LOLThulhu
O R’lyeh? Iä, rly.
Tag: R’lyeh
In the hands of FATE
One of my works graces the cover of an American institution this month with the appearance of my HP Lovecraft portrait on the August issue of FATE magazine (volume 60, number 8, issue 688, if you must know). This is for an article about Lovecraft’s occult connections and I believe they’ve also used one of my views of R’lyeh for the article itself although I can’t confirm this just now.
This is the third time my work has appeared in FATE (like TIME, the magazine prefers to see its name in caps). The first occasion was for another Lovecraft feature about Cthulhu in (I think) 1999. Then in 2000 I was commissioned to produce the illustration above for an article on “sky predators” which led me to plunder once again Ernst Haeckel’s Art Forms in Nature, a wonderful book I’ve frequently swiped from when in need of organic weirdness.
A couple of years later this picture was featured in a Fox TV documentary of all things, part of a post X-Files series called Conspiracy Theory. The subject was “flying rods”, one of the less convincing manifestations of cryptozoological phenomena, and the program needed some antique pictures to back up their thin veneer of evidence. They rather scurrilously used my picture to illustrate flying rod history as though this was a Victorian illustration, not a piece of Photoshop work. Fox documentaries, like their news channel, seem to have a flexible approach to the truth.
Previously on { feuilleton }
• New things for June
• Le horreur cosmique
Cubist Cthulhu
Well maybe it isn’t, but the phrase occurred to me a few days ago so I thought I’d try some sketching and see what emerged. In one interpretation of The Call of Cthulhu it’s conceivable that Lovecraft intended his abomination to look like this, given the description of R’lyeh in the story:
Without knowing what Futurism is like, Johansen achieved something very close to it when he spoke of the city; for instead of describing any definite structure or building, he dwells only on broad impressions of vast angles and stone surfaces—surfaces too great to belong to anything right or proper for this earth, and impious with horrible images and hieroglyphs. I mention his talk about angles because it suggests something Wilcox had told me of his awful dreams. He said that the geometry of the dream-place he saw was abnormal, non-Euclidean, and loathsomely redolent of spheres and dimensions apart from ours. Now an unlettered seaman felt the same thing whilst gazing at the terrible reality.
An alien monstrosity might be even more terrifying if it didn’t resemble anything organic or remotely earthly. For a more traditional impression of the Spawn from the Stars, my drawing from The Great Old Ones can be found here.
Elsewhere on { feuilleton }
• The Lovecraft archive
Le horreur cosmique
I’ll be in Paris this week so some French-related postings are in order.
Michel Houellebecq’s HP Lovecraft: Against the World, Against Life (which I still haven’t read) has been in the news again recently, with a number of reviews appearing in UK newspapers and magazines, most of which present the by-now rather tired spectacle of reviewers who normally wouldn’t give any of this nasty pulp stuff a second thought having to take Lovecraft seriously because Houellebecq is a serious author. (“He’s a bad writer!” they bleat. And Lou Reed is a bad singer; you’re missing the point, you fools.) The Observer last week had one of the better ones. Last year the Guardian published an extract from Houellebecq’s book.
Curious how often it requires the French to make the Anglophone world look anew at marginalised elements of its own culture; Baudelaire championed Edgar Allan Poe, it was French film critics who gave us the term “film noir” when they identified a new strain of American cinema and the Nouvelle Vague writers and filmmakers were the first to treat Hitchcock as anything other than a superior entertainer. The French have always liked Lovecraft so it was no surprise to me at least when Houellebecq’s book appeared.
Oddly enough, the only association I’ve had so far with French publishing is the use of my 1999 picture of Cthulhu’s city, R’lyeh, on the cover of a reprint of HPL stories from Houellebecq’s publishing house (above). Something I’ll be looking for in Paris if I have the time will be more of Philippe Druillet‘s Lovecraft-inflected work. Druillet has been working with the imagery of cosmic horror since the late 60s and even illustrated the work of William Hope Hodgson, one of HPL’s influences and an English writer the broadsheet critics have yet to hear about. Take a look at these pictures for stories written before the First World War then go and look at some stills from the latest Pirates of the Caribbean movie. What was once the preserve of Weird Tales and other pulp magazines is now mainstream culture.
Previously on { feuilleton }
• Davy Jones
• Charles Méryon’s Paris
Arnold Böcklin and The Isle of the Dead
Another favourite painting for many years and Böcklin’s most well-known work.
Arnold Böcklin (1827–1901) produced several different versions of the painting. All versions depict an oarsman and a standing white-clad figure in a small boat crossing an expanse of dark water towards a rocky island. In the boat is an object usually taken to be a coffin. The white-clad figure is often taken to be Charon, and the water analogous to the Acheron. Böcklin himself provided neither public explanation as to the meaning of the painting nor the title, which was conferred upon it by the art dealer Fritz Gurlitt in 1883. The first version of the painting, which is currently at the Metropolitan Museum in New York City, was created in 1880 on a request by Marie Berna, whose husband had recently died.