Concerning Carcosa’s manifestation, specifically the ‘creeping shadow’ effect of all those after-images of his hair, with the eye peering out of it. While the allusion to the Haunter of the Dark and its three-lobed burning eye is obvious, consider page 18, panel 3. That top-down view of Carcosa descending to earth, the perspective making him resemble the classic ‘eye in the pyramid’ symbol. Before people yell ‘Illuminati!’, consider the name given to that symbol: The Eye of Providence. Johnny Carcosa, using this comic, is looking at us. The moment where Lovecraft reveals his views on jews and homosexuals is quite shocking, as until then Black has been idolising him.

Outside Providence (1999) DVDRip torrent. Information about the torrent Outside Providence (1999) DVDRip. Seeders, leechers and torrent status is updated several.

Note the expression on Black’s face on page 7, panel 4, not to mention the iconic first panel on page 8. I think it adds additional tragedy to the resolution of the issue, as Black–a homosexual with jewish ancestry–helps launch the perspective of a anti-semitic homophobe into mainstream american psychology. Perhaps Moore is trying to make a point about the xenophobia and conservatism inherent to the horror genre.

Have you read Stephen King’s “Danse Macabre”? He has some really interesting things to say about the “conservatism” of horror. Cricut Expression 2 Drivers on this page. IIRC, it comes down to the idea that most horror is driven by the scenario of a peaceful status quo disrupted by a sinister outsider (Stoker’s Dracula being the classic example). Interestingly, he notes Lovecraft as an exception to that, where the good status quo is revealed as a thin veneer of normalcy stretched over an anti-human reality.

As for whether HPL’s prejudice was normal for the time: This is a long debated issue and probably won’t be resolved here, but I believe a lot of his contemporaries were appalled by Lovecraft’s over-the-top bigotry. It was the less attractive side to his willful antiquarianism and his old English affectations– he had the sort of prejudices that were common to men a generation or two before, that educated people of his generation were already overcoming. Is it just me, or does anyone kind of wish Marblehead: An Undertow by Robert Black actually did — or will — get written somehow aside from being notes in his Commonplace Book and a layer of subtext for Providence itself? It’s kind of a shame in a lot of ways that it doesn’t seem like it will happen, especially seeing Robert’s actual enthusiasm wax right before everything goes to hell. As a writer, I actually caught up in that moment of eureka and everything coming together for him in his mind: especially when he has that idea of what happened to Jonathan Carver’s missing playmate and he never writes it down though that dream of him meeting the playmate — that last image of innocence masked as willful naivety before the horror of eldritch knowledge that “Man was not Meant to Know” gets him — kind of also says it all.

I could see that, in another life and another alternate universe, Marblehead became one of those novels with a gay subculture resonance — as Black intended it to be — that would be studied by queer theorists and literary schools generations later, especially from the seventies onward, and that Robert himself met Loveman and the other coterie, perhaps spending the rest of his life in Greenwich Village with a lifetime partner, or various relationships over time. I could even see the dedication page of Marblehead with just two words: “To Lily.” Instead, I suspect the only thing that Robert Black will be dedicating anything to from on here on in is, mostly, madness itself. The tragedy is that, to the rest of the world, it seems as though he and his achievements will either never be made known, or will be erased.

But the Mythos will never forget him: much to his own damnation. I thought the whole last part of this issue’s Commonplace Book was a way of deepening Robert’s tragedy– he’s figured out his novel, his future, his subculture, his love life, and the full story of the Stell Saps, just as it’s too late. I imagine that Robert would have moved to the Village, found a nice guy, freelanced for newspapers and ultimately would have become a very book critic– he never seems like much of a novelist, but he’s terrifically perceptive about literature. I love the idea that Marblehead could have been this universe’s Maurice or Nightwood, dedicated to Lily and with its not-too-hidden subtext analyzed for decades. I don’t want to push this point too far, but in some ways Robert’s story seems like a symbol of the awful 30s that followed the roaring 20s. The 1920s, which Robert will just miss getting in on, were a time of such glorious liberation for gays, Jews, and unusual people of all stripes.