AMERICAN ELdRITCH

What We Talk About When We Talk About Weird Art and Literature

[americaneldritch]

The Dreams of Mana Yood-Sushai, by Sidney Sime, for "Of Skarl the Drummer," from Lord Dunsany's The Gods of Pegana (1905). New colorization by Aladdin Collar, 2025.

[americaneldritch]

"Even I Too! Even I Too!"

Illustration by Sidney Sime for "The Fall of Babbulkund," from Lord Dunsany's The Sword of Welleran and Other Stories (1908).

Colorization by Aladdin Collar for "Contes de Pegana," available now from Callidor Press.

[nobrashfestivity]

Sidney Herbert Sime  Hish (from Lord Dunsany’s Gods of Pegana) 1911

colorist Aladdin Collar

more

[americaneldritch]

Classifieds and back-pages for American Eldritch 02: Deus ex Gothica. 

[demi-shoggoth]

I am 110% behind calling Shub-Niggurath “Sheol Nugganoth”. Harkens back to Dunsany and lets you get the weird fertility god in your eldritch horror without the horrible racism.

[americaneldritch]

The American Eldritch Press is excited to announce the cover reveal for “Abominable You,” by Aladdin Collar!

It’s 28 pages, fully illustrated by the author, in color, featuring inspirational cosmic-horror dating advice for the modern woman.

We’re going to run our first kickstarter for this one, so, get ready for some noise over the course of the next few weeks. If you’d like to be a beta reader for the book, that would be neat! Send an email to [email protected]. If we’re still looking for feedback by the time we receive your email, we’ll shoot you a PDF of the manuscript.

[americaneldritch]

A few sample pages from Abominable You: How to Drive Your Man to the Brink of Madness by Embracing the Void Within

[americaneldritch]

That Is Not Dead Which Can Eternal Lie, a Moral Emblem

[americaneldritch]

“Oops, All Towers,” a selection of Tarot cards from Aladdin Collar (with apologies to Pamela Colman Smith)

[americaneldritch]

Carrousel, the Barber of Meridian Street, by Aubrey Beardsley, originally published in The Savoy (1896). Digital color by Aladdin Collar (2022). 

[americaneldritch]

The King of Queens in Yellow, by Aladdin Collar

[americaneldritch]

Another short from the Misktatonic Community College lecture series, “Lurker at the Threshold: It’s Literary Hoaxes All the Way Down” 

[americaneldritch]

Pamela Colman Smith: Before the Tarot, an Adventure in Symbolism

Check out the complete Green Sheaf, available on Archive.org 

[americaneldritch]

Mistkatonic Community College: Lovecraft’s Other Prejudice (the Man Who Hated Dogs)

A mini video essay by Aladdin Collar 

[americaneldritch]

Interstitial Moth illustrated by C. Rickets, for The Dial no. 1, 1889. 

[americaneldritch]

Arkham Community College: Pugilism 101: William Blake and the Fine Art of Laying Hands 

In the second episode of Arkham Community College, we explore the life and crimes of William Blake, in some of his own words, and a whole bunch of mine. 

Subjects of discussion include the Gordon Riots, that one poem about the Tyger, some illuminated prophecies, the X-Men, and advice on how to remove impertinent Dragoons from one's garden. 

[americaneldritch]

Arkham Community College: American Literature 101: The King in Yellow is a Fool 

In the first episode of Arkham Community College, professor Aladdin Collar explores the original design of the King in Yellow, as envisioned by illustrator and author Robert W. Chambers, and how the original design was Xeroxed into oblivion as it was reprinted. 

[americaneldritch]

[ratak-monodosico]

To Commune with Those Orbs, a coloring of an original untitled illustration by EJ Poynter for an 1873 edition of John Keats’ Endymion. 

[ganymedesrocks]

Edward John Poynter (1836 – 1919), 1st baronnet traced the rise of imitative painting, as he rose to become an English painter, designer, and draughtsman who also served as President of the Royal Academy.  Today, essentially, due to the vagaries of art appreciation and public taste, his talent remains singularly neglected amongst the triumvirate of artists called the Victorian ‘Olympians’, despite occupying a uniquely prominent position in the art establishment of his day.  Scholars who tended to regard Poynter’s art as simply imitative of that of his contemporaries Frederic, Lord Leighton and Sir Lawrence Alma-Tadema in both style and subject, have erroneously diminished his position in the history of art and the classical heritage.  This is a mistake as Poynter remains far greater an artist when one observes his classicist dedication, who proved him a thinker, a theoretician in the contexts of late Victorian - Edwardian painting.

[americaneldritch]

blah blah blah white people stuff