The Newtown Pentacle

Today’s fun is a chunk of H.P. Lovecraft’s The Dunwich Horror, with photos I shot at the Working Harbor Committee September 15th Sunset tour. For the whole story, at wikisource.org– click here.

– photo by Mitch Waxman

In the meantime a quieter yet even more spiritually poignant phase of the horror had been blackly unwinding itself behind the closed door of a shelf-lined room in Arkham. The curious manuscript record or diary of Wilbur Whateley, delivered to Miskatonic University for translation had caused much worry and bafflement among the experts in language both ancient and modern; its very alphabet, notwithstanding a general resemblance to the heavily-shaded Arabic used in Mesopotamia, being absolutely unknown to any available authority. The final conclusion of the linguists was that the text represented an artificial alphabet, giving the effect of a cipher; though none of the usual methods of cryptographic solution seemed to furnish any clue, even when applied on the basis of every tongue the writer might conceivably have used. The ancient books taken from Whateley’s quarters, while absorbingly interesting and in several cases promising to open up new and terrible lines of research among philosophers and men of science, were of no assistance whatever in this matter. One of them, a heavy tome with an iron clasp, was in another unknown alphabet—this one of a very different cast, and resembling Sanskrit more than anything else. The old ledger was at length given wholly into the charge of Dr Armitage, both because of his peculiar interest in the Whateley matter, and because of his wide linguistic learning and skill in the mystical formulae of antiquity and the middle ages.

– photo by Mitch Waxman

Armitage had an idea that the alphabet might be something esoterically used by certain forbidden cults which have come down from old times, and which have inherited many forms and traditions from the wizards of the Saracenic world. That question, however, he did not deem vital; since it would be unnecessary to know the origin of the symbols if, as he suspected, they were used as a cipher in a modern language. It was his belief that, considering the great amount of text involved, the writer would scarcely have wished the trouble of using another speech than his own, save perhaps in certain special formulae and incantations. Accordingly he attacked the manuscript with the preliminary assumption that the bulk of it was in English.

– photo by Mitch Waxman

Dr Armitage knew, from the repeated failures of his colleagues, that the riddle was a deep and complex one; and that no simple mode of solution could merit even a trial. All through late August he fortified himself with the mass lore of cryptography; drawing upon the fullest resources of his own library, and wading night after night amidst the arcana of Trithemius’ Poligraphia, Giambattista Porta’s De Furtivis Literarum Notis, De Vigenere’s Traite des Chiffres, Falconer’s Cryptomenysis Patefacta, Davys’ and Thicknesse’s eighteenth-century treatises, and such fairly modern authorities as Blair, van Marten and Kluber’s script itself, and in time became convinced that he had to deal with one of those subtlest and most ingenious of cryptograms, in which many separate lists of corresponding letters are arranged like the multiplication table, and the message built up with arbitrary key-words known only to the initiated. The older authorities seemed rather more helpful than the newer ones, and Armitage concluded that the code of the manuscript was one of great antiquity, no doubt handed down through a long line of mystical experimenters. Several times he seemed near daylight, only to be set back by some unforeseen obstacle. Then, as September approached, the clouds began to clear. Certain letters, as used in certain parts of the manuscript, emerged definitely and unmistakably; and it became obvious that the text was indeed in English.

Today’s fun is a chunk of H.P. Lovecraft’s The Call of Cthulhu, with photos I shot at the Working Harbor Committee September 15th Sunset tour. For the whole story, at wikisource.org– click here.

All text, of course, is by Lovecraft-

– photo by Mitch Waxman

…I suppose that only a single mountain-top, the hideous monolith-crowned citadel whereon great Cthulhu was buried, actually emerged from the waters. When I think of the extent of all that may be brooding down there I almost wish to kill myself forthwith. Johansen and his men were awed by the cosmic majesty of this dripping Babylon of elder daemons, and must have guessed without guidance that it was nothing of this or of any sane planet. Awe at the unbelievable size of the greenish stone blocks, at the dizzying height of the great carven monolith, and at the stupefying identity of the colossal statues and bas-reliefs with the queer image found in the shrine on the Alert, is poignantly visible in every line of the mate’s frightened description.

– photo by Mitch Waxman

Without knowing what futurism is like, Johansen achieved something very close to it when he spoke of the city; for instead of describing any definite structure or building, he dwells only on broad impressions of vast angles and stone surfaces—surfaces too great to belong to anything right or proper for this earth, and impious with horrible images and hieroglyphs. I mention his talk about angles because it suggests something Wilcox had told me of his awful dreams. He said that the geometry of the dream-place he saw was abnormal, non-Euclidean, and loathsomely redolent of spheres and dimensions apart from ours. Now an unlettered seaman felt the same thing whilst gazing at the terrible reality.

– photo by Mitch Waxman

Johansen and his men landed at a sloping mud-bank on this monstrous Acropolis, and clambered slipperily up over titan oozy blocks which could have been no mortal staircase. The very sun of heaven seemed distorted when viewed through the polarising miasma welling out from this sea-soaked perversion, and twisted menace and suspense lurked leeringly in those crazily elusive angles of carven rock where a second glance showed concavity after the first showed convexity.

– photo by Mitch Waxman

Something very like fright had come over all the explorers before anything more definite than rock and ooze and weed was seen. Each would have fled had he not feared the scorn of the others, and it was only half-heartedly that they searched—vainly, as it proved—for some portable souvenir to bear away.

It was Rodriguez the Portuguese who climbed up the foot of the monolith and shouted of what he had found. The rest followed him, and looked curiously at the immense carved door with the now familiar squid-dragon bas-relief. It was, Johansen said, like a great barn-door; and they all felt that it was a door because of the ornate lintel, threshold, and jambs around it, though they could not decide whether it lay flat like a trap-door or slantwise like an outside cellar-door. As Wilcox would have said, the geometry of the place was all wrong. One could not be sure that the sea and the ground were horizontal, hence the relative position of everything else seemed phantasmally variable.

– photo by Mitch Waxman

Briden pushed at the stone in several places without result. Then Donovan felt over it delicately around the edge, pressing each point separately as he went. He climbed interminably along the grotesque stone moulding—that is, one would call it climbing if the thing was not after all horizontal—and the men wondered how any door in the universe could be so vast. Then, very softly and slowly, the acre-great lintel began to give inward at the top; and they saw that it was balanced.

Donovan slid or somehow propelled himself down or along the jamb and rejoined his fellows, and everyone watched the queer recession of the monstrously carven portal. In this phantasy of prismatic distortion it moved anomalously in a diagonal way, so that all the rules of matter and perspective seemed upset.

– photo by Mitch Waxman

The aperture was black with a darkness almost material. That tenebrousness was indeed a positive quality; for it obscured such parts of the inner walls as ought to have been revealed, and actually burst forth like smoke from its aeon-long imprisonment, visibly darkening the sun as it slunk away into the shrunken and gibbous sky on flapping membraneous wings. The odour rising from the newly opened depths was intolerable, and at length the quick-eared Hawkins thought he heard a nasty, slopping sound down there. Everyone listened, and everyone was listening still when It lumbered slobberingly into sight and gropingly squeezed Its gelatinous green immensity through the black doorway into the tainted outside air of that poison city of madness.

Poor Johansen’s handwriting almost gave out when he wrote of this. Of the six men who never reached the ship, he thinks two perished of pure fright in that accursed instant. The Thing cannot be described—there is no language for such abysms of shrieking and immemorial lunacy, such eldritch contradictions of all matter, force, and cosmic order. A mountain walked or stumbled. God! What wonder that across the earth a great architect went mad, and poor Wilcox raved with fever in that telepathic instant? The Thing of the idols, the green, sticky spawn of the stars, had awaked to claim his own. The stars were right again, and what an age-old cult had failed to do by design, a band of innocent sailors had done by accident. After vigintillions of years great Cthulhu was loose again, and ravening for delight.

Today’s post- a little post Halloween fun- a chunk of H.P. Lovecraft’s Shadow over Innsmouth, with photos I shot at the Working Harbor Committee September 15th Sunset tour. For the whole story, at wikisource.org– click here. For a slideshow of the entire photo set, (which includes a couple of other cool things) click here.

All text, of course, is by H.P. Lovecraft.

– photo by Mitch Waxman

During the winter of 1927-28 officials of the Federal government made a strange and secret investigation of certain conditions in the ancient Massachusetts seaport of Innsmouth. The public first learned of it in February, when a vast series of raids and arrests occurred, followed by the deliberate burning and dynamiting – under suitable precautions – of an enormous number of crumbling, worm-eaten, and supposedly empty houses along the abandoned waterfront. Uninquiring souls let this occurrence pass as one of the major clashes in a spasmodic war on liquor.

– photo by Mitch Waxman

Keener news-followers, however, wondered at the prodigious number of arrests, the abnormally large force of men used in making them, and the secrecy surrounding the disposal of the prisoners. No trials, or even definite charges were reported; nor were any of the captives seen thereafter in the regular gaols of the nation. There were vague statements about disease and concentration camps, and later about dispersal in various naval and military prisons, but nothing positive ever developed. Innsmouth itself was left almost depopulated, and it is even now only beginning to show signs of a sluggishly revived existence.

– photo by Mitch Waxman

Complaints from many liberal organizations were met with long confidential discussions, and representatives were taken on trips to certain camps and prisons. As a result, these societies became surprisingly passive and reticent. Newspaper men were harder to manage, but seemed largely to cooperate with the government in the end. Only one paper – a tabloid always discounted because of its wild policy – mentioned the deep diving submarine that discharged torpedoes downward in the marine abyss just beyond Devil Reef. That item, gathered by chance in a haunt of sailors, seemed indeed rather far-fetched; since the low, black reef lay a full mile and a half out from Innsmouth Harbour.

– photo by Mitch Waxman

People around the country and in the nearby towns muttered a great deal among themselves, but said very little to the outer world. They had talked about dying and half-deserted Innsmouth for nearly a century, and nothing new could be wilder or more hideous than what they had whispered and hinted at years before. Many things had taught them secretiveness, and there was no need to exert pressure on them. Besides, they really knew little; for wide salt marshes, desolate and unpeopled, kept neighbors off from Innsmouth on the landward side.

– photo by Mitch Waxman

But at last I am going to defy the ban on speech about this thing. Results, I am certain, are so thorough that no public harm save a shock of repulsion could ever accrue from a hinting of what was found by those horrified men at Innsmouth. Besides, what was found might possibly have more than one explanation. I do not know just how much of the whole tale has been told even to me, and I have many reasons for not wishing to probe deeper. For my contact with this affair has been closer than that of any other layman, and I have carried away impressions which are yet to drive me to drastic measures.

– photo by Mitch Waxman

It was I who fled frantically out of Innsmouth in the early morning hours of July 16, 1927, and whose frightened appeals for government inquiry and action brought on the whole reported episode. I was willing enough to stay mute while the affair was fresh and uncertain; but now that it is an old story, with public interest and curiosity gone, I have an odd craving to whisper about those few frightful hours in that ill-rumored and evilly-shadowed seaport of death and blasphemous abnormality. The mere telling helps me to restore confidence in my own faculties; to reassure myself that I was not the first to succumb to a contagious nightmare hallucination. It helps me, too, in making up my mind regarding a certain terrible step which lies ahead of me.

Today’s Halloween week fun is a large chunk of H.P. Lovecraft’s Horror at Red Hook, with photos I shot at the Working Harbor Committee September 15th Sunset tour. For the whole story, at Dagonbytes.com– click here.

All text, of course is by Lovecraft, hyperlinks inserted by Newtown Pentacle.

– photo by Mitch Waxman

Not many weeks ago, on a street corner in the village of Pascoag, Rhode Island, a tall, heavily built, and wholesome-looking pedestrian furnished much speculation by a singular lapse of behaviour. He had, it appears, been descending the hill by the road from Chepachet; and encountering the compact section, had turned to his left into the main thoroughfare where several modest business blocks convey a touch of the urban. At this point, without visible provocation, he committed his astonishing lapse; staring queerly for a second at the tallest of the buildings before him, and then, with a series of terrified, hysterical shrieks, breaking into a frantic run which ended in a stumble and fall at the next crossing. Picked up and dusted off by ready hands, he was found to be conscious, organically unhurt, and evidently cured of his sudden nervous attack. He muttered some shamefaced explanations involving a strain he had undergone, and with downcast glance turned back up the Chepachet road, trudging out of sight without once looking behind him. It was a strange incident to befall so large, robust, normal-featured, and capable-looking a man, and the strangeness was not lessened by the remarks of a bystander who had recognised him as the boarder of a well-known dairyman on the outskirts of Chepachet.

– photo by Mitch Waxman

He was, it developed, a New York police detective named Thomas F. Malone, now on a long leave of absence under medical treatment after some disproportionately arduous work on a gruesome local case which accident had made dramatic. There had been a collapse of several old brick buildings during a raid in which he had shared, and something about the wholesale loss of life, both of prisoners and of his companions, had peculiarly appalled him. As a result, he had acquired an acute and anomalous horror of any buildings even remotely suggesting the ones which had fallen in, so that in the end mental specialists forbade him the sight of such things for an indefinite period. A police surgeon with relatives in Chepachet had put forward that quaint hamlet of wooden colonial houses as an ideal spot for the psychological convalescence; and thither the sufferer had gone, promising never to venture among the brick-lined streets of larger villages till duly advised by the Woonsocket specialist with whom he was put in touch. This walk to Pascoag for magazines had been a mistake, and the patient had paid in fright, bruises, and humiliation for his disobedience.

– photo by Mitch Waxman

So much the gossips of Chepachet and Pascoag knew; and so much, also, the most learned specialists believed. But Malone had at first told the specialists much more, ceasing only when he saw that utter incredulity was his portion. Thereafter he held his peace, protesting not at all when it was generally agreed that the collapse of certain squalid brick houses in the Red Hook section of Brooklyn, and the consequent death of many brave officers, had unseated his nervous equilibrium. He had worked too hard, all said, it trying to clean up those nests of disorder and violence; certain features were shocking enough, in all conscience, and the unexpected tragedy was the last straw. This was a simple explanation which everyone could understand, and because Malone was not a simple person he perceived that he had better let it suffice. To hint to unimaginative people of a horror beyond all human conception – a horror of houses and blocks and cities leprous and cancerous with evil dragged from elder worlds – would be merely to invite a padded cell instead of a restful rustication, and Malone was a man of sense despite his mysticism. He had the Celt’s far vision of weird and hidden things, but the logician’s quick eye for the outwardly unconvincing; an amalgam which had led him far afield in the forty-two years of his life, and set him in strange places for a Dublin University man born in a Georgian villa near Phoenix Park.

– photo by Mitch Waxman

And now, as he reviewed the things he had seen and felt and apprehended, Malone was content to keep unshared the secret of what could reduce a dauntless fighter to a quivering neurotic; what could make old brick slums and seas of dark, subtle faces a thing of nightmare and eldritch portent. It would not be the first time his sensations had been forced to bide uninterpreted – for was not his very act of plunging into the polyglot abyss of New York’s underworld a freak beyond sensible explanation? What could he tell the prosaic of the antique witcheries and grotesque marvels discernible to sensitive eyes amidst the poison cauldron where all the varied dregs of unwholesome ages mix their venom and perpetuate their obscene terrors? He had seen the hellish green flame of secret wonder in this blatant, evasive welter of outward greed and inward blasphemy, and had smiled gently when all the New-Yorkers he knew scoffed at his experiment in police work. They had been very witty and cynical, deriding his fantastic pursuit of unknowable mysteries and assuring him that in these days New York held nothing but cheapness and vulgarity. One of them had wagered him a heavy sum that he could not – despite many poignant things to his credit in the Dublin Review – even write a truly interesting story of New York low life; and now, looking back, he perceived that cosmic irony had justified the prophet’s words while secretly confuting their flippant meaning. The horror, as glimpsed at last, could not make a story – for like the book cited by Poe’s Germany authority, ‘es lässt sich nicht lesen – it does not permit itself to be read.’

– photo by Mitch Waxman

To Malone the sense of latent mystery in existence was always present. In youth he had felt the hidden beauty and ecstasy of things, and had been a poet; but poverty and sorrow and exile had turned his gaze in darker directions, and he had thrilled at the imputations of evil in the world around. Daily life had fur him come to be a phantasmagoria of macabre shadow-studies; now glittering and leering with concealed rottenness as in Beardsley’s best manner, now hinting terrors behind the commonest shapes and objects as in the subtler and less obvious work of Gustave Doré. He would often regard it as merciful that most persons of high Intelligence jeer at the inmost mysteries; for, he argued, if superior minds were ever placed in fullest contact with the secrets preserved by ancient and lowly cults, the resultant abnormalities would soon not only wreck the world, but threaten the very integrity of the universe. All this reflection was no doubt morbid, but keen logic and a deep sense of humour ably offset it. Malone was satisfied to let his notions remain as half-spied and forbidden visions to be lightly played with; and hysteria came only when duty flung him into a hell of revelation too sudden and insidious to escape.

– photo by Mitch Waxman

He had for some time been detailed to the Butler Street station in Brooklyn when the Red Hook matter came to his notice. Red Hook is a maze of hybrid squalor near the ancient waterfront opposite Governor’s Island, with dirty highways climbing the hill from the wharves to that higher ground where the decayed lengths of Clinton and Court Streets lead off toward the Borough Hall. Its houses are mostly of brick, dating from the first quarter to the middle of the nineteenth century, and some of the obscurer alleys and byways have that alluring antique flavour which conventional reading leads us to call ‘Dickensian’. The population is a hopeless tangle and enigma; Syrian, Spanish, Italian, and Negro elements impinging upon one another, and fragments of Scandinavian and American belts lying not far distant. It is a babel of sound and filth, and sends out strange cries to answer the lapping oily waves at its grimy piers and the monstrous organ litanies of the harbour whistles. Here long ago a brighter picture dwelt, with clear-eyed mariners on the lower streets and homes of taste and substance where the larger houses line the hill. One can trace the relics of this former happiness in the trim shapes of the buildings, the occasional graceful churches, and the evidences of original art and background in bits of detail here and there – a worn flight of steps, a battered doorway, a wormy pair of decorative columns or pilasters, or a fragment of once green space with bent and rusted iron railing. The houses are generally in solid blocks, and now and then a many-windowed cupola arises to tell of days when the households of captains and ship-owners watched the sea.