The Crate 133ym

Une nouvelle du maître de Providence Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Deuxième volet des études liées au mythe de H. P. Lovecraft, aujourd'hui nous nous intéressons au cas de Nyarlathothep, le messager. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Creepypasta #6 Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Nouvel épisode de l'univers de Zothique. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Nouvel épisode de cette série Creepypasta. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Nouvelle histoire d'e l'auteur de "Night Ocean". Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Nouvelle Creepypasta #4 Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Creepypasta #3 Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Plongeons dans les Origines de l'un des monstres les plus connus du monde fantastique. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Wilfred Blanch Talman is an American Horror fiction writer best known for his collaboration with Howard Phillips Lovecraft on the short story, "Two Black Bottles", which was published in Weird Tales in August 1927 and credited solely to Talman. He was a correspondent with Lovecraft and a late member of the Kalem Club. Late in life, he wrote the memoir The Normal Lovecraft (1973). Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Creepypasta #2 Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

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Nouveau Format sur le Podcast : Les Creepypastas d'Internet Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

L'horreur de Red Hook est une nouvelle de l'écrivain américain H. P. Lovecraft, écrite du 1er au 2 août 1925. L'horreur de Red Hook est un texte de transition, situé entre le travail antérieur de l'auteur et le Mythe de Cthulhu.  Bien que l'histoire dépeigne un culte sinistre, ce culte offre une menace "conventionnelle" liée à adoration de divinités occultes, plutôt qu'une menace cosmique comme dans ses travaux ultérieurs. Vivant dans la pauvreté dans le bidonville de Red Hook au moment de la rédaction de cette nouvelle, Lovecraft tentait à ce moment-là d'élargir ses horizons dans les magazines pulps. En ayant comme protagoniste un détective d'origine irlandaise de la police de New York inhabituellement proactif par rapport aux autres personnages de Lovecraft, il espérait une vente rapide à un magazine pulp spécialisé dans les histoires de détectives, ce qui aurait ouvert un nouveau marché autre que son magazine habituel Weird Tales. Il n'a pas obtenu une telle vente et a dû se rabattre sur Weird Tales. L'horreur de Red Hook a donc été publié pour la première fois dans le numéro de janvier 1927 de Weird Tales.

Henry S. Whitehead was born in Elizabeth, New Jersey, on March 5, 1882, and graduated from Harvard University in 1904 (in the same class as Franklin D. Roosevelt).[3] As a young man he led an active and worldly life in the first decade of the 20th century, playing football at Harvard University, editing a Reform democratic newspaper in Port Chester, New York, and serving as commissioner of athletics for the AAU. He later attended Berkeley Divinity School in Middletown, Connecticut, and in 1912 he was ordained a deacon in the Episcopal Church. During 1912-1913 he worked as a clergyman in Torrington, Connecticut. From 1913 to 1917 he served as rector in Christ's Church, Middletown, Connecticut.[2] From 1918 to 1919 he was Pastor of the Children, Church of St. Mary the Virgin, New York City.[2] He served as Archdeacon of the Virgin Islands from 1921 to 1929.[1] While there, living on the island of St. Croix, Whitehead gathered the material he was to use in his tales of the supernatural.[2] A correspondent and friend of H. P. Lovecraft, Whitehead published stories from 1924 onward in Adventure, Black Mask, Strange Tales,[3] and especially Weird Tales. In his introduction to the collection Jumbee, R. H. Barlow would later describe Whitehead as a member of "the serious Weird Tales school".[3] Many of Whitehead's stories are set on the Virgin Islands and draw on the history and folklore of the region. Several of these stories are narrated by Gerald Canevin, a New Englander living on the islands and a fictional stand-in for Whitehead.[2] Whitehead's supernatural fiction was partially modelled on the work of Edward Lucas White and William Hope Hodgson.[3] Whitehead's "The Great Circle" (1932) is a lost-race tale with sword and sorcery elements.[3] In later life, Whitehead lived in Dunedin, Florida, as rector of the Church of the Good Shepherd and a leader of a boys' group there. H. P. Lovecraft was a particular friend as well as a correspondent of Whitehead's, visiting him at his Dunedin home for several weeks in 1931. Lovecraft recorded in his letters that he entertained the boys with readings of his stories such as "The Cats of Ulthar". Lovecraft said of Whitehead: "He has nothing of the musty cleric about him; but dresses in sports clothes, swears like a he-man on occasion, and is an utter stranger to bigotry or priggishness of any sort." Whitehead suffered from a long-term gastric problem, but an of his death by his assistant suggests he died from a fall or a stroke or both.[1] He died late in 1932, but few of his readers learned about this until an announcement and brief profile, by H. P. Lovecraft, appeared in the March 1933 Weird Tales, issued in Feb 1933. Whitehead was greatly mourned and missed by lovers of weird fiction at his death.[4] R. H. Barlow collected many of Whitehead's letters, planning to publish a volume of them; but this never appeared, although Barlow did contribute the introduction to Whitehead's Jumbee and Other Uncanny Tales (1944).

Le Cauchemar d'Innsmouth (titre original : The Shadow over Innsmouth) est un roman court d'horreur fantastiquede l'écrivain américain Howard Phillips Lovecraft publié en 1936.  Le Cauchemar d'Innsmouth est achevée par Lovecraft en 1931. Son récit relate la volonté d'un jeune homme à percer à jour les mystères d'Innsmouth, un village côtier fictif du Massachusetts, qui abriterait des êtres hybrides — quelque chose entre le poisson et la grenouille — vouant un culte à Cthulhu et à Dagon, un dieu philistin intégré au Mythe de Cthulhu. Dagon était déjà évoqué dans une courte nouvelle du même nom parue en 1919.

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Rimel was born to Pearl Guy Rimel and Florance F. (née Wilsey) Rimel on February 21, 1915, in Asotin, Washington.His father was a painter, while his mother worked as a secretary. In 1934, he graduated from Asotin High School. H. P. Lovecraft began corresponding with Rimel after becoming aware of him in 1933. The resulting correspondence continued until Lovecraft's death in 1937. He introduced Rimel to F. Lee Baldwin, another author and resident of Asotin, Washington. Lovecraft tutored Rimel in the writing of weird fiction by giving him advice and weird texts from his personal library. He sent Lovecraft some early manuscripts, including a now-lost work titled "The Spell of the Blue Stone" in February 1934. Lovecraft regarded this story as being "very remarkable for a beginner's work". Next, he sent "The Tree on the Hill", which Lovecraft edited. This story was later published in the 1940 issue of the fanzine Polaris.  In the summer of that year, Rimel sent a poetic manuscript titled "The Dreams of Yid". Lovecraft altered the title to "The Dreams of Yith", as Rimel had not been aware that the term "yid" is an offensive term for a Jewish person. Clark Ashton Smith also contributed to the revision.The sonnets were published in two issues of the Fantasy Fan.Lovecraft, who was professionally revising stories for clients, did not charge Rimel for his revisions. Instead, he viewed Rimel as needing help in his formative period as a writer.