Drawing on Maggie Kilgour’s dictum that the Gothic activates a dormant past with
the power to harm the present, this article explores the early modern histories
invoked by the Regnum Congo, a sixteenth-century account of
Africa featured in H. P. Lovecraft’s cannibal story ‘The Picture in the House’.
The Regnum Congo taps into Lovecraft’s racism, instantiating,
within and beyond the story, the racial and cultural convergence he dreaded. The
tale’s cannibal resembles the Africans depicted in the Regnum
Congo to a striking degree, even as his reverence for the book colours
his putative status as a puritan. Integrating the book itself into the analysis
enables a reading of the tale’s controversial cataclysmic ending as oneof
several exemplars of Jeffrey Andrew Weinstock’s ‘Gothic thing-power’, which
disrupts subject/object boundaries. The multifarious histories summoned by
‘Picture’ reflect Lovecraft’s own ambivalence about the past, as well as the
possibilities of attention to Gothic pasts.
This article proposes a nautical perspective as a new branch for Lovecraft studies. To
achieve this, I analyse the irruption of monsters from sublime ocean depths in three sea
stories of the author: Dagon, The Call of Cthulhu and The Shadow over Innsmouth.
Lovecrafts particular method draws on the legacy left by Edgar Allan Poe in relation to
horrors at the sea and by Arthur Machen and Algernon Blackwood in terms of presenting
nature as the origin of undefeatable horrors. His style results in what I propose to call
Lovecraft‘s nautical Gothic. In it, the arrival of monstrous sea entities horrifies his
protagonists who, because of their encounters, must accept the minor role of humanity in
the vastness of the natural order.
This book explores a number of Alan Moore's works in various forms, including comics, performance, short prose and the novel, and presents a scholarly study of these texts. It offers additional readings to argue for a politically charged sense of Moore's position within the Gothic tradition, investigates surreal Englishness in The Bojeffries Saga, and discusses the doppelganger in Swamp Thing and From Hell. Radical environmental activism can be conceived as a Gothic politics invoking the malevolent spectre of a cataclysmic eco-apocalypse. The book presents Christian W. Schneider's treatment of the apocalyptic in Watchmen and a reassessment of the significance of liminality from the Gothic tradition in V for Vendetta. It explores the relationship between Moore's work and broader textual traditions, placing particular emphasis on the political and cultural significance of intertextual relationships and adaptations. A historically sensitive reading of From Hell connects Moore's concern with the urban environment to his engagement with a range of historical discourses. The book elucidates Moore's treatment of the superhero in relation to key Gothic novels such as The Castle of Otranto and presents an analysis of the nexus of group politics and survival in Watchmen. The book also engages in Moore's theories of art, magic, resurrections, and spirits in its discourse A Small Killing, A Disease of Language, and the Voice of the Fire. It also explores the insight that his adaptations of H.P. Lovecraft, which are laced with heterocosms and bricolage, can yield for broader understandings of his forays into the occult.
Heterocosms and bricolage in Moore’s recent reworkings of Lovecraft
Matthew J.A. Green
recite to make the thing fade away. Of course, one
can’t be sure, but we can always take a chance. H.P.
Lovecraft, ‘The Dunwich Horror’ 1
Might not the entire of Magic be described
as traffic between That Which Is and That Which Is Not;
between fact and fiction? If we are to speak of Magic as
‘The Art’, should we not also speak of Art
Nyarlathotep . H. P. Lovecraft.
Considering the immense impact of H.
P. Lovecraft’s stories on modern culture, it might seem at first
sight surprising how few of them have been filmed. Lovecraft wrote
around sixty stories and three novellas, but only ten of these have
served as the actual basis of feature films. Indeed, Dan O’Bannon
has called Lovecraft ‘an unconquered film category
Frankenstein meets H.P. Lovecraft’s ‘Herbert West – Reanimator’
Jeffrey Andrew Weinstock
? A similar set of questions underlies H.P. Lovecraft’s tongue-in-cheek twentieth-century reboot of Frankenstein , ‘Herbert West – Reanimator’.
Written in six parts and published serially from February through July of 1922 in the amateur publication Home Brew , ‘Herbert West’ – Lovecraft’s first professional fiction publication, for which he was paid the whopping sum of $5.00 per episode – tells the story of monomaniacal medical student Herbert West’s attempts to develop a chemical formula that will return life to the dead. Together with
Angela Carter’s re-writing women’s fatal scripts from Poe and
Desire, disgust and dead women
Desire, disgust and dead women:
Angela Carter’s re-writing women’s fatal
scripts from Poe and Lovecraft
ngela Carter’s writing is crucial to the rebirth of Gothic
horror in the late twentieth century, and an impetus to read, or
re-read, myth, fairy tale and the work of Edgar Allan Poe and H.P.
Lovecraft – each significant, acknowledged influences. Carter’s work
deconstructs the consistently replayed, cautionary narrative of myth
and fairy tale in which (mainly young) women are first represented
From its earliest days, horror film has turned to examples of the horror genre in fiction, such as the Victorian Gothic, for source material. The horror film has continually responded to cultural pressures and ideological processes that resulted in new, mutated forms of the genre. Adaptation in horror cinema is a useful point of departure for articulating numerous socio-cultural trends. Adaptation for the purposes of survival proves the impetus for many horror movie monsters. This book engages generic and thematic adaptations in horror cinema from a wide range of aesthetic, cultural, political and theoretical perspectives. These diverse approaches further evidence the horror genre's obsession with corporeal transformation and narratological re-articulation. Many horror films such as Thomas Edison's Frankenstein, John S. Robertson's Dr Jekyll and Mr Hyde, David Cronenberg'sVideodrome, Abel Ferrara's Body Snatchers, and Terence Fisher's The Gorgon are discussed in the book. The book sheds welcome light upon some of the more neglected horror films of cinema's first century, and interrogates the myriad alterations and re-envisionings filmmakers must negotiate as they transport tales of terror between very different modes of artistic expression. It extends the volume's examination of adaptation as both an aesthetic process and a thematic preoccupation by revealing the practice of self-reflexivity and addresses the remake as adaptation. The book analyses the visual anarchy of avant-garde works, deploys the psychoanalytic film theory to interpret how science and technology impact societal secularisation, and explores the experimental extremes of adaptation in horror film.
Mary Shelley’s Frankenstein is one of the most popular novels in western literature. It has been adapted and re-assembled in countless forms, from Hammer Horror films to young-adult books and bandes dessinées. Beginning with the idea of the ‘Frankenstein Complex’, this edited collection provides a series of creative readings that explore the elaborate intertextual networks that make up the novel’s remarkable afterlife. It broadens the scope of research on Frankenstein while deepening our understanding of a text that, 200 years after its original publication, continues to intrigue and terrify us in new and unexpected ways.
The Books of Blood and the transformation of the weird
the character. King is a comfortable
One major difference here is
that Hoppenstand places the blame of this ‘safe’ or
conservative mode of horror at the feet of H.P. Lovecraft, as the
early twentieth century's most influential horror author and,
through his ‘Supernatural Horror in Literature