On returning after a rousing weekend of friendship and frivolity, I began to harbour the uncomfortable suspicion that my efforts were not those of an editor, but of an unspooler. … Continue reading →
The contemporary cultural landscape is haunted by an entity that bears only a superficial resemblance to Howard Phillips Lovecraft. Decades after he died in poverty and obscurity, the Providence writer … Continue reading →
My name is, perhaps was, Thomas Arthur Cannon. Of that, I am almost certain. I have been in the employ of Upton Campbell, archivist and librarian of my Alma Mater, … Continue reading →
The communal play that defined the early growth of Lovecraft’s myth-cycle is often celebrated as a pioneering experiment in collaborative fiction. Yet, from a hauntological perspective, it represents the precise … Continue reading →
The internet is a funny old place. I don’t engage much these days. I blog elsewhere on WordPress and make the odd post here and there, but it’s very much … Continue reading →
If we apply the lens of psychogeography to Lovecraft’s Providence, we stop viewing the setting as mere backdrop for cosmic indifference and instead see the urban environment as an active … Continue reading →
I adore Godzilla films, whether the original Toho productions or the more recent Legendary Monsterverse incarnations. Especially Mothra who, along with the Groke, I see as my spirit animal. During … Continue reading →
The Case of Charles Dexter Ward offers the most coherent architecture of hauntological failure in the Lovecraftian canon. Ward is not a mere antiquarian; he is an agent of … Continue reading →
Providence is an series of essays that are nominally about HP Lovecraft. You find out why ‘nominally’ fits as the essays go on. This is the introduction essay. The rest … Continue reading →
The cultural artefact known as Scooby-Doo, Where Are You? represents a sustained and surprisingly rigorous interrogation of the late twentieth century landscape. To the casual observer, the first two … Continue reading →
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