Tonight we unseal the eighteenth vault in our 31 Nights of Lovecraft with The Hoard of the Wizard-Beast — a forgotten collaboration unearthed from the darker corners of the mythos, where greed, sorcery, and ancient hunger intertwine.

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In The Hoard of the Wizard-Beast, a doomed expedition seeks a monstrous treasure buried in the earth’s oldest shadows. What they find is no mere relic, but a living curse — one that guards its own legend with teeth and time. First published posthumously, this tale feels like an unearthed relic itself: part pulp adventure, part cosmic parable about the price of obsession.Even the bravest treasure hunters must eventually learn — some riches remember who touched them.

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Tonight, two shadows cross the veil with a double feature—one from the waking world, one from the dreaming.

We unseal the seventeenth vault with The Terrible Old Man and What the Moon Brings (starts at 12:04)—tales that mirror each other across sea and sleep. In both, curiosity becomes a curse, and what seems harmless in daylight reveals its true shape under the moon.

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In The Terrible Old Man (1920), greed drives three men to plunder the home of an ancient hermit whose power is older—and darker—than they imagine. Then, in What the Moon Brings (1919), a dreamer wanders into a moonlit garden only to glimpse the shifting boundaries between beauty and decay. Together, these stories whisper the same truth: some doors open themselves when the moon is high.

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Tonight we unseal the sixteenth vault in our 31 Nights of Lovecraft with From Beyond — a tale with unseen shapes, psychic thresholds, and a revelation too grotesque for the waking eye.

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In From Beyond, a deranged scientist unveils a device that activates dormant senses—allowing the human mind to perceive realities normally hidden. What begins as a scientific breakthrough quickly spirals into horror, as the narrator witnesses grotesque entities lurking just beyond the visible spectrum.

Written in 1920, this short tale is one of Lovecraft’s most iconic explorations of forbidden knowledge and sensory overload. It’s not the cosmos that terrifies here—it’s the idea that our world is already infested with horrors we simply cannot see.

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Tonight we unseal the fifteenth vault in our 31 Nights of Lovecraft with The Loved Dead—a tale so macabre it was nearly buried by the publishers themselves. The fog hangs heavy over the graveyard, and the hunger is not for life, but for what lingers after. The town is quiet, but the obsession is not. It stirs with midnight visits, whispered confessions, and a descent too twisted for daylight.🔮 Enter the Archive at ⁠http://tomebytomeasmr.com⁠, where every ritual leads home:🗝️ Claim your Lovecraft Advent Calendar lockscreen💀 Ensure your name appears in November’s Call of Cthulhu tribute📜 Submit your original horror tale for the Anniversary Readings❤️ Lorekeepers (Patreon & YouTube Members) will be honored in the final roll—verified October 30, 2025In The Loved Dead, a narrator haunted by morbid desires descends into obsession and madness, drawn to the dead with a compulsion he cannot resist. Set in a fog-drenched New England town, the story unfolds as a confessional spiral—each graveyard visit more disturbing than the last, each encounter more grotesque.Co-written with C.M. Eddy Jr., this is widely considered one of Lovecraft’s most graphic and twisted tales. Its themes of necrophilia and psychological decay pushed the boundaries of pulp horror, even prompting some publications to reject it for its content. Though not part of the mythos, it lingers as a dark echo in Lovecraft’s legacy—a tale where dread is not cosmic, but deeply, viscerally human.Thank you for listening in the dark with me 🖤

Tonight we unseal the fourteenth vault in our 31 Nights of Lovecraft with The Thing in the Moonlight—not a story, but a dream. Lovecraft wrote it as a letter in 1927, describing a nightmare so vivid it clawed its way into fiction.

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In The Thing in the Moonlight, a dreamer named Howard Phillips finds himself trapped in a surreal nightmare—a reedy, fetid marsh beneath a gray autumn sky, haunted by a yellow tram car and two monstrous figures. One howls at the moon with a face like a white cone ending in a blood-red tentacle; the other drops to all fours and charges like a beast. Though he knows he’s dreaming, Phillips cannot wake. Each night, he returns to the same scene, fleeing the grotesque motorman and conductor, always alerting them, always running, and always asking: “God! When will I awaken?”

This eerie tale wasn’t originally written as a story—it was born from a vivid dream Lovecraft described in a 1927 letter to fellow writer Donald Wandrei. Years later, J. Chapman Miske discovered the letter and transformed it into a short story, adding only a few paragraphs to frame Lovecraft’s dream narrative. Published posthumously in Bizarre magazine in 1941, it’s a rare glimpse into Lovecraft’s subconscious—a raw, unfiltered nightmare that bypasses plot and logic to deliver pure, surreal dread. It’s one of the few stories where Lovecraft himself is the dreamer, blurring the line between author and apparition.

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Comedy’s a rare trail for me to ride, and this one had more twists than a mountain switchback! I gave it my best shot with all the theatrical flair I could muster - hopefully it at least brings a smile to your face.

Tonight we unseal the thirteenth vault in our 31 Nights of Lovecraft with Sweet Ermengarde—where the farmhouse creaks with romance, villainy, and melodrama so thick you could ladle it. The fields are quiet, but the hearts are not. They throb with sighs, schemes, and declarations too dramatic for daylight.

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ASMR soft-spoken reading of Sweet Ermengarde by HP Lovecraft, featuring cozy saloon ambiance with a crackling fire. Written under the playful pseudonym Percy Simple, Sweet Ermengarde is Lovecraft in rare form—trading cosmic dread for rustic melodrama.

The story follows the radiant Ermengarde Stubbs, a farm girl caught between villainous Squire Hardman and bashful Jack Manly, as mortgages, mistaken identities, and theatrical declarations swirl around her like prairie dust.Lovecraft parodies the sentimental fiction of his time with exaggerated emotion, absurd twists, and characters so dramatic they practically faint on cue. Beneath the satire lies a clever ritual: a writer exorcising genre clichés with a wink and a flourish.

Published posthumously in 1943, this tale is a rare glimpse into Lovecraft’s comedic side—a theatrical romp through rural romance, perfect for a night of soft laughter and warm storytelling.

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Tonight we unseal the twelfth vault in our 31 Nights of Lovecraft with The Unnamable — where a crumbling house in Arkham becomes the mouth of something memory cannot name. Two men speak of logic and legend beneath a tombstone’s shadow, but the night listens differently. The town sleeps, but the attic does not. It stirs with shifting limbs and forgotten shapes, and beneath the floorboards, something unspoken begins to rise.

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ASMR soft-spoken reading of The Unnamable by HP Lovecraft, featuring a light wind as background ambiance. Set in the haunted town of Arkham, The Unnamable follows Randolph Carter, a weird fiction writer, and his rationalist friend Joel Manton as they debate the nature of supernatural horror while sitting atop a weathered tomb near a crumbling house. Carter insists that some entities are so alien, so ancient, they defy description — hence, “unnamable.” Manton scoffs, grounded in logic and the limits of the senses. But as night deepens, something stirs. What begins as a philosophical conversation turns into a visceral nightmare when the two are attacked by a formless, gelatinous presence—something with horns, hooves, and a thousand shifting shapes. They awaken in a hospital, bruised and bloodied, bearing marks no rational explanation can erase.Written in 1923 and published in Weird Tales in 1925, this story is both a meta-commentary on Lovecraft’s own writing style and a chilling assertion that some horrors are not meant to be named—only endured. It’s a compact, cerebral tale that blends folklore, theology, and the limits of language into a single, unforgettable encounter.

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Tonight we unseal the eleventh vault in our 31 Nights of Lovecraft with The Moon-Bog — where a drained marsh becomes a grave disturbed, and blind ambition stirs something best left buried. Kilderry sleeps, but the bog does not. It hums with ancestral grief, and beneath its surface, the dead begin to move.

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ASMR soft-spoken reading of The Moon-Bog by HP Lovecraft, featuring a rich swamp ambiance in the background. Lovecraft wrote The Moon-Bog in 1921 as a theatrical “after-supper shocker” for a St. Patrick’s Day gathering, infusing it with Irish legend and personal symbolism. Beneath its surface lies a reflection of Lovecraft’s own grief over lost heritage and the desecration of sacred places—mirroring his boyhood haunt, Cat Swamp, which was drained and developed against his wishes.

This story is one of Lovecraft’s most conventionally supernatural works, where the horror is not cosmic but folkloric. It’s a warning: some places are meant to remain untouched, and some silences are not meant to be broken.

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