Two thirds of the Facts Providence team – Alexx Kay and Joe Linton – will be talking about Providence this Saturday August 22 on Zoom. The free event Celebremos Juntos el Cumpleanos 130 de H.P. Lovecraft and is hosted by Latin American Lovecraft enthusiast group En la Noche de los Tiempos (The Shadow Out of Time.) Continue reading
Avatar Press recently announced a new edition of Neonomicon is due in stores on January 29, 2020. The hardcover $29.99 Neonomicon 10th Anniversary Edition is signed by artist Jacen Burrows and limited to just 500 copies. Read the full description at Previews World.
In another new Previews World listing (for Alan Moore’s Cinema Purgatorio box set), Avatar mentions “a new series on the horizon.” Though it is not entirely clear what this refers to, some Moore fans are speculating that it is Moore’s as-yet-unnamed Lovecraft project.
In a 2016 interview with Pádraig Ó Méalóid (see page 336 of Mud and Starlight ), Moore outlines the comics writing he plans to complete before retiring. He mentions that he has “around forty-eight pages for me to complete on another Avatar project, Lovecraft related.”Assuming that 48 pages is the whole project, it would likely equate to two 24-page issues.
In July 2019, Bleeding Cool mentioned that Moore “had written some other stories prior to this [Moore’s retirement from comics] that will be published in the near future.” Bleeding Cool is published by Avatar Press.
The story, as far we’ve tried to piece it together is that, apparently, Continue reading
Though Jacen Burrows is far and away the primary artist who created nearly all the visuals associated with Providence, a few others made worthwhile contributions. Colorist Juan Manuel Rodríguez played a huge role in making Burrows art come to life. Michael DiPascale worked with Burrows to paint Weird Pulp and Ghoul variant covers. Susanna Peretz, Mitch Jenkins, and others created the ghoul photograph at the end of Providence 7.
Facts in the Case of Alan Moore’s Providence recently interviewed Caceres Continue reading
In this week’s big exciting Providence news (sarcasm) issue #7‘s ghoul variant covers are now available for individual purchase. Prior to 2019, these had only ever been available in sets of four.
- Boyleston Street Subway Incident
- The Great Molasses Disaster
- Stolen Finery
- Miss Lowell is Buried in Copps Hill Burial Ground
These uncommon variants are limited to 1,000 copies each. Continue reading
In an email earlier today, Avatar Press shared photos of the collected hardcover Providence slipcase sets that many fans ordered as part of an April 2017 Kickstarter campaign. From the Avatar Press announcement:
…we will finally begin shipping end of March. The Slipcase Sets look lovely, and the ultra-thick board we used for them is very robust. However there was a shortage of that board that took a surprising amount of time to resolve. But you can see for yourself above, these are pictures of the production prototype unit, the first one all assembled with the final materials, for final size confirmation and proofing.
…We will get the slipcases delivered the week of March 19, and then it’s show time. We of course have a ton of these to pack, so please do be aware that it will be many, many weeks from the first set shipping to the final one out the door. Certainly all of April, and it could run well into May, before we are done, but there will be mountains of boxes going out every week and as you ship, you will get tracking emailed to you from Comic Cavalcade. Every single person will get confirmation as they ship. These are almost sold out, so zero copies will ever be offered to stores or Amazon, so no worries about it popping up somewhere else before you get your set!
If you were lucky enough to be one of several hundred Kickstarter patrons to purchase the new collected edition, look for your copy arriving as early as March 2018. Continue reading
This trade paperback of Dreadful Beauty: The Art of Providence is in stores this week. The 176-page art book features Jacen Burrows artwork from the extended Moore Lovecraft explorations – from Providence to Neonomicon, The Courtyard, and even Yuggoth Cultures. The book features all of Burrows’ covers, selected pages, and heretofore unpublished character studies.
The artwork is, of course, amazing: detailed, nuanced, and lush – with unerring attention to Lovecraft’s text and Lovecraft’s world.
Dreadful Beauty is all reproduced in black and white. Not to take away from Burrows, but this does, it its absence, draw some attention to the contribution of colorist Juan Manuel Rodríguez. Rodríguez’ colors complement Burrows lines, bringing Providence‘s 1919 world to life. Continue reading
With the release last week of the hardcover edition of Providence Act 3, any readers who were waiting can now read the full 12-issue series. Act 3 collects issues 9 through 12. The Jacen Burrows cover features Robert Black in front of a snowy Bryant Park exit chamber. The back cover image is from
As with Act 1 and Act 2, the Facts Providence team was eager to look through the new collection, and to see where we could spot differences from the individual issues. We had submitted our list of nitpicks to the publisher, Avatar Press. They corrected pretty much of all of the easily-fixed minor errors that we had pointed out. It appears that only the errors in the body of the comic have been updated, and none of the ones in the Commonplace Book back matter.
Below are some sample side-by-side comparisons: Continue reading
In October 2016, Alan Moore penned a new introduction to a high-end Lovecraft collection published by the Folio Society. The Call of Cthulhu & Other Weird Stories, edited by S. T. Joshi and illustrated by Dan Hillier, is available now. The collector’s edition costs a mere $125, with a 750-copy limited edition available for $575.
Below are a couple of excerpts from Moore’s 7-page introduction:
In my own case late childhood infatuation had, by my self-conscious middle teens, been tempered by increasing unease and abhorrence with regard to Lovecraft’s politics and many prejudices. Less defensibly, I had been cowed by the authoritative critical pronouncements of such disapproving commentators as both Wilsons – haughty Edmund and iconoclastic Colin – and in viewing Lovecraft through their unforgiving lens perceived him as merely a clumsy writer, burdening each clause with adjectives and archaisms, far too fond of indescribability, of final paragraphs delivered in a hyperventilating torrent of bug-eyed italics. Later, on the slopes of young adulthood and perhaps more confident in my opinions, I reread his storied and revised my view to one that once more favourable and more condescending. I saw Lovecraft now as a wild talent, one whose genius lay in transmitting his own sense of overwhelming cosmic terror to his audience despite his literary limitations. Not until embarking on a sixth decade that Lovecraft, for all his senescent affectations, would not reach did I revisit those steep lanes and jutting steeples, armed with vital insights gleaned from the continually expanding field of Lovecraft scholarship, only to find the fiercely individual and innovative prose stylist that I’d previously failed to see.
His general xenophobia was of course still present, along with his poorly reasoned and romantic veneration of the English aristocracy, but those could be viewed with greater understanding (albeir not greater sympathy) in the revealing context of his place and time and circumstances. Lovecraft’s supposed literary defects, on the other hand, turned out upon closer inspection either not to exist or to be misapprehended virtues. The most serious abuse of adjectives and repetition of last-paragraph italics are not in fact to be found in Lovecraft’s work but in that of his devotee and ‘posthumous collaborator’ August Derleth, who, while almost singlehandedly responsible for keeping his late mentor’s name alive, would with his clumsy ventriloquial interventions do much to delay his hero’s literary recognition, turning passing quirks into compulsive cliches. In Lovecraft’s own narratives the adjectives extended in pursuit of that which is beyond description ultimately stand exposed as an ingenious strategy disorienting and unsettling the reader by giving a list of entities that Great Cthulhu doesn’t much resemble, or declaring that the Colour out of Space is only a color ‘by analogy’. On examination, Lovecraft’s touted flaws seem instead to be careful tactical considerations.
The deployment of archaic vocabulary – Domdanie, nepenthe, eidolon and necrophagous, a sesquipedalian torrent – looks on second glance like an attempt to make the very medium that he expressed his stories through, the English language itself, into something creepy, unfamiliar and alienating.
This week Avatar Press released the first collected edition of Providence Act 2, which reprints Providence issues 5 through 8. The cover features Robert Black in front of the Witch House that featured prominently in issue #5. The back cover reprints a detail of Elspeth Wade from issue #6’s Women of HPL variant cover. The collected edition is currently only available in hardcover, for a $21.99 cover price. For covers and other details of collected editions, see this page.
As we did with the initial Act 1 collection, and as only hardcore Moore-Lovecraft nerds are wont, the Facts team looked over the new edition to see if we could find any differences from the individual comics that the hardback collects. Mostly we were looking to see if any of the minor errors that we had spotted (and recorded on our nitpicks page, and reported to Avatar Press) had been corrected.
Pretty much all of the easy to fix nitpicks have been corrected – though it appears that only the ones in the body of the comic have been updated, and none of the ones in the Commonplace Book.
See below for some side by side comparisons Continue reading
Many of you have recently expressed your appreciation for our hard work. That means a lot to me personally (Alexx), and I would do what I do without any other reward. That said…
I was last employed in 2013, and not likely to be employed again in the near-to-medium future (I am semi-disabled – too injured to work in my field, but too healthy to collect disability). I’m living off of ever-dwindling savings plus a small annuity left me by my late father.
I have a Patreon set up to help support my ongoing amateur scholarship (mostly annotating Alan Moore, recently – here and at websites for Cinema Purgatorio and Jerusalem). Of late, I’ve been collecting donations from it every other month. That might increase, but only if my productivity similarly increases. If some among you who are in better economic conditions could see fit to join, that would be most greatly appreciated. Alternatively, if you wanted to make a one-time gift, I have a Paypal account for donations at email@example.com.
Thanks for reading.