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Notes on the Revelations of Glaaki E-mail
Written by Anonymous   
Thursday, 05 June 2008

The main problem that confronts a student of The Revelations of Glaaki is not the extreme scarcity of copies, but rather the corruption of the text in the oft-cited (though still extremely rare) Golden Goblin edition of the work.  It is very fortunate, then, that noted scholar Antonius Quine has issued his own edition of this very unique tome, published by the prestigious Standish Press. 

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Review: The Book of Old Ones - Worst Idea Ever E-mail
Written by Anonymous   
Wednesday, 26 March 2008
How to use horrifying god-monsters from beyond reality as helpful house-elves.  The thrust of the book is that Mythos abominations can be invoked easily to conveniently solve all sorts of common, every-day problems.  For those of you expecting a sanity-shattering book of evil, this is not it.
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Review of Baby's First Mythos E-mail
Written by Bast   
Friday, 22 December 2006
Of all the Lovecraftian inspired works I've read, one of the most horrifying, amusing, and unexpected was Baby's First Mythos, written by C. J. Henderson and illustrated by his daughter, Erica Henderson. The book takes its readers on an ABC and 123 journey through the Mythos, from Azathoth to Zarnak.
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Review: The Simon Necronomicon E-mail
Written by Old Theobald   
Thursday, 21 December 2006
The Simon Necronomicon, that little black paperback from Avon, is undoubtedly the most common of the commercially available Necronomicons.  The book was originally released as a limited run of 666 leather-bound copies.  A cloth-bound hardcover followed, in a run of 3333 copies.   In its mass-market paperback incarnation, this book holds the dubious honor of being the easiest Necronomicon to find.
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Review: Wildside/Owlswick Necronomicon E-mail
Written by Old Theobald   
Tuesday, 19 December 2006
The Wildside Necronomicon is a paperback reprint of the infamous Owlswick Necronomicon, published in 1973 in a limited edition of 348.  This was the first commercially available Necronomicon.  The bulk of the text is written in “Duriac,” an artificial script created by an artist for this project.  An interesting feature of this book is that it reads from right to left, like Arabic or Hebrew.
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