Valley Gleaner, a rural paper; he later wrote columns for The Providence Tribune (1906-08) and The Providence Evening News (1914-18), as well as The Asheville (N.C.) Gazette-News (1915). It was in the amateur world that Lovecraft recommenced the writing of fiction, which he had abandoned in 1908. W. Paul Cook and others, noting the promise shown in such early tales as The Beast in the Cave (1905) and The Alchemist (1908), urged Lovecraft to pick up his fictional pen again. This Lovecraft did, writing The Tomb and Dagon in quick succession in the summer of 1917. Thereafter Lovecraft kept up a steady if sparse flow of fiction, although until at least 1922 poetry and essays were still his dominant mode of literary expression. Lovecraft also became involved in an ever-increasing network of correspondence with friends and associates, and he eventually became one of the greatest and most prolific letter-writers of the century. L. Sprague de Camp has claimed in Lovecraft: A Biography (1975) that the author wrote over 1000,000 letters. At the age of 27 he was still at home, writing gloomy tales. He was eventually offered the job of editor at the magazine Weird Tales, but he turned the offer down.

Lovecraft was virtually unknown most of his career as a writer. His posthumous fame, particularly in America and France, rests on his Cthulhu Mythos stories that lead him to become a cult figure in the genre of horror fiction. He is considered the most original American writer of weird fiction subsequent to Edgar Allan Poe. Lovecraft's imaginary town in his tales, Arkham, was based on his home town of Providence. He never wrote (or, rather, sold) enough fiction to be a professional writer; instead, his income was provided by an ever-dwindling family inheritance and by the dreary task of literary revision and ghost-writing. This work ran the gamut from textbooks to poetry to novels to articles; but on occasion Lovecraft attracted revision clients who wished to write horror tales, and his "revisions" of the works of such tyros as Hazel Heald, Zealia Bishop, Adolphe de Castro, and others are often tantamount to original composition.

Lovecraft's mother died in 1921, when the author was 31. Mrs. Lovecraft, her frail constitution destroyed by the death of her husband under peculiar circumstances and pathologically overprotective of her only child, died in a sanitarium; the immediate cause of death, however, was a badly managed gall bladder operation. Lovecraft continued to live with his two aunts. His marriage in 1924 with Sonia Greene, who was seven years his senior, lasted only until 1926.

Lovecraft's fiction turned from the nostalgic -- The Shunned House (1924), set in Providence -- to the bitter: He and The Horror at Red Hook (1925) laid bare his feelings about New York, and the ending of the former tale encapsulates his yearning to return to the tranquil and familiar world of New England.

His later works show that he was beginning to outgrow from the genre of horror in the direction of science fiction - among others The Colour Out of Space and The Shadow Out of Time from his mature period were first published in science fiction magazines.

Most of Lovecraft's short stories appeared in the magazine Weird Tales, beginning in 1923. His works from the early phase include The Tomb, The Statement of Randolph Carter, Rats in the Wall, The Shunned House, From Beyond, and Cool Air, all written with more or less conventional scenarios. Lovecraft often used the first-person narrator, who is a scientist or scholar. The narrator witnesses horrors that contradict his beliefs, and going gradually insane he must face his destiny.

After two years in New York, where Lovecraft was horrified with its oppressive size, the hordes of "aliens" at every corner, its emphasis on speed, money, and commercialism, he returned to Providence on April 17, 1926, where he spent with his aunts the rest of his life. The last ten years of his life were the time of his greatest flowering, both as a writer and as a human being. He nurtured the careers of many young writers (August Derleth, Donald Wandrei, Robert Bloch, Fritz Leiber); he became concerned with political and economic issues, as the Great Depression led him to support Roosevelt and become a moderate socialist; and he continued absorbing knowledge on a wide array of subjects, from philosophy to the New England heritage, evoking its topography, history and society. This mature period produced such stories as The Colour Out of Space, The Dunwich Horror, The Shadow over Innsmouth, The Thing on the Doorstep, The Dreams in the Witch House. Many of Lovecraft's tales utilize a pseudo-mythical framework, termed the Cthulhu Mythos. His best-known work in the series is The call of Cthulhu (1928), where he created his basic myth of the Elder Race. It once dominated the Earth, but largely destroyed itself. Its members now lie sleeping somewhere under the sea or underground. In this cosmic scheme of things, humans were reduced to a position of hapless victims, who are not important for the incomprehensible forces.

His later stories, increasingly lengthy and complex, became difficult to sell, and he was forced to support himself largely through the “revision” or ghost-writing of stories, poetry, and nonfictions works. In 1936 the suicide of Robert E. Howard, one of his closest correspondents, left him confused and saddened. By this time the illness that would cause his own death – cancer of the intestine – had already progressed so far that little could be done to treat it and he died from a combination of cancer Bright's disease on March 15, 1937 at the Jane Brown Memorial Hospital in Providence. He was buried in the family plot in the Swan Point Cemetery. Lovecraft's friends August Derleth and Donald Wandrei set up in 1939 a publishing house for his work, Arkham House, and the author's books have remained in print ever since. Only recently has a separate marker been erected on his grave, the funds contributed by many of his posthumous admirers; the stone reads: "I am Providence".

source: booksfactory.com

Monday, May 28, 2007

The Philosophical Background of Frankenstein

THE AGE OF REASON AND DECAY

Rousseau's ideology of education and nature laid the basic ground work for many of the Gothic novels that saturated the English society from the 1764 to 1830. From The Romance of the Forest by Ann Radcliffe to the book which was able to forge a bridge of thought that was able to span the chasm formed by the age of reason between the supernatural and reason, Frankenstein by Mary Shelley. As a predecessor of the romantic movement, the Gothic novel was a direct reaction against the age of reason. The predominate idea of the age being that the world which is governed by nature is rationally ordered and given man's ability to reason, analyze and understand nature, man possesses the innate ability to use nature to create a rational society based on nature's dominate principles. The Gothic novel allowed the reader to pass from reason and order of the day to a region born of the supernatural which inspired dread and abounds in death and decay as nature's only true end.

In Frankenstein, Shelley is able to create the antithesis of nature from various aspects of nature itself, creating a monster that is born of death and of decay yet enveloped in Rousseau's ideology. "It was on a dreary night of November, that I beheld the accomplishments of my toils. With an anxiety that almost amounted to agony, . . . I saw the dull yellow eye of the creature open; it breath hard, and a convulsive motion agitated its limbs" (page 56). What was created that night was a creature of vast intellect, raised and educated in the harshest of conditions: Nature. Out of the decay that is nature's ambivalent end emerged a creature that was the antithesis of all that is natural. Mary Shelley had carefully chosen her genre, the Gothic novel was the only ground to act out the play between reason and the dark regions of horror. The stage was set for the creature to assume Rousseau's entire educational philosophy that stated: "We are born weak, we need strength; helpless, we need aid; foolish, we need reason. All that we lack at birth, all that we need when we come to man's estate, is the gift of nature. This education comes to us from nature, from men, or from things . . . God makes all things good; man meddles with them and they become evil"(page 143). This allows society to view the creature with supernatural awe, repulsed at nature's most dreadful characters, decay and death, even when they form life.

The development of the creature was molded by nature, as a harsh school master, she exercised the creature's expanding mind while punishing the newly formed body. "It was dark when I awoke; I felt cold also, and half frightened, as it were, instinctively, . . . I was a poor, helpless, miserable wretch; I knew, and could distinguish, nothing; but feeling pain invade me on all sides, I sat down and wept"(99). Rousseau said, "Man is born to suffer, pain is the means of his preservation"(145). And thus it is with the creature, nature schooled him with cruel elements and treatments, yet slowly the creature developed several instinctual behaviors and began to delight in the nature that surrounded him. "I began also to observe, with greater accuracy, the forms that surrounded me, and to perceive the boundaries of the radiant roof of light which canopied me"(100). His actions were simple, in harmony with nature, it was not until his encounter with a society which held nature in reverence and saw the grotesque as unnatural. "I arrived at a village . . . But I had hardly placed my foot within the door before the children shrieked, and one of the women fainted . . . The whole village was roused; some fled, some attacked me, until, grievously bruised by stones and many other kinds of missile weapons, I escaped to the open country"(102). Rousseau stated: "Give your pupil no verbal lessons; he should be taught by experience alone"(153). Shelley developed the creature in nature, tutored only by experience and although his actions mimicked the society that encompassed him, they dismissed as wretched. He developed as Rousseau hoped, gaining wisdom and knowledge, through experience and contemplation. He possessed a quick mind and discerning temperament, yet the society which he longed to participate in, only exhibited irrational behavior towards him. Thus he was termed evil in that he was the antithesis of what is beautiful in nature. Society's own actions toward the creature, taught him how to brutalize society.

Rousseau's ideology of education and reverence toward nature lies at the basic ground level in the predominate Gothic motif. In Frankenstein, Mary Shelley chooses the Gothic motif to create a monster in the semblance of the dominate form of thought that resounded in the age of reason. This monster, which is derived from nature, and subject to laws of this world, although schooled and tutored by nature becomes the antithesis of what the true aims of reason. Observation, experiment and rational thought resulted in distrust in society, mayhem, murder, and even the removal of God as man became brutally aware of his own godlike ability to reason. As in many Gothic novels, reason has limited ability to understand nature and in the end, the death and decay which we fear serves as ultimate reason.

written by Franz J. Potter

source: the gothic literature page

Saturday, May 19, 2007

H.P. Lovecraft and Paranormal

H. P.Image via WikipediaDreamer of the Dark

Was the most influential horror writer of the 20th century a believer in the paranormal? DANIEL HARMS examines the evidence.

Mention of the name Howard Phillips Lovecraft might elicit nothing more than a noncommittal shrug from most people, but for fans of the macabre he is still a revered figure, held in awe for his unique literary visions of cosmic horror.

Lovecraft spent most of his life (1890-1937) in Providence, Rhode Island. The last son of a once-wealthy family, he devoted his life to literature, soon finding that his strengths lay in tales of the uncanny. These stories attracted a small following among the readers of Weird Tales and other pulp magazines, and his correspondents included a formidable roster of early horror writers. Since his early death, the popularity of his work has grown – in ways he could never have imagined – inspiring countless stories and novels, films, cartoons, games and even cuddly toys.

His tales have continued to compel readers because of their convincing melding of fact and fantasy and their evocation of a world both phantasmagoric and believable at the same time. The stories serve as a loosely constructed chronicle of the "Old Ones," alien creatures from other worlds and other dimensions. The Old Ones include the mindless chaos Azathoth; the Black Goat of the Woods, Shub-Niggurath; and Cthulhu, a winged squid-like god who lives in a sunken city in the Pacific. Once, in the planet’s distant past, the Old Ones lived on Earth, but eventually they fell into an æons-long sleep. Their worshippers, including the fish-men known as the "deep ones," and the crustacean-like fungi from the planet Yuggoth (Pluto) are still awake and sometimes menace humanity. Books such as the infamous Necronomicon of Abdul Alhazred hold the Old Ones’ lore, and cults around the world work their rituals in the hope that their masters will return to rule again.

Given the power of his vision, many have speculated on just how much Lovecraft knew about the occult. Some occultists hail him as the prophet of a new Dark Age, claiming that his fiction bears genuine traces of ancient knowledge and re-emerging archetypes from the depths of our collective unconscious. Yet, all too often, their conclusions are based on guesswork, rather than the evidence of his own writing. Fortunately for us, he had perhaps one of the best-documented lives in literary history, writing approximately 100,000 letters over his 46 years. Through these letters, and other newly discovered sources, a glimpse into the reality of Lovecraft’s occult lore is finally possible.

Lovecraft as Debunker

To begin with, it’s clear that Lovecraft himself had no belief whatsoever in the occult. As a youth, he had come to doubt the Christian faith of his family, and explored the beliefs of the Greeks, Muslims, Egyptians, and Hindus. None of these satisfied him, and he turned to atheism and scepticism as the only possible alternatives. In 1925, he wrote to his friend Clark Ashton Smith, saying: "I am, indeed, an absolute materialist so far as actual belief goes; with not a shred of credence in any form of supernaturalism – religion, spiritualism, transcendentalism, metempsychosis, or immortality". Anyone who wrote to him asking if the gods and occult tomes mentioned in his stories were real would receive a polite letter stating his disbelief in such notions.

He was not merely a passive believer in a philosophy of scepticism, but a passionate missionary for his creed. He wrote letters to local newspapers attacking claims of the Hollow Earth and astrology. These letters may contain more vitriol than reasoned critique, but they nonetheless make their points effectively and entertainingly. Such debates also raged in his letters, for he kept a wide circle of friends with widely differing perspectives from his own. If he were alive today, Lovecraft would probably be a strong supporter of CSICOP.

Lovecraft’s scepticism was so vehement that, at one point, it almost brought him a book deal. The celebrated stage magician Harry Houdini was known as a debunker of spiritualists and quacks. Lovecraft revised a fictionalised account of one of Houdini’s adventures, in which the conjuror escapes bandits and far worse things in the tunnels beneath the Great Pyramids ("Imprisoned with the Pharaohs"). Houdini was happy with the rewrite, and the two exchanged letters discussing future collaborations. Along with Providence author C M Eddy, they decided to write a book called The Cancer of Superstition, which they thought would strike a final blow against credulity. Houdini’s death in 1926 put an end to the project; if what survives is anything to go by, it was no great loss, the authors’ names being the book’s most interesting feature.

Nevertheless, Lovecraft was at least somewhat familiar with the literature of occultism, especially in his later years. At the time of his death, his library contained such works as Lewis Spence’s Encyclopædia of Occultism, Sir Walter Scott’s Letters on Demonology and Witchcraft, Camille Flammarion’s Haunted Houses, and a variety of works on ghosts, folklore, and mythology. This was not the end of the matter, as Lovecraft also borrowed a number of occult works – as well as Charles Fort’s Book of the Damned and New Lands – from libraries and his friends, most notably Herman C Koenig of New York City. (Interestingly, Lovecraft actually mentions Fort by name in a couple of stories.). Lovecraft, then, was hardly an authority on matters esoteric and uncanny, but he had some basic knowledge that he incorporated into his tales.

New England folklore

To understand Lovecraft’s writing, we must first understand New England. The work is permeated with a love of the old lanes, ancient houses, winding alleys, and sunset skylines of this region. He travelled across the eastern United States and lived (unhappily) for a time in New York City, yet he always returned to Providence and New England. He conducted a good deal of research into the area’s folktales, coming across a number of legends that worked their way into his fiction.

The prize of his library was an old edition of Cotton Mather’s Magnalia Christi Americana. Mather (1663-1728) was a noted New England minister, whose writings encouraged the belief in witchcraft and indirectly led to the Salem witch-trials. Mather devotes one section of the book to the witch-trials, and another to miraculous and supernatural events – witch-findings, ghosts, supernatural warnings, and examples of poltergeist phenomena.

One of Mather’s sermons, reprinted in Magnalia, tells of the punishments God inflicted upon sinners. One prominent figure in the sermon is a young man with a distinctive blemish in his eye, who commits bestiality. His sin is exposed when a farm animal gives birth to an abomination bearing the same mark. The man confesses what he has done, and the local authorities have him executed.

When Lovecraft visited Salem in 1923, its old houses and quaint squares gave him a wonderful thrill. There, in the Charter Street Burying Ground, he found a willow growing around a shattered gravestone, with a crumbling old house beyond it. This house, which still stands, was once the home of Nathaniel Hawthorne’s fiancée, and served as the inspiration for that author’s "Dr. Grimshawe’s Secret". The house made a deep impression on Lovecraft, who was also aware of the strand of folklore concerning New England families who kept ill or deformed relatives hidden in the attic. Weaving these elements together with Mather’s account, he created "The Unnamable".

In the story, two men sit in a cemetery and discuss whether anything can be "unnameable." Joel Manton asserts that nothing can bear such a label, save in a cheap horror story, but the narrator insists that such a thing can indeed exist, and alludes to Mather’s story. In this version, the half-human monstrosity grows into a beast that terrorises the countryside, attacking people on the roads and slaying the parson and his family. The townsfolk lock the monster in the attic of its father’s house, where it dies. The narrator ends his demonstration by stating that he found the creature’s bones and buried them – in the grave on which the two men are sitting. As this revelation is made, the monster reappears and attacks the unfortunate pair.

The Salem witch-trials of 1692 form a common motif in Lovecraft’s fiction. While he didn’t believe in witches, he was fascinated with what he saw as the morbidity of the Puritan lifestyle and the executions that had happened only a short train-ride away from 20th century Providence. While he never wrote a story centring on the witch trials, Lovecraft mingled them with other occult beliefs to create his own literary version of such events.

"Pickman’s Model" is the story of Richard Upton Pickman, a gifted painter from an old Salem family, one of whose ancestors was hanged during the witch-trials. Pickman’s paintings are of undeniable genius, but are so morbid that all the local artists ostracise him. Stinging with this rejection, Pickman brings his friend Thurber to a secret apartment in Boston’s North End, where he shows him a hideous series of paintings suggesting that the witches dealt with corpse-eating monsters that burrow beneath cemeteries and cities. In the end, it is revealed that they have more than a little to do with Pickman’s own dark heritage…

In "The Dreams in the Witch-House", a witch named Keziah Mason is imprisoned in the Salem jail, but escapes the authorities by drawing a curious design in blood on the wall of her cell. Such a magical diagram is a common motif in supernatural fiction, but Mason’s mastery of space and time is not due to any knowledge of ‘magic’ in the traditional sense. Rather, she enters other dimensions through her use of advanced mathematics and geometry, and creeps back to our world centuries later to find converts and sacrifices. She decides that a young mathematics student would be the perfect acolyte, and uses her powers and those of her familiar – the rat-like Brown Jenkin – to draw him into her sorcery. As fantasy author Fritz Leiber pointed out, this was one of the first uses of the mathematical concept of hyperspace in fiction.

The Vampires of Providence

Lovecraft’s "The Shunned House" may not be his most famous tale, but it contains one of the most striking uses of folklore in a horror story. He did not take any aspect of the story from just one source, but mixed and matched various elements to fit his own ends.

"The Shunned House" tells of a building on Benefit Street in Providence noted for the ill health of its tenants. When the narrator’s investigation begins, the house is abandoned. As a child, he visits the house, noting its air of desolation and a curious, anthropomorphic patch of phosphorescent mould in the basement. Going back through its history, he discovers tales of illness and creeping insanity engulfing its inhabitants, dating back to the time of the first builders. Invalids die shrieking about monsters, while some mutter in French, a language of which they have no knowledge. Later, it is revealed that the house was built on the site of the Roulet family graveyard – which nobody troubled to move when Benefit Street was straightened. The narrator informs his uncle, a historian, of these strange findings, and the two visit the house with scientific instruments – not to mention flame-throwers! – to put the horror to rest. Yet, the spirit that resides in the house is not easily defeated.

If the ‘Shunned House’ really existed, one might expect it to be a dark and forbidding dwelling, whispered about in local folklore. Yet the house which is most likely to have inspired the tale is nothing of the sort; now painted yellow, its cellar doors still open directly onto the sidewalk, and part of the overgrown yard is now a community garden. Lovecraft mentions in his letters that the house had a foreboding air, and that his aunt once lived there for a short time in the early 1920s.

Some scholars have sought the tale’s inspiration in local legends of the vampire. While the word conjures up images of castles perched high in the mountains of Transylvania, similar sources lay closer to home. As recently as a century ago, some Rhode Islanders believed in these monsters. In 1892, a wasting disease, now thought to be tuberculosis, struck the Brown family of Exeter. The locals became convinced that the dead family members fed off the living in spirit form, dragging their brothers and sisters with them to the grave. Digging up one of the daughters, Mercy Brown, they found her body fresh and seeping blood. The family burned the young woman’s heart to ashes and fed them to her brother, in an unsuccessful attempt to cure him. Christopher Rondina’s book The Vampire-Hunter’s Guide to New England details a number of such legends circulating in the rural areas of Rhode Island.

Oddly enough, however, these legends played virtually no role in the construction of Lovecraft’s tale – in fact, he dismisses them in a single sentence, one paraphrasing a book of folklore in his own collection, Charles M. Skinner’s Myths and Legends of Our Own Land (1896). A further perusal of this work uncovers a more likely source for Lovecraft’s story. Skinner writes of a house on Green Street in Schenectady, New York, said to have a patch of mould on the floor shaped like a body. Other parts of the story – the illness of the tenants, the unearthed and forgotten body beneath – may also be found in this story. It is unlikely that Lovecraft tried to find this house during his brief trips to upstate New York, but that did not stop the legend from influencing his work.

What, then, accounts for the sinister nature of the occupant of the forgotten tomb? Lovecraft incorporated a legend from John Fiske’s Myths and Myth-Makers (1872), regarding an event near the French town of Caude in 1598, when a group of men saw two wolves devouring the body of a boy. Chasing them, they found a man coated in blood and gore hiding in the woods. He was revealed to be one Jacques Roulet, who claimed to use a salve to change his shape to that of a wolf. He was convicted of murder but, before he could be executed, the government intervened and locked him in an asylum. In his story, Lovecraft suggests that the same Roulets had come to the New World and taken up residence in Providence, with sinister results.

Lovecraft’s genius, then, was to find inspiration and material aplenty in occult, folkloric and historical sources and to use them – with, as we have seen, no belief in the possibility of their reality – as the raw material for tales of an entirely different nature. When we finally meet the terror at the house on Benefit Street, it is much worse than any werewolf or vampire could be.

Lovecraft and the Western Esoteric Tradition

Black magic and forbidden books have been staples of European folklore for centuries, and Lovecraft makes extensive use of them in his works: immortal wizards plot revenge against their foes, magical keys open gates to other dimensions, and a book called the Necronomicon foretells the doom of humanity at the hands (or tentacles) of the Old Ones. These elements of Lovecraft’s fiction have led to plenty of speculation that he was a practising wizard, or at least had a deep knowledge of the magical lore of past ages. In fact, his knowledge of Western esotericism was pretty spotty for most of his career.

His story "The Horror at Red Hook" was his first attempt to use genuine magical lore as the basis for a story. "Red Hook" tells of a policeman’s fight against a sinister cult based in Brooklyn’s seedy Red Hook district. The cult – which mixes such diverse belief systems as Kurdish Yezidism, Tibetan shamanism, and Nestorian Christianity – meets in an old church used as a dance hall and worships demons such as Astaroth and Lilith. The tale is a jumble of occult lore, with good reason – he took most of his information, including a chant to the Greek goddess Hecate, from the Encyclopedia Britannica’s articles on magic and demonology, hardly a very esoteric source!

If nothing else, "Red Hook" made Lovecraft realise how little he knew about magic. He asked his correspondents for suggestions for his reading list. "Are there any good translations of any mediæval necromancers for raising spirits, invoking Lucifer, & all that sort of thing?" he asks in a letter to Clark Ashton Smith. By the end of his life, Lovecraft had read several works on magic, though most of them were sensationalistic works of a second-hand nature. These included Arthur Edward Waite’s Book of Black Magic and of Pacts, Lewis Spence’s Encyclopædia of Occultism, Sax Rohmer’s Romance of Sorcery, and The Mysteries of Magic by Eliphas Levi (Alphonse Constant).

The latter served Lovecraft well when he came to write The Case of Charles Dexter Ward. Ward is a young scholar and historian who discovers that an ancestor, Joseph Curwen, while apparently a prominent and respectable merchant, was also a wizard with a library full of works on alchemy and mysticism. In 1771, a group made up of Providence’s most distinguished citizens attacked Curwen’s farmhouse and did away with him. During the raid, Curwen chanted two spells lifted straight from Levi’s The Mysteries of Magic. Nonetheless, when it came to the final incantation that resurrects the dead, Lovecraft could not find one suitable, so he wrote one in his own "R’lyehian" language.

As time went on, Lovecraft largely abandoned the trappings of magic and adopted a language more congenial to his temperament – that of science. In a letter written near the end of his life, he revealed that he found the language of esotericism "flat, childish, pompous, and unconvincing", and expressed his belief that a writer could make up occult books just as terrifying as any that actually existed. History has proven him right; his arch piece of literary invention, the Necronomicon, has inspired a tremendous number of ‘hoax’ versions, none of which match the power of Lovecraft’s vision.

Mysterious Contacts

Even as Lovecraft sought his terrors in the realm of science, his fame was already spreading among occultists. While he did not share their views, he was nonetheless a polite correspondent who answered their questions and presented his opinions without judgement. So, who were these occult figures? Or, given the rumours that still circulate, who weren’t they?

A great deal of nonsense has appeared about Lovecraft’s connection to the notorious magician Aleister Crowley (1875-1947), coiner of the term "magick" – pronounced may-jick – to distinguish his own "sex-magic" from conjuring parlour-tricks. Some authors say that the two men met, while others claim that Lovecraft’s wife Sonia Greene dated Crowley before marrying Lovecraft. None of this is true. Lovecraft had heard of Crowley, but had little information outside the newspapers of the day and such fictional caricatures as appeared in H Russell Wakefield’s "He Cometh and He Passeth By". He never corresponded with Crowley or read any of his work, and found him to be, if anything, "rather over-advertised". Lovecraft’s "The Thing on the Doorstep" refers to an English cult leader – but this seems to be the extent of Crowley’s influence on the Providence author.

Others have insisted that Lovecraft knew members of the Hermetic Order of the Golden Dawn, an occult fraternity founded in 1877 and whose membership included Arthur Machen and Algernon Blackwood, two authors whom Lovecraft admired greatly. He never wrote to either of these men, though – he resisted "fawning on the great". Further, no Golden Dawn-specific terminology turns up anywhere in his writings.

One person Lovecraft may have met was the science fiction writer and founder of the Church of Scientology, L Ron Hubbard. The two men did write for the pulps at the same time, and both even attended a Fiction Guild dinner in June 1936. In a letter to Robert Bloch (author of Psycho), Lovecraft mentions Hubbard’s name, but finds himself unable to remember meeting the gentleman. Of course, Hubbard did not found his Dianetics movement until well after Lovecraft was dead, and no researchers have found any Hubbard-Lovecraft letters.

This doesn’t mean that Lovecraft didn’t correspond with occultists. One of his pen pals was descended from a Salem witch, and sent him gruesome pieces of folklore that she hoped he would use in his stories (he never did). Another, a gentleman from Iowa named Olson, claimed he held the secret to immortality. His beliefs, as quoted in a letter from Lovecraft’s friend and fellow author Robert E Howard (of Conan the Barbarian fame), included a mixture of Hindu and Buddhist philosophy with physics and other curious tenets, such as the belief that Jesus was a vampire. Howard thought this was odd, if acceptable, but became most incensed when Olson asked him to send on a chain letter.

Nor should we forget E Hoffman Price, a prolific pulp author from New Orleans. Price was not only a soldier and renowned traveller, but described himself as a Theosophist and Buddhist and sometimes cast horoscopes for money. When Lovecraft travelled to Louisiana, Howard informed Price, and the two men spent the next 36 hours together. Later, Lovecraft collaborated with Hoffman on "Through the Gates of the Silver Key", in which Randolph Carter, Lovecraft’s hero and literary alter ego, goes through a mystical initiation in his search for ultimate meaning.

Perhaps the most famous of Lovecraft’s occult correspondents was William Lumley (1880-1960), a night watchman from Buffalo, New York. Before settling down, Lumley had been a sailor who heard strange tales in Port Said and other distant lands. Lumley told Lovecraft of his meetings with Eastern masters – including one who apparently visited him for a short time in Buffalo – and spectral figures in the haunted valleys and houses of western New York. Despite his scepticism, Lovecraft humoured his friend, and the two struck up a lively correspondence which lasted until Lovecraft’s death. When Lumley wrote a story called "The Diary of Alonzo Typer", about a haunted house near Attica, Lovecraft revised it for him. Lumley’s first draft has since been published and closely resembles a real-life journal of a paranormal investigation. Could Lumley have been describing an actual experience? Most of his papers have vanished, so there is no way of knowing.

Lovecraft and Theosophy

In the late 19th century, a Russian émigrée named Madame Helena Petrovna Blavatsky electrified the West. Blavatsky founded Theosophy, meaning roughly "divine knowledge", in 1875. Blavatsky’s "Masters" showed her the Book of Dzyan, a volume existing on the astral plane and written on palm leaves. With the help of the wisdom of Dzyan, the Theosophical Society set out to uncover the truths behind science, religion, and psychic phenomena. Previous civilisations on the lost continents of Lemuria and Atlantis had destroyed themselves due to lack of spiritual purity, but the Theosophists hoped through their researches to move humanity into the next stage of its spiritual evolution, and thereby bring the world to an age of brotherhood. Despite its high-minded claims, scandal rocked the group, and by the 1920s it was a pale shadow of its former self.

Lovecraft skirted the edges of Theosophical literature for over 10 years. In 1926, he read W Scott-Elliot’s Story of Atlantis and the Lost Lemuria. This work is a description of the geography and culture of the lost continents, with notes on their former inhabitants. Shortly after reading this work, Lovecraft penned one of his most celebrated tales, "The Call of Cthulhu". The story tells of a worldwide psychic disturbance in which authors and poets have strange dreams of an underwater city in the Pacific. While some groups – including the Theosophists – consider this to be a good omen, one student of ethnology pieces together the truth: the dreams do not come from a kindly-disposed spiritual lord, but from an alien monstrosity whose return will destroy all of humanity.

Lovecraft’s friend E Hoffman Price notes in his memoirs how unimpressed he was with Lovecraft’s understanding of Theosophy. Perhaps if Lovecraft had read more of the stuff, many of the key concepts within Theosophical texts would have resonated with his own fictional creations. After all, the Theosophists discussed Lemuria, Atlantis, and the Imperishable Sacred Land to the far north (all of which were now lost), and a similar lore concerning lost continents was not unique to "The Call of Cthulhu", but turns up throughout Lovecraft’s œuvre, for instance in "The Temple" and "Out of the Aeons" (written with Hazel Heald). Another important Eastern concept dear to the Theospophists – reincarnation – serves as the theme for a number of Lovecraft stories, including The Case of Charles Dexter Ward, as mentioned opposite (p38). Finally, we should not neglect the fact that Blavatsky and Lovecraft had, in effect, the same goal – the reconciliation of myth and ancient knowledge with modern science. The difference, of course, is that Lovecraft attempted a fictional synthesis, while Blavatsky created a new philosophy centred on this notion.

Some commentators, among them Colin Wilson, have asked whether Blavatsky’s Book of Dzyan could be the inspiration for the Necronomicon. Lovecraft’s letters, though, tell a different story. He didn’t hear of the Book of Dzyan until E Hoffman Price told him about it in 1933. Price’s account of the phantasmal book intrigued him, and it actually appears alongside the Necronomicon in his later works, including "The Diary of Alonzo Typer" and "The Haunter of the Dark".

So did Lovecraft ever read Blavatsky’s work? As it turns out, he might have done. In November 1936, Californian science fantasy author Henry Kuttner sent one of Blavatsky’s works – either Isis Unveiled or The Secret Doctrine – to Providence. Lovecraft thanked his friend, mentioning that he’d always meant to read Blavatsky, but had never got around to it. He died four months later; if he had finally grappled with Blavatsky’s literary efforts, his thoughts on them were lost forever.

The Master’s Legacy

Lovecraft’s death brought his writer friends out en masse to offer their condolences. It was this outpouring of grief that kick-started Lovecraft fandom. Weird Tales, which had never given Lovecraft a cover illustration during his life, frantically reprinted his old stories and searched for new ones. August Derleth and Donald Wandrei, two of Lovecraft’s friends, founded Arkham House to publish his works in book form. The first Arkham House edition, The Outsider and Others, commands prices of up to $3,000 today. A rather unexpected side effect of all this attention was the adoption of Lovecraftian concepts into occult practice.

Modern occultists may be surprised to know that Lovecraft’s influence first made itself felt among the believers in the Hollow Earth and underground cities. Morris Doreal, head of the Brotherhood of the White Temple, referred to a "Yog Sog-Thoth, the gateway to the cycle below" in his Interpretations on the Emerald Tablets, published in 1948. Others discovered Lovecraft indirectly, through the stories of August Derleth, who in his own additions to the ‘Cthulhu Mythos’, as it came to be known, turned Lovecraft’s essentially amoral creations into the evil "Great Old Ones", who are opposed by the protective "Elder Gods." The book Agartha, written by Buddhist monk Robert Ernst Dickhoff in 1951, mentions both groups of beings, plus Lovecraft’s mountain of "Kadath". Richard Shaver, a Pennsylvania welder and long-time Weird Tales reader, used very similar imagery in his writing about the underground "deros" who inflict suffering upon mankind and the "teros" who oppose them.

Lovecraft’s ideas slowly made their way into other sections of the occult community. John Keel’s concept of "windows" – areas in which extra-dimensional beings might appear – is similar to Lovecraft’s notion that a place or object might serve as a focus for influences from Outside. Robert M Price and Charles Garofalo point out how Lovecraft anticipated von Däniken’s theory of "ancient astronauts" by several decades. I’m not suggesting Lovecraft directly inspired Keel or von Däniken, yet their ‘real’ ideas follow an intriguingly parallel course to the ‘fictional’ ones of the man from Providence.

Rumours of strange sects practising Lovecraftian magic have been with us for years, but two works published in 1972 brought them to a broader audience. Anton LaVey’s The Satanic Rituals included ceremonies by Michael Aquino to call Lovecraft’s gods Shub-Niggurath and Cthulhu into consciousness. LaVey and Aquino maintained that these rituals were merely psychodrama, a fact seemingly lost on many of those who practise them. A hemisphere away, Kenneth Grant published The Magical Revival, which hailed Lovecraft as a contemporary of Crowley who echoed his prophecies of a new æon. While occultists have never been averse to creating their own traditions, the embrace of an admittedly fictional pantheon started a firestorm of controversy that has never died down.

Despite this uncertainty, Lovecraftian magic is here to stay. Erik Davis’s article in the now-defunct magazine Gnosis provided much insight into its practitioners, but failed to capture its broad appeal. For example, I have talked with members of the Miskatonic Alchemical Expedition, a group of spiritual seekers who once met at a farmhouse near West Danby in upstate New York. There, they took hallucinogens and sought visions bringing contact with a wide variety of god-forms – including Lovecraft’s Old Ones. Black Moon Publishing, associated with Cincinnati’s Bate Cabal, provides photocopies of a staggering collection of Lovecraftian conjurations, rituals, Tarot decks, and theoretical speculation. As Lovecraft makes his resurgence in popular culture, it is likely that more people will practice magic based on his fiction.

Perhaps the most widespread and broadly appealing strand in this factitious magical tradition – and perhaps its creator’s most enduring legacy – is that madness-inducing book of eldritch lore, the Necronomicon. Since 1940, numerous attempts were made to write the book Lovecraft had invented. The most commercially successful of these were the Simon Necronomicon (1977), which emerged from the New York occult community, and George Hay’s Necronomicon: The Book of Dead Names (1978), published by Neville Spearman and later by Skoob Books. Having examined their beliefs for many years, I have to say that those who believe in the reality of such books are sincere – not to mention more numerous than most commentators have realised.

So the cult of Cthulhu lives. It may be that some day, Howard Phillips Lovecraft himself will be forgotten, while the devotees of his Old Ones "bellow and prance and slay around idol-capped monoliths in lonely places," as he puts it in "The Call of Cthulhu".

I hope this will not be the case, and that Lovecraft’s unique literary gifts will be remembered alongside his creations.

source: Fortean Times

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