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 →
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.
The Kickstarter campaign also has a dozen more variant covers for Providence #12, with previously unused art. There are options for inexpensive digital editions to very high-end editions signed by Moore and Burrows.
At the time of this posting, the campaign has already far surpassed its $8,300 goal, with more than $40,000 pledged. The high-end limited edition autographed, remarqued $599 package is already sold out, but there are still plenty of packages to choose from for the discerning Providence reader.
The penultimate issue of Providence came out yesterday, and it is a reference-packed tour de force taking the narrative from Black’s 1919 to the present day. Eagle-eyed readers can spot “The Dunwich Horror,” “The Horror at Red Hook,” “The Shadow Over Innsmouth,” “The Thing at the Doorstep”, Robert E. Howard, William Burroughs, Clark Ashton Smith and much, much more. There are also plenty of ties to Moore and Burrows’ The Courtyard and Neonomicon.
The Facts Providence team has first-run-through Providence #11 annotations up. Site authors and readers will continue to review, update and add details. Look them over and let us know if there are things we got wrong or missed.
Excitement abounds for we enthusiasts of Alan Moore, HP Lovecraft and Weird Fiction, as the crashing denouement to Providence looms overhead. Considering that the exact release date for Providence #11, let alone #12, is aptly unknowable, now is the prime time for speculation. Such speculation should not, of course, be limited merely to theorizing on what happens next, but could also stretch to the overall motives and meanings behind the series, and how that might predict what happens next.
This can be logical and precise, based on the evidence presented; those of us eagle-eyed readers, for instance, had by the release issue #3 or #4 realized that Prof. Alvarez’s comparison of Robert Black with that other Herald reporter who found Dr. Livingstone was subtly foreshadowing Black’s inevitable encounter with Howard Phillips Lovecraft. Equally, it is also possible that such theories become outlandish, echoing the excesses of 9/11 truthers in their drawing together of thick black lines between distant, disparate dots. Or, rarely, there might be a happy medium between the two.
I put it to you, fellow readers: Providence isn’t just about Lovecraft, his fiction, its meanings and its impact. It’s also a riposte to True Detective Season 1.
There is an excellent two-part interview with Alan Moore up at the Someone Who Isn’t Me podcast hosted by Daniel P. Carter. Alan Moore completists will be interested in listening to the entire interview: part 1 and part 2. Moore discusses consciousness, Jerusalem, magic, the Northhampton Arts Lab and much more. It includes quite a bit on H.P. Lovecraft, and even a reveal of some of what is in Providence #11.
In part 1 (minute 34:15) Moore describes the leap from pre-linguistic awareness into modern human consciousness, which he calls “the entire haunted palace” echoing the Edgar Allen Poe story The Haunted Palace which lends its title to Providence #10.
In part 2 (starting at minute 43:35) Moore speaks at length about Lovecraft, and offhandedly reveals something about Providence #11. Below is a partial transcript:
Carter: I’m going through Providence at the moment. It’s made me go back and read Lovecraft again, which I hadn’t done. I got into his work when I was really young – just in really silly ways as well. I’d found out about him through liking Metallica. They have a couple of songs: The Call of Cthulhu and The Thing That Should Not Be. Also through the role-playing game. Then started reading his work. I only read The Courtyard and Neonomicon fairly recently, after getting into Providence. It started making me look into other things like Kenneth Grant saying the idea that there was some kind of link between Lovecraft –
Moore: That Lovecraft is intuiting something –
Yeah. Which is essentially going back to something we said initially about how art is created. Where does art come from? Where does writing come from.
It’s a valid idea, I guess. It’s just that Lovecraft was such a fierce rationalist. Now I know Kenneth Grant gets around that by saying “ah – he didn’t know that he was channeling these things that are real.”
I think it’s more complex than that. The thing is Lovecraft came up with all these things purely out of his own imagination. They had enormous resonance because Lovecraft was almost an unbearably sensitive barometer of, what I suppose you might call American dread.
He was frightened about everything. He was awkward with women. He was frightened of immigrants – or despised them – if there’s any difference; but also, other than these average middle class fears of his time, Lovecraft was reading science magazines, and he understood the revolution that was going on in science: how Einstein had practically undone the whole of humanity’s conception of where it stood in the universe. And had re-written a lot of the basic rules of the universe.
I think Lovecraft was initially horrified by Einstein, but then came to absorb his theories and probably to understand them. It seems that he has understood and he’s taken them on board. So what Lovecraft’s fiction was reflecting was that we existed in a hostile random universe – well, not so much hostile but completely oblivious. A universe so vast that we were reduced to the tiniest, most insignificant speck – in a remote corner of this infinite blackness. Continue reading →
Guillermo Del Toro is, of course, the director of numerous fantastic and horrific films. He is also big fan of both H.P. Lovecraft and of comics.
The exhibition displays visual art, sculpture, films, props, comics and other objects, primarily from Del Toro’s personal collection. This is topped off by some similarly-themed artwork from the museum’s collections.
I did not expect to see any Alan Moore, but, among a lot of original comics art, there are two framed From Hell pages, but Alan Moore and Eddie Campbell. Continue reading →