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Tentaclii

~ News and scholarship on H.P. Lovecraft (1890–1937)

Tentaclii

Monthly Archives: November 2021

Visiting the aunties, Northumberland and Wales

11 Thursday Nov 2021

Posted by asdjfdlkf in Historical context

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A new post on Deep Cuts goes in search of Lovecraft’s Other Aunts and Great-Aunts.

I took the opportunity to step back a bit from the aunts to their mother — H.P. Lovecraft’s grandmother. This proved somewhat interesting. Lovecraft once wrote to Moe…

“[In my family tree there is] a knight (Sir Lancelot Allgood of Nunwick) [who I have as one of] my great-great-great-grandfathers” (Selected Letters III)

This was via Helen Allgood (1820–1881), Lovecraft’s paternal grandmother (married 1839). She evidently derived from the Allgood family in Northumberland, in the far north of England. Lovecraft later corresponded with her sister from circa 1905, on the family history she had been researching. Lovecraft learned that Helen and her sister were… “of the [Allgood] line of Nunwick, near Hexham, Northumberland”.

Landed Families of Britain and Ireland now has a long 2014 research article on “Allgood of Nunwick Hall and The Hermitage”, with evocative pictures and several pertinent items. Although Lovecraft’s grandmother does not appear to have been in the central line of Allgood descent, there is no reason (that I know of) to doubt that she was not somehow ‘of that family’ and that her line had originated near Hexham. Lovecraft might then have been delighted to learn he was related by very distant and disreputable blood to a leading 18th century writer, albeit a cookery-book writer. Landed Families explains…

Lancelot Allgood (1711-82) … established the Allgoods as one of the leading gentry families in the county. His father, who died in 1725, seems to have lived a life of some dissipation with a wife and son in Northumberland and a mistress and family in London. The only survivor of his illegitimate children was in fact the cookery writer, Hannah Glasse, whose The Art of Cookery was the most successful cookery book of the 18th century.

Sir Lancelot Allgood was indeed a Knight, as Lovecraft stated. Also a Member of Parliament, and the nominal High Sheriff of Northumberland. He could trace his family line back some 400 years to Devonshire. Lovecraft evidently knew something of him and his roles, since in a letter he noted…

the head of the Allgood house in Northumberland seems always to be High-Sheriff of the County, even to this day; a sort of hereditary manorial appurtenance” (Selected Letters II)

He, like Lovecraft, was also enjoyed wide views of a wild landscape made settled and mellowed by hard work. Again, Landed Families explains…

In 1769 it was said that “Sir Lancelot has given a new face, as it were, to the country about Nunwick, within the space of a very few years, by making plantations, enclosures and good roads”, and nearer the house he laid out gardens: “a grove to the west, a grass-lawn to the south, and a terraced gravel-walk to the east, which commands a view to Chipchase at one end, and a variety of prospects on the other.”

What was the connection, exactly? Lovecraft explains it in a letter to Barlow (O Fortunate Floridian). As he understood it in 1934, a William Allgood of Nunwick married Rachel Morris in 1817…

and became the father of Helen (Allgood) Lovecraft, my father’s mother.

And also of her surviving sister Sarah, a great-aunt whom Lovecraft had corresponded circa 1905. Both were, as the “Lovecraft Family in America” page at hplovecraft.com states…

daughter[s] of William Allgood (1787–1848) and Rachel (Morris) Allgood (1796–1843), both natives of Wales.

So, that’s interesting, if their birthplaces rather than residency can be shown to be Wales. I suspect the latter. My guess here is then… ‘of the line of Hexham’ that went back to Sir Lancelot Allgood, but… moved to Wales just before economic hard-times of “the hungry ’20s” set in? According to Ancestry “Wales” is indeed the given 1820* birthplace of their first child Helen Adelia Allgood (1820-1881), presumably identical with Lovecraft’s grandmother. But of her father and mother no birthplace is stated.

What place in Wales was she born, exactly? That appears to be currently unknown, perhaps unrecoverable. The British Census did not start recording names etc until 1841.

Though there were evidently many Allgoods at Pontypool in the far south of the Welsh Marches, where they were well-known makers of exquisite and well-regarded ‘Japanned’ lacquered boxes and the like. They even had a William Allgood who threw up this business and emigrated to America in 1822 to establish himself in the grocery trade. The town nestled in the hills some miles back from the great sea-port of Cardiff — perhaps a cheap port from which to embark for a new life in what was then still a rough-tough gun-slinging America.

Whatever the apparent location in Wales in the early 1820s actually was, Lovecraft is certain that ‘his’ William Allgood and family were established in America by 1829…

The only duel I know of in my own family was fought by my great-grandfather William Allgood (a native of Northumberland, England) in 1829 in the country near Rochester, N.Y., over animosities bequeathed by the War of 1812. Slight bullet-wounds to both participants formed the only results…” (Selected Letters IV).

I could be wrong, and I don’t have all the relevant books and articles, but if the Wales identification is correct then my hypothesis would thus be:

- William came-of-age at 21 circa 1808 in Northumberland;

- in 1817, at age 30, he had been successful enough in life to marry 21 year-old bride Rachel, seemingly also of Northumberland and of good stock;

- the couple were resident in Wales by 1820/21, where their first daughter was born among Allgood relatives;

- as the ‘hungry 1820s’ bit and the local trade failed, they anticipating a move to America from a nearby Welsh port;

- the growing family were in America circa the mid 1820s, and certainly by 1828.


* Some sources say 1821. It was then a common practice to record the birth certificate later than the actual birth, which may explain the discrepancy.

“Some were the figures of well-known myth…”

10 Wednesday Nov 2021

Posted by asdjfdlkf in Lovecraftian arts

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A peek into the 1980 Necronomicon Press Lovecraft Paper Cut-Outs packet, currently on eBay…

A snippet from an old Fantasy Newsletter assures that there are not more figures un-photographed by the seller…

includes paper cut-outs of HPL, his desk, and five of his contemporaries

Abe picks

09 Tuesday Nov 2021

Posted by asdjfdlkf in Odd scratchings

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Currently on Abe, albeit at large prices.

1. HPL (1937)…

Eight poems by Lovecraft … Twenty-five copies were printed and given free to whoever paid a year’s subscription of 25¢ to Stickney’s AMATEUR CORRESPONDENT

2. Hail, Klarkash-ton! : Being Nine Missives Inscribed Upon Postcards by H.P. Lovecraft to Clark Ashton Smith (1971)

I presume these are now published in the Lovecraft-Smith letters.

Felis Futura

09 Tuesday Nov 2021

Posted by asdjfdlkf in Kittee Tuesday, Lovecraftian arts

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I don’t normally feature the ever-present fiction anthologies or their calls, but Felis Futura: An Anthology of Future Cats fluffed my tail when I read about it. It also seems to have Lovecraftian potential. The anthologist are seeking b&w art as well as stories…

Stories, poetry, and visual art about the future which feature cats. The interior of the book will contain B&W illustrations. Payment: $10 per accepted poem, 1c/word ($5 minimum) for accepted fiction ($15 per page for graphic narrative fiction), $20 per accepted piece of non-narrative internal visual art $100 (negotiable) for the cover illustration. Deadline: 31st December 2021.

Submit to Felis Futura, with publication mooted for Spring/Summer 2023.


Also rather amusing, Carry On, Cthulhu!. A comic as-if presenting a lost film script in the much-loved Carry On feature-film comedy series, that ran from the late-1950s into the mid-1970s. Recently crowd-funded.

Forgotten Futures: an Aerial Board of Control RPG

08 Monday Nov 2021

Posted by asdjfdlkf in Odd scratchings, Podcasts etc.

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Further to my interest in Kipling’s A.B.C. universe I’ve now found an Aerial Board of Control RPG from 1993 (revised 1998), set in the alternative world of his “Night Mail” future airship semi-utopia. It’s now free online as Forgotten Futures I: The A.B.C. Files and weighs in at 52,000 words. Also the core Forgotten Futures rulebook, and other similar source books from which to mix and match ideas are to be found here. Useful for writers wanting to write in the A.B.C. universe as well, I’d suggest, what with history, timelines and character generator sheets and all. Author Mark Rowland welcomes PayPal donations.

He had previous done RPGs such as Call of Cthulhu: Nightmare In Norway, which appear to feature trolls that turn out to be a cross between the Martense clan in “The Lurking Fear” and Wells’s Morlocks. His Forgotten Futures series appears to be well-regarded by the RPG crowd and was covered this summer by the 40-minute podcast The GROGNARD Files…

Marcus L Rowland take us on a tour on his works, and the ways that it has been distributed during its years of production.

As Easy as A.B.C

08 Monday Nov 2021

Posted by asdjfdlkf in Historical context, Scholarly works

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Following my recent post on Kipling’s classic early science-fiction “With the Night Mail: A Story of 2000 A.D.” (1905, written 1904) I was pleased to find the sequel on YouTube: “As Easy as A.B.C: A Tale of 2150 A.D.” (1912 two-part serial, written circa 1907, in book form 1917). Comparing the two titles might make you think the sequel moves ahead by 150 years. It did, at least for the serial magazine publication. But as the authoritative Kipling Society says, Kipling later rolled the date back to 2065.

The year 2000 is an orderly world of high-technology, in which the British Empire appears to have been untroubled by either world war. The Empire has imperceptibly shrunk and morphed into the relatively light-touch global Aerial Board of Control (A.B.C.). A sort of ‘Commonwealth of the Air’, melded with a global Post Office and Merchant Shipping Service and in efficient charge of the world’s commerce and communications.

Heinlein is said to have been strongly influenced by the overall style of the first story, which was a huge ‘hard sci-fi’ breakthrough for its time. This second story is less serious in tone, probably Kipling’s wise choice. The wry humour sweetens the digestion of a clutch of grim themes.

[Spoilers follow]

By 2065 the A.B.C. has become a no-nonsense world government of-a-kind, with a garden-city London as the capital. It is efficient and incorruptible, partly because a kind of libertarian affluence is now ubiquitous and no-one can be bothered by such hard work. Human “executive capacity” has anyway become so hard to find, in a world in which a plague has reduced the global population to some 500 million, that the A.B.C could not rule the world even if they wanted to. The supine 1920s League of Nations or aggressive 1930s Axis it is not, and the A.B.C. ably services a world in which a plague has caused people to become nomadic and extremely averse to crowds and public touching, and to largely live very private and isolated lives. Under the benign oversight of the A.B.C. the world’s people can seemingly go anywhere they like, affluent and seasonally flitting from place to place in their fliers in search of privacy. Robot-like machines work the farm fields. So long as they do not interfere with commerce or the food supply or badger their neighbours, the tall and long-lived people of the time seem free to go live where they want. Think wild camping, gone high-tech glamping with airships, and with healthy ‘social distancing’ enforced by genetically-engineered screens of super-fast growing trees.

There are of course a tiny number of remaining anti-civilisation luddites, short and aged-looking and emotion-fuelled. Their cult-like groups flare up rarely in places such as the re-forested farming backwater of Chicago, where they aggressively agitate for the old ways and annoy the hell out of normal people. They can sometimes be reasoned out of their madness (as Russia tries to do), or can be persuaded to go about their amusingly primitive ways in a quasi-zoo akin to our ‘living museum’ format.

In terms of the technology Kipling’s ideas about a future ‘world-government based on airpower’ would become a commonplace by the 1930s (the later Wells, etc). Kipling’s original airship utopia had already gone beyond such things (“war went out of fashion”), though a small airship fleet armed with crowd pacifier-rays and sonic-stunners is maintained in case of need.

The talk of “plague” in the second tale throws a rather ghoulish back-light on the ‘isolated Greenland sanitariums’ of the first tale, and perhaps tells us why the airship crew solemnly ‘doffed their caps’ as the hospital ship passed in the dawn. In the second tale there are hints that the plague was linked to a tuberculosis that had developed in the abhorred “crowds” of the old world, who had once engaged in endless “talking” and “touching” due to their “settled living” in one place. There are hints that the Aerial Board of Control’s real problems for the post-2065 future will arise from other factors. The dwindling world birthrates in a post-plague world. The ennui and growing lack of curiosity among small-enclave populations, most still living in a plague-defence mindset. The obsessive yearning for privacy in a world of ubiquitous communication and open travel. It all sounds rather familiar.

Though it should be said that there is one strong hint that the birthrate problem will have a technological solution, so this is not a doomed ‘Radium Age’ civilisation, just one with its own interlocking set of problems to solve. Kipling seems there to be setting himself up for a third story. Yet he wrote no other A.B.C. tales, and not a single later author appears to have adopted Kipling’s Aerial Board of Control universe.

Anyway, I was pleased to find “A.B.C.” available on YouTube. Several other YouTubers have it but in a rather poor bathtub Librivox recording. Here is my AIMP player preset, which removes some sibilance and makes the reading more creamy…

For those wanting a text to work from for their own audio production, note that The SF Encyclopedia warns that “Night Mail” is presented “incomplete” in the volume Kipling’s Science Fiction (Tor, 1992), though doesn’t state why or what was cut.

For those wanting the original art, Marcus L. Rowland’s free PDF edition of both tales collects the various original illustrations/paintings and also has the original surrounding…

weather advisories, classified advertisements, shipping notices, and a wide range of other snippets, intended to suggest that the tale was in fact appearing in a magazine published in 2000.

Some of these are delightfully humorous and also informative, so don’t skip them in the audiobook.

DAW at 50

08 Monday Nov 2021

Posted by asdjfdlkf in Historical context, Scholarly works

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Deuce Richardson celebrates “The Fiftieth Anniversary of DAW Books” and the role of Donald A. Wollheim therein.

For about fifteen years—under Wollheim’s firm guidance — there was an SFF golden age at DAW Books that may never be equalled.

I certainly have fond memories of several of them, though I seem to recall that relatively few made it to the UK other than on the used bookstalls. I’m uncertain if they were ever distributed new on the spinner-racks, over here. Other than in the UK’s rare specialist sci-fi shops and the dealer tables at 1980s conventions. Now there’s a topic for a fannish dissertation if someone is looking for such, Perhaps titled: Laser Focus: how British literary sci-fi fans built collections and developed tastes in the 1970s and 80s.

For those who can afford to collect DAW, rather than just pick up a couple of fondly remembered titles again, there’s a Starmont book which comprehensively covers the period, Future and Fantastic Worlds : A Bibliographical Retrospective of DAW Books (1972-1987) by Sheldon Jaffery. Not on Archive.org.

Gawd, look at those dates though. Actually they help me get into the world of Lovecraft a bit, in that (by comparison with the 2020s), those still living in Lovecraft’s 1920s could easily recall how things were in the 1870s and 80s. Much as many can today. Such drifting-away eras and their worldviews must have still been mentally and emotionally close to many oldsters in 1920s and even into the 1930s.

The Rainbow, Vol. 2 No. II

07 Sunday Nov 2021

Posted by asdjfdlkf in Historical context

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Sonia’s amateur journalism The Rainbow, Vol. 2 No. II (1922), now on Archive.org as an excellent scan. With fine pictures of Mrs. Miniter, Morton, Loveman, Lilian Middleton (S. Lilian McMullen), and a picture of a young Moe that I had never seen before. Plus “Celephias” by one H.P. Lovecraft.

No. 1 was reprinted as a facsimile, but No. 2 has never been widely available until now.

Deep Cuts has a new long post on The Rainbow.

Munsey’s Magazine, 1891-1929

07 Sunday Nov 2021

Posted by asdjfdlkf in Historical context

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Currently being uploaded to Archive.org from microfilm, Munsey’s Magazine 1891-1929. Not fully loaded yet, it seems, but what there is has been made usefully keyword searchable at the text level.

On its connection with and influence on Lovecraft, Joshi’s I Am Providence has…

One specific type of fiction we know he read in great quantities was the early pulp magazines. … As avid a dime novel reader as Lovecraft appears to have been, it is in no way surprising that he would ultimately find the Munsey magazines a compelling if guilty pleasure. What he did not know at the time was that they would radically transform his life and his career — largely, but not uniformly, for the better. There is no evidence of how long Lovecraft had read Munsey’s prior to the October 1903 issue (which, as with most popular magazines, was on the stands well before the cover date), nor how long he continued to read it.

Joshi explores this further in his essay “Lovecraft and the Munsey Magazines” (in Primal Sources and also the latest collection of Joshi’s essays on Lovecraft).

The first editor of Weird Tales had published many tales in Munsey’s. The magazine published Sax Rohmer in 1923, and was evidently publishing strange stories well into the 1920s…

Lovecraft’s local friend and collaborator C. M. Eddy found it a market…

He began his career writing short stories for a broad range of pulp fiction magazines such as … Munsey’s Magazine

Indeed, in 1923 Lovecraft had tried to break into Munsey’s. Most likely the target was their Argosy All-Story, but presumably the Manager Editor could have placed it in Munsey’s itself if he had a mind. Lovecraft had not yet established himself with Weird Tales and the tale was sent to Munsey’s at Eddy’s insistence…

It will interest you to observe the professional rejection of this piece [“The Rats in the Walls”] by R. H. Davis, Esq. of the Munsey Co., to whom I sent it at the insistence of my adopted son Eddy.” (8th November 1923, to Long)

One wonders what the thinking was here. The All-Story had sentimental value for Lovecraft, and also a wider circulation that would have some impact locally. But at the same time, to ‘land’ there would have then put him in a better bargaining position with Weird Tales, once (as Eddy probably anticipated) he quickly became a regular with WT.

New book set: Robert H. Waugh Library of Lovecraftian Criticism

06 Saturday Nov 2021

Posted by asdjfdlkf in New books, Scholarly works

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The Robert H. Waugh Library of Lovecraftian Criticism, newly announced in three volumes at Hippocampus.

I’m fairly sure the first two have already been published, though not in this handsome three-volume shelf-trembler set. The third book appears to be new for 2021…

This third volume of his essays continues the pattern of his earlier books, The Monster in the Mirror and A Monster of Voices. Here we have studies of Lovecraft’s use of the imagery of wells in “The Colour out of Space”; the cosmic history of alien species in At the Mountains of Madness and “The Shadow out of Time”; the role that the fictional Miskatonic University plays in Lovecraft’s fiction; and the influence of Sir Arthur Conan Doyle on several Lovecraft tales. Other essays discuss Lovecraft’s influence on such science fiction writers as Arthur C. Clarke, Fritz Leiber, and Philip K. Dick, as well as such understudied tales as “Cool Air” and The Dream-Quest of Unknown Kadath. And Waugh’s long rumination about Lovecraft’s response to the Nobel Prize winners of his day displays to the full the author’s wide-ranging expertise on world literature.

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