Calling Cthulhu

Pretty Hot weekend all around… I actually slept last night, which was a miracle. Maybe we will be back on track…

Nice weekend on the social side, one of many going away parties for our friends Randy and Deda… Tom and Cheryl came by Sunday. Walking in the heat with Sophie off her lead. (she is very proud of the fact it seems) saying hello to the neighbors.

Blessed by living in Portland. Great place, wonderful community. Everyone seems to know you or someone who you know. It makes being here even better.

Well, back on track this week I hope. We start out featuring Erik Davis’s work on Cthulhu. I admire his writing abilities. A very sharp cookie.

I am trying to get permission to put up some of Jay Kinneys work as well. We’ll see.

On The Menu:

The Links

Article: Calling Cthulhu / by Erik Davis

Songs From A Room: The Lyrical Poetry of Leonard Cohen (We will always re-visit the masters…)

Have a Beautiful Day, wherever you are.




Spiders on Drugs…

Maverick medic reveals details of baby cloning experiment

The Light Pours Out Of Me…


Calling Cthulhu Part 1 – Erik Davis

H.P. Lovecraft’s Magick Realism

In this book it is spoken of…Spirits and Conjurations; of Gods, Spheres, Planes and many other things which may or may not exist. It is immaterial whether they exist or not. By doing certain things certain results follow.

—Aleister Crowley

Consumed by cancer in 1937 at the age of 46, the last scion of a faded aristocratic New England family, the horror writer Howard Phillips Lovecraft left one of America’s most curious literary legacies. The bulk of his short stories appeared in Weird Tales, a pulp magazine devoted to the supernatural. But within these modest confines, Lovecraft brought dark fantasy screaming into the 20th century, taking the genre, almost literally, into a new dimension.

Nowhere is this more evident than in the loosely linked cycle of stories known as the Cthulhu Mythos. Named for a tentacled alien monster who waits dreaming beneath the sea in the sunken city of R’lyeh, the Mythos encompasses the cosmic career of a variety of gruesome extraterrestrial entities that include Yog-Sothoth, Nyarlathotep, and the blind idiot god Azathoth, who sprawls at the center of Ultimate Chaos, “encircled by his flopping horde of mindless and amorphous dancers, and lulled by the thin monotonous piping of a demonic flute held in nameless paws.”Lurking on the margins of our space-time continuum, this merry crew of Outer Gods and Great Old Ones are now attempting to invade our world through science and dream and horrid rites.

As a marginally popular writer working in the literary equivalent of the gutter, Lovecraft received no serious attention during his lifetime. But while most 1930s pulp fiction is nearly unreadable today, Lovecraft continues to attract attention. In France and Japan, his tales of cosmic fungi, degenerate cults and seriously bad dreams are recognized as works of bent genius, and the celebrated French philosophers Gilles Deleuze and Felix Guattari praise his radical embrace of multiplicity in their magnum opus A Thousand Plateaus. On Anglo-American turf, a passionate cabal of critics fill journals like Lovecraft Studies and Crypt of Cthulhu with their almost talmudic research. Meanwhile both hacks and gifted disciples continue to craft stories that elaborate the Cthulhu Mythos. There’s even a Lovecraft convention—the NecronomiCon, named for the most famous of his forbidden grimoires. Like the gnostic science fiction writer Philip K. Dick, H.P. Lovecraft is the epitome of a cult author.

The word “fan” comes from fanaticus, an ancient term for a temple devotee, and Lovecraft fans exhibit the unflagging devotion, fetishism and sectarian debates that have characterized popular religious cults throughout the ages. But Lovecraft’s “cult” status has a curiously literal dimension. Many magicians and occultists have taken up his Mythos as source material for their practice. Drawn from the darker regions of the esoteric counterculture—Thelema and Satanism and Chaos magic—these Lovecraftian mages actively seek to generate the terrifying and atavistic encounters that Lovecraft’s protagonists stumble into compulsively, blindly or against their will.

Secondary occult sources for Lovecraftian magic include three different “fake” editions of the Necronomicon, a few rites included in Anton LaVey’s The Satanic Rituals, and a number of works by the loopy British Thelemite Kenneth Grant. Besides Grant’s Typhonian O.T.O. and the Temple of Set’s Order of the Trapezoid, magical sects that tap the Cthulhu current have included the Esoteric Order of Dagon, the Bate Cabal, Michael Bertiaux’s Lovecraftian Coven, and a Starry Wisdom group in Florida, named after the nineteenth-century sect featured in Lovecraft’s “Haunter of the Dark.” Solo chaos mages fill out the ranks, cobbling together Lovecraftian arcana on the Internet or freely sampling the Mythos in their chthonic, open-ended (anti-) workings.

This phenomenon is made all the more intriguing by the fact that Lovecraft himself was a “mechanistic materialist” philosophically opposed to spirituality and magic of any kind. Accounting for this discrepancy is only one of many curious problems raised by the apparent power of Lovecraftian magic. Why and how do these pulp visions “work”? What constitutes the “authentic” occult? How does magic relate to the tension between fact and fable? As I hope to show, Lovecraftian magic is not a pop hallucination but an imaginative and coherent “reading” set in motion by the dynamics of Lovecraft’s own texts, a set of thematic, stylistic, and intertextual strategies which constitute what I call Lovecraft’s Magick Realism.

Magical realism already denotes a strain of Latin American fiction—exemplified by Borges, Gabriel Garcia Marquez, and Isabel Allende—in which a fantastic dreamlike logic melds seamlessly and delightfully with the rhythms of the everyday. Lovecraft’s Magick Realism is far more dark and convulsive, as ancient and amoral forces violently puncture the realistic surface of his tales. Lovecraft constructs and then collapses a number of intense polarities—between realism and fantasy, book and dream, reason and its chaotic Other. By playing out these tensions in his writing, Lovecraft also reflects the transformations that darkside occultism has undergone as it confronts modernity in such forms as psychology, quantum physics, and the existential groundlessness of being. And by embedding all this in an intertextual Mythos of profound depth, he draws the reader into the chaos that lies “between the worlds” of magick and reality.

A Pulp Poe

Written mostly in the 1920s and ’30s, Lovecraft’s work builds a somewhat rickety bridge between the florid decadence of fin de si`ecle fantasy and the more “rational” demands of the new century’s science fiction. His early writing is gaudy Gothic pastiche, but in his mature Chtulhu tales, Lovecraft adopts a pseudodocumentary style that utilizes the language of journalism, scholarship, and science to construct a realistic and measured prose voice which then explodes into feverish, adjectival horror. Some find Lovecraft’s intensity atrocious—not everyone can enjoy a writer capable of comparing a strange light to “a glutted swarm of corpse-fed fireflies dancing hellish sarabands over an accursed marsh.”

But in terms of horror, Lovecraft delivers. His protagonist is usually a reclusive bookish type, a scholar or artist who is or is known to the first-person narrator. Stumbling onto odd coincidences or beset with strange dreams, his intellectual curiosity drives him to pore through forbidden books or local folklore, his empirical turn of mind blinding him to the nightmarish scenario that the reader can see slowly building up around him. When the Mythos finally breaks through, it often shatters him, even though the invasion is generally more cognitive than physical.

By endlessly playing out a shared collection of images and tropes, genres like weird fiction also generate a collective resonance that can seem both “archetypal” and cliched. Though Lovecraft broke with classic fantasy, he gave his Mythos density and depth by building a shared world to house his disparate tales. The Mythos stories all share a liminal map that weaves fictional places like Arkham, Dunwich, and Miskatonic University into the New England landscape; they also refer to a common body of entities and forbidden books. A relatively common feature in fantasy fiction, these metafictional techniques create the sense that Lovecraft’s Mythos lies beyond each individual tales, hovering in a dimension halfway between fantasy and the real.

Lovecraft did not just tell tales—he built a world. It’s no accident that one of the more successful role-playing games to follow in the heels of Dungeons & Dragons takes place in “Lovecraft Country.” Most role-playing adventure games build their worlds inside highly codified “mythic” spaces of the collective imagination (heroic fantasy, cyberpunk, vampire Paris, Arthur’s Britain). The game Call of Cthulhu takes place in Lovecraft’s 1920s America, where players become “investigators” who track down dark rumors or heinous occult crimes that gradually open up the reality of the monsters. Call of Cthulhu is an unusually dark game; the best investigators can do is to retain sanity and stave off the monsters’ eventual apocalyptic triumph. In many ways Call of Cthulhu “works” because of the considerable density of Lovecraft’s original Mythos, a density which the game itself also contributes to.

Lovecraft himself “collectivized” and deepened his Mythos by encouraging his friends to write stories that take place within it. Writers like Clark Ashton Smith, Robert Howard, and a young Robert Bloch complied. After Lovecraft’s death, August Derleth carried on this tradition with great devotion, and today, dozens continue to write Lovecraftian tales.

With some notable exceptions, most of these writers mangle the Myth, often by detailing horrors the master wisely left shrouded in ambiguous gloom. The exact delineations of Lovecraft’s cosmic cast and timeline remain murky even after a great deal of close-reading and cross-referencing. But in the hands of the Catholic Derleth, the extraterrestrial Great Old Ones become elemental demons defeated by the “good” Elder Gods. Forcing Lovecraft’s cosmic and fundamentally amoral pantheon into a traditional religious framework, Derleth committed an error at once imaginative and interpretive. For despite the diabolical aura of his creatures, Lovecraft generates much of his power by stepping beyond good and evil.

The Horror of Reason

For the most part Lovecraft abandoned the supernatural and religious underpinnings of the classic supernatural tale, turning instead looked towards science to provide frameworks for horror. Calling Lovecraft the “Copernicus of the horror tale,” the fantasy writer Fritz Leiber Jr. wrote that Lovecraft was the first fantasist who “firmly attached the emotion of spectral dread to such concepts as outer space, the rim of the cosmos, alien beings, unsuspected dimensions, and the conceivable universes lying outside our own spacetime continuum.” As Lovecraft himself put it in a letter, “The time has come when the normal revolt against time, space, and matter must assume a form not overtly incompatible with what is known of reality—when it must be gratified by images forming supplements rather than contradictions of the visible and measurable universe.”

For Lovecraft, it is not the sleep of reason that breeds monsters, but reason with its eyes agog. By fusing cutting-edge science with archaic material, Lovecraft creates a twisted materialism in which scientific “progress” returns us to the atavistic abyss, and hard-nosed research revives the factual basis of forgotten and discarded myths. Hence Lovecraft’s obsession with archeology; the digs which unearth alien artifacts and bizarrely angled cities are simultaneously historical and imaginal. In 1930 story “The Whisperer in Darkness,” Lovecraft identifies the planet Yuggoth (from which the fungoid Mi-Go launch their clandestine invasions of Earth) with the newly-discovered planet called Pluto. To the 1930 reader—probably the kind of person who would thrill to popular accounts of C.W. Thompson’s discovery of the ninth planet that very year—this factual reference “opens up” Lovecraft’s fiction into a real world that is itself opening up to the limitless cosmos.

Lovecraft’s most self-conscious, if somewhat strained, fusion of occult folklore and weird science occurs in the 1932 story “The Dreams of the Witch-House.” The demonic characters that the folklorist Walter Gilman first glimpses in his nightmares are stock ghoulies: the evil witch crone Keziah Mason, her familiar spirit Brown Jenkin, and a “Black Man” who is perhaps Lovecraft’s most unambiguously Satanic figure. These figures eventually invade the real space of Gilman’s curiously angled room. But Gilman is also a student of quantum physics, Riemann spaces and non-Euclidian mathematics, and his dreams are almost psychedelic manifestations of his abstract knowledge. Within these “abysses whose material and gravitational properties…he could not even begin to explain,” an “indescribably angled” realm of “titan prisms, labyrinths, cube-and-plane clusters and quasi-buildings,” Gilman keeps encountering a small polyhedron and a mass of “prolately spheroidal bubbles.” By the end of the tale that he realizes that these are none other than Keziah and her familiar spirit, classic demonic cliches translated into the most alien dimension of speculative science: hyperspace.

These days, one finds the motif of hyperspace in science fiction, pop cosmology, computer interface design, channelled UFO prophecies, and the postmodern shamanism of today’s high-octane psychedelic travellers—all discourses that feed contemporary chaos magic. The term itself was probably coined by the science fiction writer John W. Campbell 1931, though its origins as a concept lie in nineteenth-century mathematical explorations of the fourth dimension.

In many ways, however, Lovecraft was the concept’s first mythographer. From the perspective of hyperspace, our normal, three-dimensional spaces are exhausted and insufficient constructs. But our incapacity to vividly imagine this new dimension in humanist terms creates a crisis of representation, a crisis which for Lovecraft calls up our most ancient fears of the unknown. “All the objects…were totally beyond description or even comprehension,” Lovecraft writes of Gilman’s seething nightmare before paradoxically proceeding to describe these horrible objects. In his descriptions, Lovecraft emphasizes the incommensurability of this space through almost non-sensical juxtapositions like “obscene angles” or “wrong” geometry, a rhetorical technique that one Chaos magician calls “Semiotic Angularity.”

Lovecraft has a habit of labeling his horrors “indescribable,” “nameless, “unseen,” “unutterable,” “unknown” and “formless.” Though superficially weak, this move can also be seen a kind of macabre via negativa. Like the apophatic oppositions of negative theologians like Pseudo-Dionysus or St. John of the Cross, Lovecraft marks the limits of language, limits which paradoxically point to the Beyond. For the mystics, this ultimate is the ineffable One, Pseudo-Dionysus’ “superluminous gloom” or the Ain Soph of the Kabbalists. But there is no unity in Lovecraft’s Beyond. It is the omnivorous Outside, the screaming multiplicity of cosmic hyperspace opened up by reason.

For Lovecraft, scientific materialism is the ultimate Faustian bargain, not because it hands us Promethean technology (a man for the eighteenth century, Lovecraft had no interest in gadgetry), but because it leads us beyond the horizon of what our minds can withstand. “The most merciful thing in the world, I think, is the inability of the mind to correlate all its contents,” goes the famous opening line of “Call of Cthulhu.” By correlating those contexts, empiricism opens up “terrifying vistas of reality”—what Lovecraft elsewhere calls “the blind cosmos [that] grinds aimlessly on from nothing to something and from something back to nothing again, neither heeding nor knowing the wishes or existence of the minds that flicker for a second now and then in the darkness”.

Lovecraft gave this existentialist dread an imaginative voice, what he called “cosmic alienage”. For Fritz Leiber, the “monstrous nuclear chaos” of Azathoth, Lovecraft’s supreme entity, symbolizes “the purposeless, mindless, yet all-powerful universe of materialistic belief.” But this symbolism isn’t the whole story, for, as DMT voyagers know, hyperspace is haunted. The entities that erupt from Lovecraft’s inhuman realms seem to suggest that in a blind mechanistic cosmos, the most alien thing is sentience itself. Peering outward through the cracks of domesticated “human” consciousness, a compassionless materialist like Lovecraft could only react with horror, for reason must cower before the most raw and atavistic dream-dragons of the psyche.

Modern humans usually suppress, ignore or constrain these forces lurking in our lizard brain. Mythically, these forces take the form of demons imprisoned under the angelic yokes of altruism, morality, and intellect. Yet if one does not believe in any ultimate universal purpose, then these primal forces are the most attuned with the cosmos precisely because they are amoral and inhuman. In “The Dunwich Horror”, Henry Wheeler overhears a monstrous moan from a diabolical rite and asks “from what unplumbed gulfs of extra-cosmic consciousness or obscure, long-latent heredity, were those half-articular thunder-croakings drawn?” The Outside is within.

Chaos Culture

Lovecraft’s fiction expresses a “future primitivism” that finds its most intense esoteric expression in Chaos magic, an eclectic contemporary style of darkside occultism that draws from Thelema, Satanism, Austin Osman Spare, and Eastern metaphysics to construct a thoroughly postmodern magic.

For today’s Chaos mages, there is no “tradition”. The symbols and myths of countless sects, orders, and faiths, are constructs, useful fictions, “games.” That magic works has nothing to do with its truth claims and everything to do with the will and experience of the magician. Recognizing the distinct possibility that we may be adrift in a meaningless mechanical cosmos within which human will and imagination are vaguely comic flukes (the “cosmic indifferentism” Lovecraft himself professed), the mage accepts his groundlessness, embracing the chaotic self-creating void that is himself.

As we find with Lovecraft’s fictional cults and grimoires, chaos magicians refuse the hierarchical, symbolic and monotheist biases of traditional esotericism. Like most Chaos magicians, the British occultist Peter Carroll gravitates towards the Black, not because he desires a simple Satanic inversion of Christianity but becuase he seeks the amoral and shamanic core of magical experience—a core that Lovecraft conjures up with his orgies of drums, guttural chants, and screeching horns. At the same time, Chaos mages like Carroll also plumb the weird science of quantum physics, complexity theory and electronic Prometheanism. Some darkside magicians become consumed by the atavistic forces they unleash or addicted to the dark costume of the Satanic anti-hero. But the most sophisticated adopt a balanced mode of gnostic existentialism that calls all constructs into question while refusing the cold comforts of skeptical reason or suicidal nihilism, a pragmatic and empirical shamanism that resonates as much with Lovecraft’s hard-headed materialism as with his horrors.

The first occultist to really engage these notions is Aleister Crowley, who shattered the received vessels of occult tradition while creatively extending the dark dream of magic into the twentieth century. With his outlandish image, trickster texts, and his famous Law of Thelema (“Do what thou wilt shall be the whole of the law”), Crowley called into question the esoteric certainties of “true” revelation and lineage, and was the first magus to give occult antinomionism a decidedly Nietzschean twist.

Unfettered, this occult will to power can easily degenerate into a heartless elitism, and the fascist and racist dimensions of both twentieth-century occultism and Lovecraft himself should not be forgotten. But this self-engendering will is more exuberantly expressed as a will to Art. In many ways, the fin de siecle occultism that exploded during Crowley’s time was an essentially esthetic esotericism. A good number of the nineteenth-century magicians who inspire us today are the great poets, painters, and writers of Symbolism and decadent Romanticism, many of them dabblers or adepts in Satanism, Rosicrucianism, and hermetic societies. The Hermetic Order of the Golden Dawn was infused with artistic pretensions, and Golden Dawn member and fantasy writer Arthur Machen was one of Lovecraft’s strongest influences.

But it was Austin Osman Spare who most decisively dissolved the boundary between artistic and magical life. Though working independently of the Surrealists, Spare also based his art on the dark and autonomous eruptions of “subconscious” material, though in a more overtly theurgic context.[8] Today’s Chaos magicians are heavily influenced by Spare, and their Lovecraftian rites express this simultaneously creative and nihilistic dissolution. And as postmodern spawn of role-playing games, computers, and pop culture, they celebrate the fact that Lovecraft’s secrets are scraped from the barrel of pulp fiction.



Poetry: Leonard Cohen

Songs From A Room….

I hear there is a new documentary on Leonard. His bits are good, but the singers do tribute seem a bit overwrought from what I hear… I once met him outside of a theatre long ago, to my great delight. I am sure I must of appeared to be a blithering fool… 80)

Story of Isaac

The door it opened slowly,

my father he came in,

I was nine years old.

And he stood so tall above me,

his blue eyes they were shining

and his voice was very cold.

He said, “I’ve had a vision

and you know I’m strong and holy,

I must do what I’ve been told.”

So he started up the mountain,

I was running, he was walking,

and his axe was made of gold.

Well, the trees they got much smaller,

the lake a lady’s mirror,

we stopped to drink some wine.

Then he threw the bottle over.

Broke a minute later

and he put his hand on mine.

Thought I saw an eagle

but it might have been a vulture,

I never could decide.

Then my father built an altar,

he looked once behind his shoulder,

he knew I would not hide.

You who build these altars now

to sacrifice these children,

you must not do it anymore.

A scheme is not a vision

and you never have been tempted

by a demon or a god.

You who stand above them now,

your hatchets blunt and bloody,

you were not there before,

when I lay upon a mountain

and my father’s hand was trembling

with the beauty of the word.

And if you call me brother now,

forgive me if I inquire,

“Just according to whose plan?”

When it all comes down to dust

I will kill you if I must,

I will help you if I can.

When it all comes down to dust

I will help you if I must,

I will kill you if I can.

And mercy on our uniform,

man of peace or man of war,

the peacock spreads his fan.


Bird on the Wire

Like a bird on the wire,

like a drunk in a midnight choir

I have tried in my way to be free.

Like a worm on a hook,

like a knight from some old fashioned book

I have saved all my ribbons for thee.

If I, if I have been unkind,

I hope that you can just let it go by.

If I, if I have been untrue

I hope you know it was never to you.

Like a baby, stillborn,

like a beast with his horn

I have torn everyone who reached out for me.

But I swear by this song

and by all that I have done wrong

I will make it all up to thee.

I saw a beggar leaning on his wooden crutch,

he said to me, “You must not ask for so much.”

And a pretty woman leaning in her darkened door,

she cried to me, “Hey, why not ask for more?”

Oh like a bird on the wire,

like a drunk in a midnight choir

I have tried in my way to be free.


Seems So Long Ago, Nancy

It seems so long ago,

Nancy was alone,

looking ate the Late Late show

through a semi-precious stone.

In the House of Honesty

her father was on trial,

in the House of Mystery

there was no one at all,

there was no one at all.

It seems so long ago,

none of us were strong;

Nancy wore green stockings

and she slept with everyone.

She never said she’d wait for us

although she was alone,

I think she fell in love for us

in nineteen sixty one,

in nineteen sixty one.

It seems so long ago,

Nancy was alone,

a forty five beside her head,

an open telephone.

We told her she was beautiful,

we told her she was free

but none of us would meet her in

the House of Mystery,

the House of Mystery.

And now you look around you,

see her everywhere,

many use her body,

many comb her hair.

In the hollow of the night

when you are cold and numb

you hear her talking freely then,

she’s happy that you’ve come,

she’s happy that you’ve come.

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