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2019.09.03 21:28 Furshlugginer492 Thoughts on H. P. Lovecraft, Part 1
Ever since I was a young child I have loved all three of these modern genres, mostly in the form first given by Lovecraft. Then there is MAD Magazine, which I have loved ever since I read a copy of issue # 1 - which was founded and nurtured and brought to its apotheosis by people who grew up immersed in the culture of modern science-fiction, horror, and fantasy. Another Lovecraftian spin-off, at however many removes.
The thing about H. P. Lovecraft that no one seems to have picked up on but me is that out of his work and his circle of followers there grew the beginnings of three great modern literary genres: modern supernatural and horror literature, modern science-fiction, and modern fantasy. Only Marion Zimme Bradley, also a Lovecraft fan, of all the modern American writers I know of, seems to have at least sensed this, for all her work is an elegant blend of all three genres, often incorporating place-names and other elements of Lovecraft's own fiction in ways that are uniquely her own. But no one else so far seems to realize it but me. And yet, when you examine these three genres as they are now de-fined, ignoring superficial considerations such as style, you see so much of Lovecraft's signature in them. For example, science-fiction today is based on a blend of viewpoints first defined by John W. Campbell, Jr., on the one hand, and earlier writers such as Abraham Merritt and C. L. Moore, on the other. The latter contributed the sense of wonder and the romanticism characteristic of the best sci-ence-fiction to the genre; Campbell contributed a dedication to scientific accuracy and a loathing of fuzzy-minded thinking that shaped the evolution of the magazine to which he dedicated so much of his life, Astounding Science Fiction, and determined the character of the stories he selected to appear in it, such as those of Robert Heinlein, Isaac Asimov, and so forth. Lovecraft himself was a hard-nosed scientific materialist, a scientific scholar who was well aware of the most current scientific ideas and theories of his day in every major branch of science, and his fiction was tailored to fit into the universe known in his day. The sort of bullshit which so many writers have incorporated into their stories all along, even in science fiction, was something he couldn't stand. As fantastic as his creations were, they were in line with his view of reality, things that might have been possible, whether they actually were or not, given what was then scientific thinking. In other words, a form of extrapolative fiction, rather than stuff written whole cloth out of a deranged imagination. Notice that same trend in horror. Today, verisimilitude is all, in spite of the fantastic monsters and situations that are so often incorporated into that genre. I am reminded of the religious paintings of Hieronymus Bosch, which people today so often think were painted in a drug-dream or the products of a madman. Not so. Bosch was simply reproducing with paint and canvas the view of reality that was generally held to be true in his culture and time, of a universe in which God created the world, would eventually bring it to judgment, in which after death the good would go to a real heaven and the evil to a real hell, populated by real demons. For his time, Bosch was a realist, providing graphic teaching-tales for the edification and instruction of the general populace, every part of his canvases incorporating motifs and symbols all of which had definite meanings in his culture's cosmology. Lovecraft, for his time and culture, was doing exactly the same thing, albeit in a different medium, based on a very different view of reality. And today, the literature and cinema of horror comes closer and closer to the Boschean, cleaving unto mundane, quotidian reality in all things save those motifs and symbols designed to instruct us in the more subtle, spiritual aspects of our universe, as conceived by the creators of those stories, books, and films. They may be symbolic, but never unreal - ever allegorical, never mere fantasies. And this, too, is like Lovecraft. Even our modern fantasy is allegorical rather than fluff. Fairy-tales, ancient folk-tales finally relegated to the nursery because adults forgot their real origins, never were mere fluff; they preserved and continue to preserve hard knowledge of the workings of the real world, in terms that were understandable and familiar to their original tellers but which have come to seem fantastic to us, in our modern, secularized world. The highest function of fantasy is to instruct the heart, not just titillate, and modern fantasy, more and more, is realistic instruction for the heart. And this, too, is like Lovecraft.
He sits in judgment, holding the unsheathed sign of his suit. He recalls . . . the conventional symbol of Justice in the Trumps Major, and he may represent this virtue, but he is rather the power of life and death, in virtue of his office. Divinatory meanings: Whatsoever arises out of the idea of judgment and all its connexions - power, command, authority, militant intelligence, law, offices of the crown, and so forth.
Lovecraft died a pauper, virtually unknown by anyone save his devoted followers, most of them young men who first became acquainted with him via those of his stories that were published in the pulps back in the 1920s and 1930s. And yet today the publication of his work and the various spin-offs from that work comprise a multi-billion dollar, multi-media industry in this country and the rest of the world, because he meant so much to those followers that they kept his memory and his work alive out of pocket and the sweat of their brow, often breaking their hearts to keep publishing and promoting his work. And the influence of his work continued to grow and spread, ultimately coming, directly as well as through the work of his followers and literary descendants, to influence generations in ways that are yet to be measured. The great vision of science-fiction, that of successful terrestrial exploration and colonization of the worlds of other stars, did not originate with him, but its great modern informing energy, influencing so many to make their careers in the exploration and colonization of space, did come from him. The creation of the modern nuclear navy, whose research into underwater life-support systems has contributed so much to similar internal environments for use in modern space-craft and space-stations, took impetus from the movement he started. Even if Corso is right and modern personal computers and the Internet grew out of inventions developed from things we got from UFOs that crashed in our country - and from the evidence, he seems to be - it was the mind-set of modern Western humanity that permitted our rapid adaptation to and assimilation of that technology, which today links the whole world in a sort of superorganismic whole. And that mind-set grew out of what Lovecraft started. He himself would never have claimed such a thing, and would have laughed - and been appalled - at the world which grew out of what he began. He believed he was just one more literary heir of Edgar Allen Poe, an admitted genius who was himself a writer of science-fiction and a scientific scholar. He was not a grandiose man, not an egotist. In fact, while he often satirized himself as a grumpy old recluse (he died at the age of 47, way too soon, not old at all), those of his followers who were fortunate enough to meet him in the flesh claimed that meeting with him was one of the great high points of their lives, and his many correspondents, most of whom never got to meet him while he lived, cherished his correspondence. He was one of the greatest epistolarians of history, the sheer volume of letters and cards and what-not written by him comprising a library in its own right. And he doted on cats - and you have to admit, anyone who dotes on cats has to be some sort of saint . . . or maybe a little soft in the head. J Seriously, he never would have credited what became of his work and his influence on the world, never could have believed it - and yet our world today has the shape it does because of him and that very influence. Another fascinating thing - though perhaps so only if you are, like me, a Magickian and student of esoteric - is the sort of thing which Kenneth Grant, in his analysis of Aleister Crowley's work and influence, describes in such great detail. As far as Thelemic scholars and practitioners like me are concerned, the Age of Horus/Aquarius began with Crowley's Cairo Working in Egypt on 3/20/1904, at 12:00 a.m., in the Great Pyramid in Cairo. Crowley's work from then on deals with things which are strongly reflected in Lovecraft's work on many levels, though Lovecraft almost certainly was not an occultist, the claims of so many idiots to the contrary. Also, Crowley posited that the two Signs Leo and Libra were connected in various ways, in terms of their esoteric influence and their impact on our age. Crowley was a Libra, Lovecraft a Leo; in Crowley's natal chart, Leo is rising, whereas in Lovecraft's, Libra is. Leo is supposed to be the Sign of the true King of the Age of Aquarius, its esoteric or spiritual king. One might ask whether Lovecraft was the great King of this new age, and Crowley his prophet, or vice-versa. Or was each man a composite of both? Both have had an enormous impact on our age, though Crowley advertised himself in that regard as thoroughgoingly as Lovecraft avoided doing so. Together, they are the wind beneath all our wings, psychospiritually -speaking, and if we finally succeed in reaching the stars and establishing viable terrestrial colonies on their worlds, it will have been the presiding spirits of Crowley and Lovecraft who got us there. (You should see the comparison of their two natal charts! Just about everything in either chart makes major aspects to most things in the other. These two men were cosmically bound up together, though they never met, the two poles of the great turning engine of the aeons that precipitated us all into the Hell Century and the Stars it may ultimately give us. For the record, Crowley was born at Leamington Spa, England \[1 degree 31' west longitude, 52 degrees 18' north latitude\], on October 12, 1875, at 11:30 p.m. Greenwich Time; Lovecraft was born at 9 a.m., August 20, 1890, in Providence, Rhode Island. ) So why do I find Lovecraft so fascinating? Because he may be the only person in the whole world who could ever have understood me completely, known all of me, including and especially the damned night-terrors, and accepted me as such. Not that my friends don't accept me as they know me. But only those who have suffered the night-terror for as many years as I did, as frequently, like Lovecraft, who had much the same thing, can really grasp those parts of me shaped by it - or out of which those night-terrors came. My adoptive father's occult bullshit and the things he used me for when I was a toddler left huge holes in my soul, Carol, through which things tried to enter all the time, and that was where my night-terrors came from. The damage to my psyche and spirit that this made in me can be sensed by a lot of people, but is apparently quite repellant to them - people actually told me to my face when I was a child that I was "weird inside" and that was why they didn't want anything to do with me. But Lovecraft might well have been a friend, one who would have accepted me as I am, as I can't not be since then. Further, his circle of followers included numerous women, with whom he was on very good terms simply because he had none of the anti-woman prejudice so common among men in his time and before. Beyond that, though, I wonder: what *was* he? Each lifetime is only one projection into material existence of our true selves, as they are on the Inner Planes, and never incorporates all that we are. Take, for example, the tremendous sexiness of his work and what it got started. No, there is no overt sex at all in Lovecraft's work, and he has been typed as asexual by countless critics and analysts. One of the reasons for the failure of his marriage was that, shall we say, he wasn't anything like as ardent a lover as his wife would have wished. And yet there is an enormous sexual energy in his work. The reason may be that reading it evokes Kundalini energy from the reader - Kundalini Rising, as esotericists say - which not only uses the same channels in the central nervous system as well as the esoteric energy system associated with the body that sex does, but in fact is most easily called up by two things: sex itself - and horror. Consider Kali, Whose Dance with Her husband Shiva is Tantric (sexual) Magick, which is fueled by Kundalini energy. That same energy simply pours out of Lovecraft's work in a flood-tide, in spite of an utter lack of overt sexuality therein - and the work of those who came after him in the modern genres of horror, science fiction, and fantasy has been progressively more sexualized as time has gone on. In that sense, Lovecraft is like Mount Rainier, or, more likely, Krakatoa, East of Java, a gigantic volcano fueled by andesitic magma, its throat plugged by its own lava, a gigantic tectonic bomb waiting only for time to set it off. The magma is there; all that keeps it from coming out of the volcano's throat into the open air is the plug it has made in that throat, due to its extreme viscosity. Lovecraft wasn't asexual. Far from it. But his sexual energy was blocked far down in his being, backing up until it was continuously calling forth titanic amounts of Kundalini energy by sheer back-pressure, for reasons none of us understand very well even now. And it was out of the floods of Kundalini energy thus evoked in him that his written work came. That the channels for sexual expression of that energy were blocked far down on him is clear from the form that his work took, that is, horror, making it clear that it was blocked just above the regions of our being ruled by Pluto (Hades) and Neptune (Poseidon), the Gods of the Underworld. The being that manifested in that lifetime as the man Lovecraft is vast, the sort of being that one has to consider something like an angel or archangel, just too big to be contained in one mortal individual. Recently I did a Tarot reading on that being, whatever he might be, whatever incarnations he might have had. - I call him "he" because there is a sense of a vast masculinity at work in Lovecraft's work, however "sexless" he might have seemed - asking "What is that being?" I got the King of Swords, of whom A. E. Waite says,
. . . William Herschel in 1781 brought a breath of fresh air to the science [astronomy] by discovering a new planet, Uranus. In the following sixty years it became apparent that the new planet was not behaving precisely as Newton's laws demanded, and in 1856 John Adams in England and Urbain Leverrier in France, working without knowledge of each other and reasoning only with pen and paper, decided that the irregularities in the orbit must be due to the presence of another planet beyond Uranus. Both calculated where it should be visible and on the very first evening that a large enough telescope was turned to the prescribed spot, there it was, right on cue. And we now know it as Neptune.
If you give any credence to Tarot, this ought to put a shiver up your back like the Fungi from Yuggoth just walked over your grave.:-) Given all this, Mathers, founder of the Golden Dawn, would have called Lovecraft a true Secret Chief, and the circle of his followers and their literary descendants the Inner Order of the New Age, given that its outer order is simply the technology and science peculiar to our times. No, of course neither Lovecraft nor his followers have ever thought of themselves in those terms, but then, they weren't and aren't Magickians. It is left to MAD esotericists like me to make such connections, make the unconscious conscious like that. But it do work like that, so what can we say? One thing I forgot to mention is that Mikhail Gorbachev was born in 1930, the same year Pluto was discovered. Thelemic Magickians believe that Crowley was ruled by Pluto. On the other hand, Lovecraft, who was always a scientific scholar who kept up on every advance in all the sciences, was fascinated by Pluto's discovery. Lovecraft scholars today equate "Yuggoth," his planet from whence so many weird things in his stories came, with Pluto. Concerning Pluto, the eminent biologist Lyall Watson says in *Lifetide* (Bantam, 1979):
-- Ibid., pp. 317-318
This discovery is usually seen as a triumphant endorsement of Newton's laws, as further proof that all problems can be solved by careful observation and the skillful use of mathematics. But it seems to have been overlooked that both Adams and Leverrier were calculating partly on the basis of Bode's Law (a now disproved notion that the planets orbit at distance from the sun which can be predicted by a scale of proportions which rise by a constant increment in this way: 4 : 7 : 10 : 16 : 28 : 52 : 100 : 196 : 388 etc.). If it is assumed that the steroid belt is the remains of a planet that once lay between Mars and Jupiter at position 28, then all the inner seven planets fit the scale exactly. So it was generally assumed that, if there was an eighth planet, it would be found at position 388. But it is nowhere near there. Neptune is much farther away, and yet, on September 23, 1846, when Johann Galle aligned the Great Berlin reflector according to instructions, the planet was right in place, on demand. Adams and Leverrier, using the wrong tool, making the wrong assumptions, came up quite independently with the right answer. . . . I am very intrigued to know that, since the discovery of Neptune, it has been found that even those famous calculations didn't take all the discrepancies in the motion of Uranus into account. Uranus still tends to wander off its predicted orbit by a fraction, so in the last years of the nineteenth century Percival Lowell turned the resources of his private observatory in Arizona over to a search for yet another member of the solar system. He called it Planet X. Precise calculations predicted where it ought to be found and a careful search was made, but the ninth planet didn't materialize until fourteen years after Lowell's death. On March 13, 1930 \[which is, incidentally, very close to the date of Mikhail Gorbachev's birth\], Clyde Tombaugh - then a young unqualified assistant in the Lowell observatory - finished a year of painstaking picking through comparative photographs of the critical part of the sky. And there, moving almost imperceptibly across a field of four hundred thousands equally faint stars, was Pluto, god of the nether darkness. It is no accident that the first two letters of the new planet's name should be the initials of the man who decided where to look. And it seems fitting too that, following Tombaugh's discovery, it was revealed that Milton Humason of the Harvard Observatory had a few years previously taken a photograph of the precise location where Pluto should have been \[at that time\[, but seen nothing there. This mysterious failure is officially attributed to the fact that Humason must have succeeded in obtaining the image of Pluto - after all, anyone can do it now - but that it fell right on a tiny flaw in his photographic plate. I am well aware of the pattern of synchronicity in scientific discovery; of the frequency with which two or more researchers, apparently without collusion, simultaneously produce answers to questions that seemed insoluble for years. And how, once the barrier is broken, the solutions often seem to painfully simple it is difficult to understand why they weren't obvious to everyone right from the start. I am not necessarily suggesting, by presenting a brief history of our discovery of the solar system in this way, that the outer planets didn't exist until we began to look for them. But neither am I prepared to dismiss this possibility out of hand.
[Continued in "Thoughts on H. P. Lovecraft, Part 2"]
I've pointed out before odd Magickal synchronicities among the three men, Aleister Crowley, H. P. Lovecraft, and Mikhail Gorbachev. Pluto seems to be associated with all three - and Pluto's discovery was extremely strange. Something occurs to me, an experiment to try. The Gods of the Deep Unconscious are Neptune/poseidon, Pluto/Hades, and Persephone. I've described before how I have perceived the being that once was H. P. Lovecraft. What if, on the Inner Planes, he is some sort of angel, or archangel, or God, a child of Hades and Persephone, or of Poseidon and Amphitrite, or of Pele and Kanaloa of Hawaii? What would his True Name be? HPL translates as H = 5, P = 80, L = 30, 5 + 30 + 80 = 115. But the English/Roman letter H is associated with *Heh*, which is also associated with the English/Roman letter E, and *Aleph* is almost as often translated as A as E. So HPL might translate as APL, in terms of English-Hebrew correspondences, and the value of APL is A = 1, P = 80, L = 30, 1 + 30 + 80 = 111. This is the number of ALPh, Aleph, associated with Trump 0, *The Fool*, of the Tarot, and the Planet Uranus, associated with Liberty. In Chapter 1 of Liber Al (The Book of the Law), verse 48, it says: "My prophet is a fool with his one, one, one; are they not the Ox, and none by the Book?" "The Book" is, of course, the Tarot; the Ox is the Hebrew letter Aleph, ALPh, value 111. Still more echoes of Crowley. A thought on the idea that Lovecraft might have been the unknown true Magickal child of Aleister Crowley: In Chapter 2 of Crowley's Book of the Law, verse 39, it says, "A feast for Tahuti and the child of the Prophet - secret, O Prophet!" Crowley was the Prophet. If Lovecraft was his Magickal child, it definitely was a secret to Crowley his life long - and to Lovecraft. And in Lovecraft's natal chart, in his 12th House - the House that rules secrets, hidden things, covert things, mysteries, etc. in all charts - Mercury, the Roman avatar of Djehuti (Tahuti), stands at 21 degrees 1 minute Virgo. And some of us must get to strange, alien worlds on the Inner Planes if any of us are ever to get there on the Outer Planes. Apparently that's the only way to make the initial bridge of probability or quantum structure or whatever it is without which travel to strange places can't be done. Lovecraft and those like him are pioneers in the exploration of regions of the Inner Planes not associated with our world or even our Solar System, and without them we'd have had no chance at the stars at all. In the meantime, there still aren't enough of us doing such exploration, or we'd have established an interstellar colony by now - we'd have had interstellar travel by now. So maybe my weirdness has found a niche for itself, one that actually has real value. One thing that strikes me about Lovecraft is that he was engaged in the same Shamanic Journey which Dante Alighieri in a much earlier time and a distant place was. But whereas after completing that journey Dante wrote the entire *Divine Comedy*, including *Inferno*, *Purgatorio*, and *Paradiso*, Lovecraft only managed to do his own *Inferno* and the barest hint of the bare beginnings of a *Purgatorio* before his death (the latter hinted at in, e.g., "The Shadow Over Innsmouth," At the Mountains of Madness). I think Fritz Leiber, of all of Lovecraft's followers, came closest to going on to doing the *Purgatorio* and *Paradiso* which Lovecraft wasn't able to do, unless you count Stephen King, so many of whose novels deal with damnation, redemption, horror and healing, such as *The Stand* and *Tommyknockers*. As we discussed the other night, as Dante showed, to get to Heaven you have to go straight through Hell, right down to the bottom, and exit there by climbing down on the body of the very thing you most loathe about yourself and your world. The same is true for achieving true interstellar travel capability and establishing colonies of our world on worlds of other stars: we have had to go through this Hell Century, with its unspeakable wars and other horrors, to give us the incentive to develop the technology and vision necessary to make it successfully into space. Lovecraft gave us maps of Hell appropriate to this age - now its up to us to follow them down to the center of the worst parts of ourselves and our world, so that we can exit and work our way up to the heavens. Which means going on to reconnoiter and report on the road through the Inner Planes up Mt. Purgatory to the Empyrean, in terms comprehensible and acceptable to our modern world. The modern literature of horror comprises the collective exploration of the Underworld in modern terms. What literature deals with the exit from the Underworld and ascent to what we were meant to be all along, in emotional terms? Fantasy? Modern science-fiction so often doesn't - not in subjective terms; the best of it deals mostly with scenarios that are supposed to be possible in objective reality, but don't do much exploring of our possible reactions to truly alien realms. I do know that McCammon's Swan Song is probably the most thoroughgoing and best attempt so far at a full modern *Comedia* \- but there could be better, and Swan Song still doesn't really address the universe of which Lovecraft wrote. In Dante's world, it was understood that loathsome as Satan was, he was still created by God, and God is the unity that ties together Dante's Comedia, so that one could travel logically from Hell through Purgatory to Heaven. So where is the underlying Unity, the Creator of Cthulhu, Who is also the Creator of a truly Lovecraftian Heaven, the redemption that is so lacking in almost all of Lovecraft's work as well as that of so many modern horror writers and cinematographers? C. L. Moore made a stab at it with two of her Jirel of Joiry stories, "Black God's Kiss," and "Black God's Shadow." The weird adventure fiction of Abraham Merritt often came close to it. But both of those authors, like Lovecraft, came from a time when, like the original university Curriculum as it was before this century was much advanced, fantastic fiction hadn't yet radiated into numerous highly specialized and rigidly demarcated niches: horror, fantasy, "hard" science fiction, "art" science fiction, etc. Their work was born whole and entire from whole and entire souls, however warped or damaged those souls might have been. Today, however, there is such a preoccupation with genre that what authors produce - and publishers publish - isn't the whole human animal at all. Fantasy, horror, science fiction, the supernatural are mostly all rigidly partitioned into their own tightly defined literary - and psychological - niches, the works in any one genre scarcely addressing issues in any of the other genres. Kind of like junk and fast food, or the over-processed garbage that so often is all that is available in supermarkets today - most of the nutrients stripped out of it, too many additives, too much residual pollution from the environment and things given to the food-beasts and -plants to keep them from getting too sick to harvest. The stuff may taste great - though often it does anything but - but it doesn't nourish worth a damn. Well, for all their flaws, the work of Merritt, Lovecraft, Moore, and their colleagues truly fed the soul. But except for a few outstanding exceptions such as Stephen King and Alan Dean Foster, you can't say that of genre writers today. Most of what's on the stands entertains - like, bigtime! - but has all the satisfaction of monosodium glutamate. We need to get back to the real thing again - and Lovecraft's work was the real thing, or a species of it. True, he wasn't John Steinbeck, but so what? Steinbeck had his chosen field, Lovecraft had his, and each man developed his style and approach in a way appropriate to what he chose to write about. Of course, there is no formula for redemption. Dante's Comedia is so powerful only because it isn't a product of formula writing. It came straight out of Dante's own soul, out of his own agonized spiritual experience, and formula can't do that. There will never be a "redemption genre," by definition. Instead, true modern Comedias can only come into existence as the children of the souls of writers who have made their own terrible, terrifying Shamanic Journeys and come out the other side, somehow, damaged and battered but intact enough to put down a record of what they observed in their own psychospiritual journeys into the Underworld of life. And always those are utterly individualistic journeys, no two of them ever alike. If you have read Niven and Pournelle's *Inferno* you can see how, even though it preserves the architecture of Dante's *Inferno*, it is not the same journey, answers a different set of questions than Dante's did, and was written out of very different psychospiritual perspectives than he had. - I must say that N & P's *Inferno* does make a good try at redemption. It is one of the great exceptions to the general lack of literary works with such wholeness. Not only did it show one of the damned being redeemed through good works (Benito, who gets out at the end of the novel), but another one of them (Carpenter) discovering, in spite of horror and pain and agony, that he has the ability to make up for his sins (his betrayal of Benito) even in Hell. N & P's *Inferno* is not just slick entertainment, though it certainly does entertain. It has a great deal to do with broken souls mending through their own efforts, courage, and understanding of right vs. wrong, with human attempts to measure up to what we could truly be if we gave up all the bullshit and started living as we were meant to. And like C. S. Lewis' incomparable Screwtape Letters, it makes you feel what the psychology of Hell is really like, what it is like to live in the universe of the damned - and what it takes to get out of that universe, mind and soul and heart and spirit as well as body. I would love to be able to write a *Purgatorio* and *Paradiso* for Lovecraft's *Inferno*, incorporating the few hints and shards of them in his own writing, such as his protagonist's reaction to discovering the dead aliens in At the Mountains of Madness, the developing psychology of the protagonist of his "The Outsider," and so on. I don't know if I can, but I do know that it is there to be done, and anyone who can do it will be one of our true literary giants. But not *just* a literary giant. To write something like Dante's *Comedia* or Lovecraft's various works, you actually have to go on a long, agonizing inward journey into the country of which such works treat, the country of the Underworld, which can be hellish indeed. It takes somebody who has, as they say, "been there, done that" to do justice to it. So it will take writers who go all the way down to the bottom of Lovecraft's *Inferno*, embrace whatever they find at the center of it, make their climb down its body to the exit, and, finding themselves outside and beyond Hell at last, make the climb up whatever version of Mt. Purgatory they find there, to Heaven and the Stars, to truly finish and fulfill what Lovecraft began. And who is willing to try? Who wants to ride the nightmare all the way through the Lovecraftian *Inferno* to the bottom, embrace what is most loathsome in all the universe, and use it to climb out of that Hell and thereby begin the journey to Heaven? Furthermore, who is willing to find out what a truly alien Purgatory and Paradise would be like? For Lovecraft's inner world was alien, concerning the existence of beings so alien that any experience of them by normal humanity would almost certainly culminate in madness, death, or worse. So his Purgatory and Heaven would be just as alien to us as his Hell is - and what would that do to any who tried to explore them? What would his Heaven be like? Could we even conceive of it? When someone, somehow manages to write such things, we will be well on our way to the stars. Until then, we're stuck here. An odd thing about Lovecraft: he is one of the very few cases of someone whom I know instinctively is bigger than me, spiritually and otherwise. As it happens, he was a big man in life, physically speaking, but it isn't that. He had the spiritual strength and stature of a saint - a saint who, by the way, was a confirmed atheist and dedicated believer in materialistic science. I'm a rather arrogant little shit, myself, especially when it comes to intellectual pride and that sort of thing - but when it comes to Lovecraft, I can't not be humble. Why? Maybe it's because I sense that the man knew what he wrote of, that he paid a very high price for the ability to create what he did. He suffered from night-terrors all his life, and died far too young, and of horrible things, Bright's Disease and cancer of the colon. And in his tragically short life he opened the door to the stars for us. Now it's up to us to go through, to infinity and a real posterity for our species and our world.
2018.10.08 11:07 garethom I wrote a new, updated, more comprehensive and neutral wiki for the sub, but I guess the mods didn't want it. Here's u/garethom's guide to Birmingham.
2018.09.05 10:00 PelotonMod [Race Thread] 2018 Tour of Britain - Stage 4 (2.HC)
|Date||Stage||From > To||Length||Type||Finish||Arrival|
|September 5th||4||Nuneaton › Royal Leamington Spa||183km||Hilly||Flat||c.a ~ 15:37 BST (14:37 UTC)|
|Information||Official Site / Startlist / Roadbook|
|Live Trackers||Official Twitter / Tour Tracker|
|Previews||Cyclingnews / ProcyclingUK / Ciclismo Internacional|
|TV||ITV4 (whole stage) / Eurosport (Last three hours) / Flobikes|
|Streams||ProcyclingLive / Tiz / CyclingEntertainment / Race Coverage starts at 11:00 BST (10:00 UTC)|
2017.09.25 16:59 doktor_steflon UK 2017 Tour
2016.07.27 13:56 Pepperoni1Cat Pros and cons of Pokemon Go's monetization system
2015.12.05 13:12 SerPuissance Xmas Herf
2015.09.06 18:14 legacyv2 Looking for natural/enviromental anomalies around the world and through recent history?