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P. Lovecraft as both a defining figure in weird fiction and a controversial, uneven writer whose style raises obstacles for contemporary creative writers. Through a series of visual poems, the work studies détournement in a Situationist framework and connects this to visual poetry practices. It contextualizes a digital appropriation of Lovecraft’s fiction, outlining how experimental poetry can engage, confront, and parody a historical author while questioning the design software’s role in that process.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/maps-to-arkham-lovecraft-landscape-and-visual-poetry/515180/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/maps-to-arkham-lovecraft-landscape-and-visual-poetry/515180.png","ImageObject",300,407,{"name":92,"@type":93},"BigDaveOnline","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-27","2026-10-06",true,{"@type":102,"interactionType":103,"userInteractionCount":34},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What is the purpose of Maps to Arkham?","Question",{"text":112,"@type":113},"Maps to Arkham aims to understand and disrupt Lovecraft as a legendary but controversial figure through a sequence of visual poems responding to his attitudes toward language, walking, and landscape.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does the project approach détournement?",{"text":117,"@type":113},"The essay examines artistic détournement as theorized by the Situationists and relates this to visual poets’ methods, framing digital appropriation of Lovecraft’s fiction as an experimental poetic practice.",{"name":119,"@type":110,"acceptedAnswer":120},"How is the Maps to Arkham series structured?",{"text":121,"@type":113},"The work consists of seven “maps,” each responding to a popular Lovecraft story. 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P. Lovecraft (1890-1937) is an enduring figure in contemporary genre writing and his legacy continues to shape the field of weird fiction. But he is a controversial character and, on a line by line level, a poor writer, and responding to his work prompts multiple challenges for the contemporary creative writer. My collection, Maps to Arkham, seeks to understand and disrupt this legendary figure through a series of visual poems which respond to Lovecraft’s attitudes towards language, walking and the landscape. This essay examines the artistic process of détournement, as theorized by the avant-garde Situationist group, and other visual poet’s approach to the concept, and contextualizes my own digital appropriation of Lovecraft’s fiction. This approach provides a framework by which experimental poetry can write through a historical figure, both confronting and parodying them, and poses questions for the role of design software in visual poetry.  \nKeywords:  \nH. P. Lovecraft, visual poetry, digital poetry, creative writing, landscape, psychogeography, weird fiction, the situationists, architecture, Susan Howe.  \nMaps to Arkham: Lovecraft, Landscape and Visual Poetry  \n…Lovecraft’s body of work has reached the world. Today, it stands before us, an imposing baroque structure, its towering strata rising in so many layered concentric circles, a wide and sumptuous landing around each, the whole  \n62 Writing in Practice  \nsurrounding a vortex of pure horror and absolute marvel (Houellebecq 2005: 50) .  \nH.P Lovecraft and Creative Writing  \nThe first time I read Lovecraft I was disappointed. It was The Nameless City (1921), admittedly one of his earlier works. It begins…  \nWhen I drew nigh the nameless city I knew it was accursed. I was traveling in a parched and terrible valley under the moon, and afar I saw it protruding uncannily above the sands as parts of a corpse may protrude from an ill-made grave (2017: 5) .  \nIt’s not terrible, but I was expecting more. He is an enduring influence on some of contemporary writing’s greatest genre writers, musicians and filmmakers. Some of the most popular genre writers today are devoted fans. Stephen King, Neil Gaimen, and China Mieville have all cited him as an influence. Guillermo Del Toro and John Carpenter owe part of their cinematic style to him, writing and directing some of today’s most well-known horror films: Pans Labyrinth, Scary Stories to Tell in the Dark, the Hellboy trilogy, and The Fog, At the Mouth of Madness and the Halloween franchise, respectively. His influence on modern sci-fi is enormous. Del Toro highlights that one of the biggest sci-fi franchises, Ridley Scott’s Alien, encompasses a typically Lovecraftian premise-that of the unwitting expedition stumbling on along-slumbering extra-terrestrial object (in Roland 2014: Kindle Loc. 2358) . On amore literary scale, Joyce Carol Oates has spoken about him with reverence and responses to his work can be found in the feminist fiction of Angela Carter (Wisker 2019). His genre-defining stories have been reprinted next to some of scifi’s most respected contemporary voices:  \nJ. G. Ballard, Philip K. Dick and Ray Bradbury, for example (Roland 2014: loc.  \n3325). Kingsley Amis (1960) claimed he achieved a ‘memorable nastiness’ (2012: 25). Jorge Luis Borges dedicated a short story to him (There Are More Things 1975) . He’s spawned a colossal seemingly-free-for-all fictional “Mythos”which writers today still respond to, most recently Lovecraft’s Monsters (Ellen Datlow: 2014) . There’s Lovecraft board games, cuddly toys and enamel pin badges, as well as countless tattoos. There’s even a Lovecraft-inspired cookbook-The Necronomnomnom (Mike Slater, 2019) . Lovecraft loomed, and still looms, large over the genre of Weird fiction and beyond. In fact. For any fan of horror, sci-fi or the Weird, the name Lovecraft is inescapable. He’s essenti","cbCair8qwSGqdiQs","https://ap.wps.com/l/cbCair8qwSGqdiQs","pdf",1234051,11,"English","# Abstract\n# H. P. Lovecraft and Creative Writing\n## Lovecraft’s influence and reception\n## Detournement and visual-poetic method\n# Maps to Arkham as a visual-poetry series\n## Found text and conventional poem pairing\n## Disorientation, landscape, and walking","[{\"question\":\"What is the purpose of Maps to Arkham?\",\"answer\":\"Maps to Arkham aims to understand and disrupt Lovecraft as a legendary but controversial figure through a sequence of visual poems responding to his attitudes toward language, walking, and landscape.\"},{\"question\":\"How does the project approach détournement?\",\"answer\":\"The essay examines artistic détournement as theorized by the Situationists and relates this to visual poets’ methods, framing digital appropriation of Lovecraft’s fiction as an experimental poetic practice.\"},{\"question\":\"How is the Maps to Arkham series structured?\",\"answer\":\"The work consists of seven “maps,” each responding to a popular Lovecraft story. Each map pairs a visual poem built from found text from the designated story with a conventional poem.\"}]","Maps to Arkham - Lovecraft, Landscape and Visual Poetry | PDF",1791309037,17]