The Pergamino Barocco of Roger S G Sorolla (a hastily-stapled edizione economiche of the grimoire’s ornate text was distributed by Lost Pages at Dragonmeet) communicates the defining motif of the Baroque: the Fold, on and on, unfolding & refolding, each Orientalist swirl or explosion of meteorological Physick a selection and accretion, an Old-school preference for the eddy of potential over the possibility of white space; open-ended, Generick, inexhaustive, a Fold repeating by meaning and design, a bird into whose plumage is tucked the Grimorio Minuscolo of Paolo Greco:-
I’d hoped to be able to offer a Trail of Cthulhu game at Concrete Cow on September 16 but I’m not sure my health is going to allow it.
A Gift of Fortune was going to involve bookhounds, dreamhounds and magicians vying for the lost tarot deck of Austin Osman Spare. I may try offering it at some future date.
Concrete Cow is a games convention held in Milton Keynes every six months and you should go if you’re at all interested in roleplaying games. The organisers take care to be kindly and courteous to all that attend.
I’ll probably keep up with the fanzine but I’ve shifted the focus of the next issue from Lamentations of the Flame Princess (never fear, the game is ably served by its own dedicated fanzine called The Undercroft, and you should buy it because it’s great) to… well, I’m not quite sure yet. Next issue may be The Metazine, a pretentious title for a zine about all the other zines out there, or be dedicated to a particular game like Trail of Cthulhu, or to a particular game attached to a particular theme, such as Archipelago, or address a more general theme, such as Live Action Role-Play or the outsider-edge of the Old School Renaissance.
I’d intended to offer an online game of Itra-Troll before the launch of Itras By: The Menagerie but that also looks tricky, in part due to technological issues. Sometimes you’ve just got to roll with the punches.
We’d laugh at him when we were growing up: ape his funny yokel accents, shake our heads at his racism, sneer at his propensity to stack adjectives; it was a way of excusing ourselves our own racism and snobbery, I guess.
That’s the thing: we who are closeted behind the barricades of the western world are not as distant from the attitudes expressed in the stories of H P Lovecraft as we might like. You can say, “I didn’t choose this,” or, “I won’t do this,” but some of those ideas are embedded into the structure of our language, disguised as ‘common sense’ or patriotism. H P Lovecraft reveals what lies beneath the deep-seated and intractable issue of racism: revulsion and a refusal to face the truth.
He’s also one of very few writers to find an original approach to describing the Real; what’s written isn’t always willed by its writer in the absolute sense, and connotation can be as important as denotation to artistic longevity.
Michel Houellebecq – writing before his own talent and notoriety made him famous – makes a good case for H P Lovecraft’s creative importance in H P Lovecraft: Against the World, Against Life (translated into English by Dorna Khazeni in 2005 and republished by Gollancz in 2008): it is fundamentally an existentialist argument – one about how Lovecraft combined lyricism and delirium to reveal a deeper truth about human estrangement:-
“I perceived with horror that I was growing too old for pleasure. Ruthless Time had set its fell claw upon me, and I was 17. Big boys do not play in toy houses and mock gardens, so I was obliged to turn over my world in sorrow to another and younger boy who dwelt across the lot from me. And since that time I have not delved in the earth or laid out paths and roads. There is too much wistful memory in such procedure, for the fleeting joy of childhood may never be recaptured. Adulthood is hell.”
Colonial powers refuse to face the truth about their impact on the world not because they are old but because they are infantile: that’s my position, at least. Umberto Eco does a great job of summarising the issue in his article on Ur-Fascism: what is presented as rational is in fact deeply irrational. Here’s a quotation from one of Lovecraft’s letters I found in Howard Ingham’s review of the film Jug Face (2013):-
“As for the Nazis – of their crudeness there be no dispute, yet in many ways the impartial analyst cannot help feeling a certain sympathy for some phases of their position. They are fighting, in their naive & narrow way, a certain widespread & insidious mood of recent years which certainly spells potential decadence for the western world – & one can’t help respecting that however ugly & even dangerous some of them may appear to be. Hitler is no Mussolini – but I’m damned if the poor chap isn’t profoundly sincere & patriotic, it is to his credit rather than otherwise that he doesn’t subscribe to the windy flatulence of the idealistic ‘liberals’ whose policies lead only to chaos & collapse.”
The basis of racism is fear; I think we need to get deeper into this fundamental truth rather than turn away from it. Unconscious impulses require creative understanding.
The VVitch is a curious artefact. The stylization of its title comes from a Jacobean pamphlet on witchcraft, its costumes (designed by Linda Muir) are thoroughly researched from Stuart Peachey’s Clothes of the Common People in Elizabethan and Early Stuart England (2014) and its cinematography (by Jarin Blaschke) is intended to replicate the formal composition of paintings of the period. That much of the dialogue is lifted from writings and witchcraft trials of the late seventeenth century lends a curiously dislocated tone to the whole affair: one which might connote the unsuitability of the European paradigm to the North American locale if not for the fact that the religious fervour turns out to be correct in every particular. Thus The VVitch‘s connection to the traditions of Fantastika – a body of literature that communicates its themes most resonantly when read literally and which seeks to interrogate the Politics of the Western world by comparison with exotic locales or buried truths – is both disrupted and enlivened by its almost-documentary devotion to historical accuracy: it may well have been at the point that the Western world stopped treating the idea of God as incontrovertible that Western discourse began to distinguish fact from the fantastic. “Hell is empty and all the devils are here,” as a William Shakespeare character says in Act 1, Scene 2 of The Tempest (performed circa 1611; 1623).
As has been mentioned elsewhere [see We Don’t Go Back: A Personal Taxonomy of Folk Horror and Pagan Film #52: The Witch (2015) by Howard Ingham], the Psychology of the way the family reacts to the strain they are under is entirely credible; it is the attachment of a supernatural explanation to realist verisimilitude that makes The VVitch seem conflicted. Three Algonquin tribespeople are glimpsed at the beginning of The VVitch: America’s native population is neither seen nor heard from again. The VVitch, like Joseph Conrad‘s Heart of Darkness (1899; rev 1925) is a text about the unconscious vastation of a belief system that reduced entire continents to Slavery and one half of its own population to the status of chattels:
I’m not saying an impromptu summoning at a nearby stone circle is a bad idea but… one dead witch, a player-character shot in the head and anathema pronounced upon the party by the surviving witches.
I’m generally disposed toward a Purist style of play but the group ain’t having it: it’s Pulp all the way.
We’ve a few other things prepped and ready-to-play but the group wants to continue with Fearful Symmetries. We’ll spend a bit more time working up spells and styles of Magic, as these turn out to be integral to the flavour and progress of the game.
The themes of the campaign run pretty deep – this was a playtest, so we tried to go into it without too many preconceptions – and we felt a little under-researched in one or two respects. I’ll take some time to hang out with the “folklore engine” from the draft of the book:
Now I may say to you, what perhaps I should not dare to say to anyone else: That I can alone carry on my visionary studies in London unannoy’d, & that I may converse with my friends in Eternity, See Visions, Dream Dreams & prophecy & speak Parables unobserv’d & at liberty from the Doubts of other Mortals; perhaps Doubts proceeding from Kindness, but Doubts are always pernicious, Especially when we Doubt our Friends…
We finally – ugh, the slings and arrows of everyday life – managed to kick off our mini-campaign of Fearful Symmetries last night. I’d better not say too much for fear of spoilers.
The heavens shall quake, the earth shall move & shudder & the mountains With all their woods, the streams & valleys: wail in dismal fear In the second “night”, the theme of women ruling is discussed but there is an emphasis on how the ability to create constricts them. Humanity is imprisoned by creation, and experience causes great pain…
Vala, or The Four Zoas
William Blake (1797-1807)
Alienist Hauke Greiner (57) and parapsychologist Emily Cheek (34) met Prophet of Albion James William Barnes (?-?) during last night’s session; a survivor, or one might say casualty, of our Bookhounds of London mini-campaign: they were moderately discommoded by finding him addressing the heavens from a box on Speaker’s Corner.
The PCs witnessed the maw of the sky run red, cozened a book scout and dowsed north-north-west from Oxford; Emily found herself upon a throne not of her choosing. Our ignorance of the work of William Blake runs fairly deep but it’s a chance to extemporize, and Innocence brings its own rewards.
Next week: witches. Yes, witches. Loves me some witches.