Cthulhurotica

  Other authors have attached Cthulhu to their own hatreds of the modern world, from Robert Bloch echoing Lovecraft’s concern with social decay in Strange Eons to William Browning Spencer’s Resumé With Monsters casting the Cthulhu Mythos as representative of the anti-human office culture of the corporate world. In Move Under Ground Nick Mamatas opposes square Cthulhu to the doomed, liberatory Beats; in “The Deep Ones” James Wade indicts the counter-culture as Cthulhu-spawn; in “Recrudescence” Leonard Carpenter points up the eerie similarities between Cthulhu and petroleum. Thomas Ligotti ingeniously makes Cthulhu (under the transparent disguise of “Nethescurial”) represent the insidious collapse of originality in cosmic horror, while lesser lights from Michael Slade to Joseph Pulver have paralleled Lovecraftian fandom and serial murder in murky attempts to personalize and ironically examine the Cthulhoid apocalypse. In short, there has been surprisingly little push-back against Cthulhu’s main symbolic meaning of the horrific Modern. But then, it’s only been a lifetime.

  A few of Lovecraft’s successors have teased out another thread in Lovecraft’s work: Cthulhu as “strange attractor,” as the Faustian rapture of knowing what man was not meant to know. The discoveries of the modern will, it is true, unmake and devastate our humanity – but is that such a bad thing if human concerns are purely parochial? Lovecraft, in this light, prefigures “posthuman” science fiction and ideology. Thomas Olney in “The Strange High House in the Mist,” Robert Olmstead in “The Shadow Over Innsmouth,” Randolph Carter in “Through the Gates of the Silver Key,” and Henry Akeley in “The Whisperer in Darkness” all give in to the Mythos, to the seductive power of the Outside. Robert Blake seemingly joins with Nyarlathotep in “The Haunter of the Dark,” and there is some ecstasy blended with horror in his final apotheosis. Certainly the seductive allure of Cthulhu runs under his popularity as well, from Giger’s artistic lustmord to Japanese hentai to the paeans to the uncanny in Willum Hopfrog Pugmire’s Sesqua Valley story sequence.

  Vampires, after all, spent a hundred years as stinking corpses before they joined the Gothic seducer and got cleaned up. The journey from Stoker’s foreign rapist to Anne Rice’s cruising rock star took less than a century, culminating in Stephenie Meyer’s teen crush object. Now, the erotic – even the romantic – and the vampiric blend inextricably. Is it time, likewise, to embrace Cthulhu? For those worried for Cthulhu’s integrity as a horror icon, frightened that love conquers fear, they can be reassured that Near Dark and Let the Right One In remain both terrifying vampire stories and terrifying love stories. No matter how scattered his plasticity, Cthulhu will inevitably recombine in his “hateful original form.” That cannot be killed, that can eternal lie. Where he lies for now, and with whom, is up to us, his acolytes, his stalkers, his devotees.

  Cthulhu fhtagn.

  THE SEXUAL ATTRACTION OF THE LOVECRAFTIAN UNIVERSE

  BY JENNIFER BROZEK

  At first glance, there is nothing sexually arousing about the universe created by Howard Phillips Lovecraft. His writing is filled with horrific creatures, other-worldly dangers, and indescribable gods whose very presence drives men mad. None of his tales have depictions of a blatantly sexual nature, and there are almost no female characters. Those few that are mentioned are sad things, servants or pitiful creatures twisted by their contact with the Old Ones. Even in The Dunwich Horror, where it is clear that some sort of sexual contact has happened, the event is glossed over in a single paragraph, allowing only that other characters in the story wondered about the event as much as the story's readers did:

  "Lavinia Whateley had no known husband, but according to the custom of the region made no attempt to disavow the child; concerning the other side of whose ancestry the country folk might - and did - speculate as widely as they chose."

  – "The Dunwich Horror," Weird Tales, 1929

  The stories Lovecraft told were not ones that incited arousal or encouraged promiscuity between mortals, mortals and servitors or mortals and the Old Ones. And yet, Cthulhurotica is not the first book that explores the sexual nature of this universe. There are other books (both anthologies and novels), role-playing games, movies and even (dare I mention it?) Lovecraftian porn[1].

  At first blush, this seems incomprehensible. However, after taking a closer look at the issue, the reasoning behind the link between Lovecraft's creation and erotica becomes clear. There are four main reasons that I will discuss: first is the attraction to the forbidden, second is the lush and image-filled atmosphere created by most of Lovecraft's works, next is ability to lose control of oneself within the world, confronted by "that which man should not know," and, finally, sex in the Lovecraft universe is the ultimate challenge - one that many cannot turn away from.

  The Attraction of the Forbidden

  "It was the Yuletide, and I had come at last to

  the ancient sea town where my people had dwelt and kept festival in the elder time when festival was forbidden; where also they had commanded their sons to keep festival once every century, that the memory of primal secrets might not be forgotten."

  – "The Festival," Weird Tales, 1925

  Since the dawn of the written word, stories have been written in which the forbidden is attractive. Because it is forbidden, it is worthy of being desired, for why would something unimportant be purposefully hidden or off-limits? When Lovecraft set up a universe with antagonists that have secret powers and information, he set up a universe in which mortals would constantly be craving, and searching for, that knowledge. The Old Ones and their servitors represent that which man should not know, and Lovecraft's mortals are often depicted as suffering the consequences of trying to gain access to the unspeakable, the unknowable, and the dangerous. Why would they risk their lives and their very sanity for something they understand is inhumanly wrong?

  It is natural for readers of Lovecraft to want to do more than just toe the line and dabble in the forbidden, because Lovecraft's writings are all about those who challenge the norm - cultists who study forbidden knowledge and people who fight overwhelming monsters to save this world. Readers are already attracted to rule breakers and often want to ramp up the breaking of the rules. This frequently means sex as sex is one of the most taboo-filled topics out there. Sex with the forbidden. Sex with the dangerous. Sex with that which can kill or make you crazy. Being sexually attracted to those on the wrong side of the tracks (or, in this case, the wrong side of reality) is an age old story that has been told again and again in a myriad of mediums. This is why authors, such as Clark Ashton Smith and August Derleth, as well as filmmakers, like Daniel Haller and Leigh Scott, enjoy working in this universe. It is a much more provocative way of telling a familiar story.

  One of the first Lovecraft movies I saw was The Dunwich Horror. I was very young when I saw it on TV. While it was frightening, there were a couple bits I could not get out of my head. Namely, the near naked actress, Sandra Dee, writhing on a stone altar and moaning as if she were in the throes of some hellaciously good sex. The director, Daniel Haller, in his instructions to the actors, added eroticism to the previously unsexy story. Sandra Dee was well known for playing America's Sweetheart, Gidget, and wanted to expand her repertoire. She brought an amazing sensuality to the character of Nancy Wagner. Between Haller's direction and Dee's acting, the previously unseen eroticism in The Dunwich Horror was unmistakable. In my opinion, not many could look at all those prehensile tentacles and the writhing, sexy Sandra Dee without thinking of penises and sex.

  Atmosphere, Baby

  "Beyond the worlds vague ghosts of monstrous things; half-seen columns of unsanctified temples that rest on nameless rocks beneath space and reach up to dizzy vacua above the spheres of light and darkness. And through this revolting graveyard of the universe the muffled, maddening beating of drums, and thin, monotonous whine of blasphemous flutes from inconceivable, unlighted chambers beyond Time; the detestable pounding and piping whereunto dance slowly, awkwardly, and absurdly the gigantic, tenebrous ultimate gods -
the blind, voiceless, mindless gargoyles whose soul is Nyarlathotep."

  – "Nyarlathotep," United Amateur, 1920

  Like the desire to date the local bad boy or bad girl, very little attracts the young and foolish or old and experienced like an atmospheric setting. Lighting, location, music, dress, food - all of it makes a difference when it comes to a seduction. Each person is different in their tastes. Those who like a darker atmosphere, one that treads on the dangerous, creepy, or possible profane, know that Lovecraft, and those who follow Lovecraft's literary aesthetic, has the goods.

  Lovecraft was a technical master at setting a scene, describing the countryside and building the creepy "Lovecraftian" atmosphere he was famous for. Lovecraft's tales range from such settings as dusty libraries, dilapidated townships, hidden ruins, deep forests, and all the way to mountain tops. These clear images allow Lovecraft's readers to imagine more than just the action taking place. With such well-formed descriptions, Lovecraft's stories laid the foundation for the kind of universe that other authors could built upon. Not only can the reader imagine the locations in great detail, they can imagine new stories in them - with their own characters in starring role.

  And nothing says that this starring role can't be the bad guy.

  Lovecraft's atmospheric tales lend their settings well to allowing the creator of a new, more sexually-charged, Lovecraftian tale to create the part of an enviable bad guy. The cult leader can get all the girls (or guys) in the cult and for the sacrifice. The servitor can uses its powers to horrify and overcome its quarry; to take them as it will. There is a deep attraction to playing with our darker natures; to garner power and to use it for our own pleasures[2] - as long as they please our master, of course, because every good cultist knows that there is an Elder God out there allowing them to do as they will.

  This leads me to the next level in the sexual attraction of the Lovecraftian universe.

  The Lack of Personal Responsibility

  "When at last my senses returned, all was frightfully dark, and my mind remembering what had occurred, shrank from the idea of beholding more; yet curiosity overmastered all. Who, I asked myself, was this man of evil, and how came he within the castle walls?"

  – "The Alchemist," United Amateur, 1916

  Power means many things to different people. Numerous books on consensual BDSM play[3] talk about why people are attracted to power and those in power. They speak of how, for some people, authority is an aphrodisiac, along with physical strength and, depending on the fantasy, magical strength. A similar fantasy involves being taken by force by something stronger than yourself, which absolves you of the responsibility. On the side of the "victim" is the fact that they were overwhelmed by the mere presence of that which man should not know. They could not help themselves. They were tied down. They were helpless to stop what was happening. While on the side of the "perpetrator" is the fact that they are merely doing what their deity wants and needs them to do. They are almost as helpless as their victim to stop what is happening.

  In the submissive sense, there is an extreme sexual attraction to being taken by force especially by an otherworldly entity or someone possessed of an otherworldly entity. There are reams of papers that discuss and examine the submissive role in such a consensual or non-consensual scene. Why people want to take this role, how it sexually arouses them and how the non-human aspect of the perpetrator heightens the experience. When one is imagining such a scene, it is attractive because it is only within the mind. The imaginer has control over how the victim - a substitute for themselves - is either willingly or not willingly taken advantage of.

  In the dominant sense, there is an extreme sexual attraction to taking a victim forcefully (or by force) especially if it is at the behest of a greater entity. The perpetrator takes part in the sexual ritual not only for their own pleasure but because it will bring about something greater than themselves: giving the Old One something they need, initiating the victim into the cult for a greater purpose or for making the victim into a portal for next step in the plan. Again, when one is imagining such a scene, it is attractive because it is only within the imagination. The creator has the control. They control how the perpetrator acts and how the victim reacts.

  Finally, there is the ultimate lack of personal responsibility on both sides of the ritual (victim and perpetrator) because any contact with the Old One - that which man should not know - almost certainly causes madness of one sort or another. This madness can include amnesia, false memories, catatonia and a myriad of other mental illnesses that allow the victim and/or the perpetrator to forget what happened or to lay the blame for it at another's feet.

  The Ultimate Challenge

  "There was a formula - a sort of list of things to say and do - which I recognised as something black and forbidden; something which I had read of before in furtive paragraphs of mixed abhorrence and fascination penned by those strange ancient delvers into the universe's guarded secrets whose decaying texts I loved to absorb."

  – "The Book," Leaves, 1938

  The Lovecraftian universe is a universe where the rules for survival include "don't read the books," "don't go to the creepy New England town," "don't follow the clues," and "run away." This presents the ultimate big, shiny, red button with the giant sign next to it that says, "Don't Push." There are so many rules that it is more attractive to break them than to follow them, because strict rules are a huge challenge thrown in the metaphorical faces of the heroes - and thus, the readers. No self-respecting adventurer will obey such rules. If they did, there would be no story.

  Because of this, the Lovecraftian universe is set up as the ultimate challenge to break all the rules - including the ones about sex and sex with non-humans. I seriously doubt that Lovecraft did this on purpose. Based on his writings, he seems repressed and uncertain about what to do with his sexual feelings. I have no doubt that he is rolling over in his grave at all of the Mythos-inspired erotica and porn that has been created in his name.

  No matter how a creator's journey into the world of Lovecraftian eroticism began, there are a myriad of reasons for entering it willingly: the attraction of the forbidden, the delightfully creepy atmosphere that lends itself well to rule breaking and sexual encounters, plausible deniability and the option to avoid personal responsibility, or just a need to face the ultimate challenge. Lovecraft invited other authors to play in his sandbox, and play they have. In the 1920s, there were authors, such as August Derleth, who were part of the "Lovecraft Circle;" authors who all freely exchanged and shared parts of Lovecraft's universe[4] in their stories. Later authors took that as an open invitation to keep the Mythos moving and expanding, reaching into dark corners and unintended places. With movies, books, and role-playing games, purveyors of the Lovecraft universe have shown themselves willing and able to face the challenges set up for them by this Universe. Taboos have been examined, broached and enjoyed.

  And we, as readers and watchers of all things Lovecraftian, can appreciate these modern incarnations for they are: titillating, provocative and ultimately, very enjoyable.

  CTHULHUROTICA, FEMALE EMPOWERMENT, AND THE NEW WEIRD

  BY JUSTIN EVERETT, PHD

  When I was initially invited to write an essay for a volume provocatively titled Cthulhurotica, I admit I approached the task with some degree of trepidation. Though I have long been familiar with Lovecraft’s work, I had never considered the strange and wonderful marriage that might occur were the two genres of Lovecraftian horror and literary erotica to be combined. While this merging of traditions may seem odd at first, upon further examination it makes perfect sense. Both genres are about crossing boundaries and moving from innocence to experience. Such tales commonly feature naïve characters who believe they understand the rules and limits of the worlds they inhabit. When those boundaries are crossed the rules that govern the worlds they know are set aside. The protagonist is usually faced with the choice of learning the ways of the new world and embracing it, and as a part
of this process becoming forever changed, or rejecting the new reality, often fleeing from it in terror. In Lovecraftian horror the adept is faced with a new understanding of the order of the cosmos; in erotica, the rules are often social, requiring the adept to confront their preconceived notions of sexuality, gender and relationship dominance. When the two are combined, the effect is powerful. The subversion of social norms is magnified through the transformation of self on a literally cosmic scale.

  In any collection of stories based on an author’s prior work, artists experiment with the original form and apply it to new ends. Cthulhurotica is no exception. This new offshoot of stories of the “Cthulhu Mythos,” what we might otherwise call the Lovecraft School of writing, has as its inspirational material many of Lovecraft’s original tales. Starting points or inspiration for many of the stories in this collection have included “Dagon,” “The Call of Cthulhu,” “The Whisperer in the Darkness,” Nyarlathotep,” “The Silver Key,” and “At the Mountains of Madness,” to name a few. Like others who carried on the Mythos tales after the author’s death, the contributors to this volume have made the material their own and have responded to the literary and cultural influences of our own age. In combining the transformative experience of literary erotica with the cosmic terror of the Mythos tale, the stories in this collection have created worlds that are at once familiar and estranged; ordinary, and surreal. As its characters undergo a transformation in relation to cultural norms and embracing cosmic horror, they do not do so in a macabre otherworld. The transformation remains anchored in, and interweaves with, the ordinary and common. It is this difference from Lovecraft’s original work, and the Mythos stories that followed, that separates Cthulhurotica from its predecessors and places at least some of the stories within the contemporary genre known as New Weird.