H. P. Lovecraft (1890-1937) is commonly regarded as the leading author of supernatural fiction in the 20th century. He is distinctive among writers in having a tremendous popular following as well as a considerable and increasing academic reputation as a writer of substance and significance. This encyclopedia is an exhaustive guide to many aspects of Lovecraft's life and work, codifying the detailed research on Lovecraft conducted by many scholars over the past three decades. It includes hundreds of alphabetically arranged entries on Lovecraft and presents extensive bibliographical information. The volume draws upon rare documents, including thousands of unpublished letters, in presenting plot synopses of Lovecraft's major works, descriptions of characters in his tales, capsule biographies of his major colleagues and family members, and entries on little known features in his stories, such as his imaginary book of occult lore, the Necronomicon. The volume refers to current scholarship on the issues in question and also supplies the literary, topographical, and biographical sources for key elements in Lovecraft's work. As Lovecraft's renown continues to ascend in the 21st century, this encyclopedia will be essential to an understanding of his life and writings.
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title: author: publisher: isbn10 | asin: print isbn13: ebook isbn13: language: subject
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An H.P. Lovecraft Encyclopedia
Joshi, S. T.; Schultz, David E.
Greenwood Publishing Group
0313315787
9780313315787
9780313016820
English
Lovecraft, H. P.--(Howard Phillips),--1890-1937-Encyclopedias, Authors, American--20th century-Biography--Encyclopedias, Horror tales, American-Encyclopedias.
2001
PS3523.O833Z459 2001eb
813/.52
Lovecraft, H. P.--(Howard Phillips),--1890-1937-Encyclopedias, Authors, American--20th century-Biography--Encyclopedias, Horror tales, American-Encyclopedias.
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An H.P.Lovecraft Encyclopedia < previous page page_i next page > < previous page page_ii next page >
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Howard P.Lovecraft, First Vice-President U.A.P.A. (Courtesy of the Brown University Library.)
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An H.P.Lovecraft Encyclopedia S.T.Joshi and David E.Schultz
GREENWOOD PRESS
Westport, Connecticut • London
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Library of Congress Cataloging-in-Publication Data
Joshi, S.T., 1958–
An H.P.Lovecraft encyclopedia/S.T.Joshi and David E.Schultz. p. cm.
Includes bibliographic references (p.) and index.
ISBN 0–313–31578–7 (alk. paper)
1. Lovecraft, H.P. (Howard Phillips), 1890–1937—Encyclopedias. 2. Authors, American—20th century—Biography—Encyclopedias. 3. Horror tales, American—Encyclopedias. I. Schultz, David E., 1952– II. Title. PS3523.O833Z459 2001
813′.52—dc21
[B] 2001023841
British Library Cataloguing in Publication Data is available.
Copyright © 2001 by S.T.Joshi and David E.Schultz
All rights reserved. No portion of this book may be
reproduced, by any process or technique, without the
express written consent of the publisher.
Library of Congress Catalog Card Number: 2001023841
ISBN: 0-313-31578-7
First published in 2001
Greenwood Press, 88 Post Road West, Westport, CT 06881
An imprint of Greenwood Publishing Group, Inc.
www.greenwood.com
Printed in the United States of America
The paper used in this book complies with the
Permanent Paper Standard issued by the National
Information Standards Organization (Z39.48–1984).
10 9 8 7 6 5 4 3 2 1
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Contents
Preface
Chronology
Abbreviations and Short Titles The Encyclopedia
General Bibliography
Index
ix
xiii
xix
1
309 313
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Preface
During the past three decades, scholarly work on H.P.Lovecraft (1890–1937) has expanded exponentially in every phase of research. Building upon the early efforts of George T.Wetzel, Matthew H.Onderdonk, and Fritz Leiber, such scholars as Kenneth W.Faig, Jr., and R.Alain Everts revolutionized the understanding of Lovecraft’s life, while Dirk W.Mosig, Donald R.Burleson, and many others examined his tales, poems, essays, and letters with perspicuity and precision. It was inevitable that these endeavors—resulting in numerous capable general studies of Lovecraft,1 the first comprehensive Lovecraft bibliography,2 the foundation of the journal
And yet, much of this research is scattered heterogeneously in small-press or academic publications, many out of print and inaccessible. It is in the hope that a gathering of widely dispersed information on Lovecraft will engender even more penetrating scholarship and also provide Lovecraft’s many devotees with the tools for a more informed appreciation of his work that the present volume has been assembled.
In a compilation of this kind, the chief focus must be upon Lovecraft’s literary work. For every such item, we have supplied (1) the word count; (2) the date of writing, as well as can be ascertained; and information on (3) its first publication; (4) its first appearance in a volume by Lovecraft; and (5) its appearance in textually corrected or annotated editions. Lovecraft is best known for his tales of horror and the supernatural; accordingly, the compilers have provided detailed plot synopses of every fictional work—stories, sketches, collaborative works, “revisions” or ghostwritten tales—written by Lovecraft from the age of seven until his death. Only brief critical commentary is supplied, since we feel it is not
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our place to enforce our own judgments or evaluations upon readers. Instead, we have devoted our commentary to relatively concrete matters: the literary or biographical sources for the tales, as frequently noted by Lovecraft himself in letters or other documents; relations between a given tale and others written earlier or later; particular features of a tale that require elucidation. At the end of every entry, we supply citations to books or articles (arranged chronologically) discussing the work in question. For books, only the year of publication is cited except in the case of small-press items, where we also supply the publisher. It should be noted that many general studies of Lovecraft treat individual tales, sometimes in considerable detail. The reader is referred to the bibliography at the end of the volume for such studies.
Other bodies of Lovecraft’s work—essays, poetry, and letters—must perforce be treated less comprehensively than his fiction. Not all essays or poems have received separate entries, but only those that are of particular significance and have engendered discussion by scholars. As every poem by Lovecraft is now included in the recently published edition of
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Blackwood. Mentions of other authors and works that influenced Lovecraft can be found in the entries on individual tales; see the index for references.
General topics relating to Lovecraft could theoretically be covered in an almost infinite range of entries, but we have limited our coverage to such things as Lovecraft’s involvement with amateur journalism (specifically, the two leading amateur press associations of his time, the United Amateur Press Association and the National Amateur Press Association), his use of pseudonyms, his travels, and other major issues. No separate entry on Lovecraft’s philosophical thought is included here, as the topic is too complex for succinct discussion.4
A bibliography listing important primary and secondary works on Lovecraft and a comprehensive index follow.
A word must now be said on what is
One of the most popular aspects of Lovecraft’s work is what has come to be known as the “Cthulhu Mythos” (a term Lovecraft himself never used). His literary pantheon (entities who, in many cases, prove merely to be extraterrestrials from the depths of space) has proved fascinating to readers and writers alike, to the extent that this “mythos” has taken on a life of its own and engendered innumerable imitations and purported sequels to Lovecraft’s own work. We address none of this material in this volume. The “gods” themselves, with rare exceptions, do not figure as “characters” in any meaningful sense in the tales, so there are no entries on them. Similarly, we have provided no entries on writers who have attempted to follow in Lovecraft’s footsteps, even though there is scarcely any writer of horror tales during the past seventy years who has not been influenced in one way or another by Lovecraft. Those interested in this entire subject are referred to Chris JarochaErnst’s
Film, television, and other media adaptations of Lovecraft’s work are similarly not covered here. Readers can find an abundance of information in Andrew Migliore and John Strysik’s
As noted, this volume cannot be considered in any sense a thorough proper name index to Lovecraft’s work. For such an index, see S.T.Joshi’s
This volume had its origins in a work of substantially different nature planned many years ago but never completed. At that time, several colleagues wrote brief entries (chiefly on Lovecraft’s family and colleagues) that have served as the nucleus for analogous articles included herein. We are grateful to Donald R.Burleson, Kenneth W.Faig, Jr., Will Murray, and Robert M.Price for allowing us to build upon their work. Other individuals, including Scott Connors, Daniel Harms, Donovan K.Loucks, and Christopher O’Brien, have supplied bits of valuable information.
NOTES
1. See Donald R.Burleson,
(1989); S.T.Joshi,
(1996).
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2. S.T.Joshi,
3. S.T.Joshi,
4. For two very different discussions of this subject, see S.T.Joshi,
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Chronology
1890 August 20: Born at 454 Angell St. in Providence, R.I.
1890– Resides with parents at various locales in Massachusetts (Dorchester, 1890–92?; Dudley, 93 summer 1892; Auburndale, 1892–93?) as father, Winfield Scott Lovecraft, pursues business
interests.
1893 April 25: Winfield hospitalized at Butler Hospital in Providence; HPL and his mother, Sarah
Susan Lovecraft, return to family home at 454 Angell St.
1897 First writings in fiction (“The Noble Eavesdropper”) and poetry (“The Poem of Ulysses”). 1898 Discovers Edgar Allan Poe. Voluminous writing of stories (“The Secret Cave,” “The Mystery of
the Grave-yard,” “John the Detective”), some inspired by dime novels. Begins study of
chemistry.
July 19: Death of Winfield. HPL and his mother spend summer in Westminster, Mass. 1898– Attends Slater Avenue School.
99,
1902–3
1899 March 4: Begins handwritten journal,
chemistry.
1902 Winter: Discovers astronomy, largely from books in li
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brary of maternal grandmother. Writes tales inspired by Jules Verne (nonextant).
1903 August 2: Begins
1904 March 4: Death of HPL’s maternal grandfather, Whipple Van Buren Phillips. Family’s subsequent financial collapse causes move to 598 Angell St. in Providence.
1904–Intermittent attendance at Hope Street High School.
8
1905 Writes “The Beast in the Cave.”
1906–Writes astronomy columns for
8
1908 Withdraws from high school because of nervous breakdown. Writes “The Alchemist.”
1909–Takes correspondence courses in chemistry. Writes
12 (1910; nonextant).
1913 September: Literary controversy with John Russell in the letter column of
1914–Writes astronomy column in [Providence]
18
1914–Voluminous writing of essays, poetry, editorials, and reviews in the amateur press, mostly for
23 the United Amateur Press Association (UAPA), but also later for the National Amateur Press Association (NAPA), which HPL joins in 1917. Early amateur colleagues include Maurice W.Moe, Rheinhart Kleiner, W.Paul Cook, and Samuel Loveman.
1915 April: Publishes first issue of amateur journal,
1917 May: Attempts enlistment in Rhode Island National Guard and later in the U.S. Army, but through his mother’s influence is rejected.
June: Writes “The Tomb,” his first fictional work after a nine-year hiatus.
1917–Serves as president of the UAPA.
18
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1919 March: HPL’s mother hospitalized at Butler Hospital.
Writes “Beyond the Wall of Sleep,” “The White Ship,” “The Statement of Randolph Carter,” and others.
September: Discovers work of Lord Dunsany.
1920 Begins corresponding with Frank Belknap Long, Jr. Writes at least twelve stories, more than in any single year of his career, including “The Temple,” “The Terrible Old Man,” “Celephaïs,” “From Beyond,” “Nyarlathotep,” “The Picture in the House,” and others.
1921 Writes “The Nameless City,” “The Outsider,” “The Music of Erich Zann,” and others. Writes the “In Defence of Dagon” papers (January–October).
May 24: Death of HPL’s mother.
July 4: Meets Sonia Haft Greene at the NAPA convention in Boston.
1921–Writes “Herbert West—Reanimator” to order for G.J. Houtain’s
22 story appearance).
1922 April 6–12: First visit to New York City; meets Long, James F.Morton, and others. August: Begins corresponding with Clark Ashton Smith.
August–September: Travels to Cleveland to meet Samuel Loveman and Alfred Galpin; stops in New York City on return trip. Writes “The Hound,” “Hypnos,” and “The Lurking Fear” (for
December 17: Visits Marblehead, Mass., for the first time.
1923 Discovers Arthur Machen (then Algernon Blackwood and M.R.James the next year). Travels throughout New England (Marblehead, Salem, Newburyport, etc.). Writes “The Rats in the Walls,” “The Festival,” and others. Collaborates with C.M.Eddy, Jr. (“The Loved Dead” and others).
October: Writes “Dagon” (1917) his first story published in
1924 March 3: Marries Sonia H.Greene and moves to Brooklyn, N.Y. Refuses editorship of
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der the Pyramids” for Harry Houdini (published as “Imprisoned with the Pharaohs”). Writes “The Shunned House.”
1925 January 1: Sonia takes job in Cleveland. HPL moves to single-room apartment in Brooklyn Heights. Attempts futilely to secure employment. Writes “The Horror at Red Hook” (August 1– 2), “He” (August 18), and “In the Vault” (September 18).
1925– Writes “Supernatural Horror in Literature” Cook’s
27
1926 April 17: Returns to Providence (10 Barnes St.), essentially ending marriage (divorce proceedings not undertaken until 1929). Writes “The Call of Cthulhu,” “Pickman’s Model,” “The Silver Key,” and others. Begins corresponding with August Derleth.
1926–Writes
27
1927 Writes
August: Travels to Vermont, Maine, and elsewhere in New England.
1928 May–July: Spends summer in Brooklyn with Sonia as she tries to set up hat shop. Travels extensively (Brattleboro, Vt; Athol and Wilbraham, Mass.; Endless Caverns, Va.). Writes “The Dunwich Horror.”
1929 April–May: Travels extensively (Yonkers, N.Y.; Norfolk, Williamsburg, Richmond, Va.; New York City; New Paltz and Hurley, N.Y.).
1929–Ghostwrites “The Mound” for Zealia Bishop. Writes
30
1930 April–June: Travels (New York City; Charleston, S.C.; Richmond, Va.; Kingston and West Shokan, N.Y.; Athol and Worcester, Mass.). Begins corresponding with Henry S.Whitehead and Robert E.Howard. Writes “The Whisperer in Darkness.” Ghostwrites “Medusa’s Coil” for Zealia Bishop.
August: Three-day excursion to Quebec. Writes lengthiest nonfiction work,
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1931 May–June: Travels (St. Augustine, Dunedin, Key West, Fla.; Savannah, Ga.; Charleston; Richmond; New York City). Writes
1932 May–July: Travels (New York City; Shenandoah Valley; Knoxville and Chattanooga, Tenn.; Natchez and New Orleans, La. [meets E.Hoffmann Price]). Writes “The Dreams in the Witch House.” Revises stories for Hazel Heald (“Out of the Æons” and others).
July 3: Death of HPL’s elder aunt Lillian D.Clark.
1932–Writes “Through the Gates of the Silver Key” (with E. Hoffmann Price).
33
1933 April: Begins corresponding with Robert Bloch.
May 15: Moves to 66 College St. with younger aunt, Annie E.P.Gamwell. Later, writes “The Thing on the Doorstep.” Revises “Supernatural Horror in Literature” for incomplete serialization in
1934 April–July: Travels (Charleston; Savannah; St Augustine; Fredericksburg, Va.; spends May–June with R.H.Barlow in De Land, Fla.).
1934–Writes “The Shadow out of Time.”
35
1935 June–September: Travels (Fredericksburg; Charleston; New York City; spends June–August with Barlow in De Land, Fla.).
November: Writes “The Haunter of the Dark.”
1936 Corresponds briefly with Willis Conover, Fritz Leiber, and James Blish. Barlow visits HPL in Providence (July– September). Revises
1937 March 15: Dies at Jane Brown Memorial Hospital in Providence. Barlow appointed literary executor.
1939 Arkham House (August Derleth and Donald Wandrei) publishes
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Abbreviations and Short Titles
AHT Arkham House transcipts of H.P.Lovecraft’s letters AMS autograph manuscript
JHL John Hay Library, Brown University, Providence, R.I.
NAPA National Amateur Press Association
SHSW State Historical Society of Wisconsin, Madison
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A
“Account of Charleston, An.”
Essay (20,700 words); probably written in the fall of 1930. First published in MW.
HPL’s most exhaustive travelogue of Charleston, written in a flawless recreation of eighteenthcentury English. It supplies a comprehensive history of the city from its settlement in 1652 to 1930, followed by a discussion of Charleston architecture and a detailed walking tour. Also included are HPL’s drawings of selected Charleston dwellings and a printed map of Charleston on which HPL has traced his recommended itinerary in red pencil. HPL evidently did not distribute the essay, even among his colleagues (the AMS survives at JHL). In 1936, when H.C.Koenig wished to explore Charleston, HPL condensed and modernized the essay in a letter to Koenig (subsequently revised and published by Koenig as
Ackerman, Forrest J. (b. 1916).
American agent, author, editor. Ackerman has been a science fiction fan since the late ‘20s; he corresponded sporadically with HPL from around 1931 onward. (One letter to him by HPL, dated December 24, 1935, was published in the fanzine
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80), which was instrumental in maintaining fan interest in weird fiction (and specifically horror films) during an otherwise lean period for the horror genre.
Poem in four books (46, 48, 46, and 34 lines); first published in the
Akeley, Henry Wentworth.
In “The Whisperer in Darkness,” the reclusive farmer in Townshend, Vt., who notifies Albert Wilmarth (the narrator) of his encounters with the alien beings from the planet Yuggoth. Akeley’s mind is eventually stored in a mechanical apparatus by the aliens, one of whom (possibly Nyarlathotep himself), masquerading as Akeley, lures Wilmarth to Akeley’s farmhouse to destroy him. The character was inspired in part by the rustic Bert G.Akley, whom HPL met during his trip to Vermont in 1927. Henry’s son, George Goodenough Akeley, residing in San Diego, is named partly for the amateur poet Arthur Goodenough, whose rustic abode partly suggested the Akeley farmhouse. “Alchemist, The.”
Juvenile story (3,700 words); written 1908. First published in the
Antoine, last of the Comtes de C——, tells the tale of his life and ancestry. This ancient aristocratic line has occupied a lofty castle in France surrounded by a dense forest, but a deadly curse seems to weigh upon it. Antoine finally learns the apparent cause when he comes of age and reads a manuscript passed down through the generations. In the thirteenth century an ancient man, Michel (“usually designated by the surname of Mauvais, the Evil, on account of his sinister reputation”), dwelt on the estate together with his son Charles, nicknamed Le Sorcier. These two practiced the black arts, and it was rumored they sought the elixir of life. Many disappearances of children were attributed to them. When Godfrey, the young son of Henri the Comte, is missing, Henri accosts Michel and kills him in a rage; just then Godfrey is found, and Charles, who learns of the deed, pronounces a curse:
May ne’er a noble of thy murd’rous line
Survive to reach a greater age than thine!
He thrusts a vial in the face of Henri, who dies instantly. From that time on no comte of the line lives beyond the age of thirty-two, Henri’s age when he died. This curse continues for hundreds of years, and Antoine is compelled to believe that he will suffer a similar fate. Wandering in his deserted castle, he finds a hidden cellar and encounters a hideous looking man “clad in a skull-cap and long mediaeval tunic of dark colour.” The man tells how Charles Le Sorcier killed Henri and also Godfrey when the latter reached Henri’s age; but Antoine wonders how the curse could have been continued thereafter, “when Charles Le Sorcier must in the course of Nature have died.” As the man attacks Antoine, the
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latter hurls a torch at him, setting him afire. Just before he expires, however, he reveals the truth: he himself is Charles Le Sorcier, having lived for 600 years to continue his revenge against the family that killed his father.
This is the first extant tale by HPL to be avowedly supernatural. It was first published at the urging of W.Paul Cook, who read it in manuscript and found it indicative of great promise; largely at Cook’s urging, HPL resumed the writing of fiction in 1917.
Verse drama (411 lines); dated September 14, 1918, as by “Beaumont and Fletcher” (i.e., John Fletcher [1579–1625] and Francis Beaumont [c. 1585–1616], the Jacobean dramatists). First published in
The play is a send-up of Alfred Galpin’s high school romances, written in the form of an Elizabethan tragedy. Alfredo (Galpin), the Prince Regent, yearns for Margarita (Margaret Abraham), but she claims to find him too studious for her “airy will”; nevertheless, she becomes jealous when she sees him spending much time studying with Hypatia. She and Hecatissa (an unattractive woman previously scorned by Alfredo) plot together to gain revenge. During the presentation of a play in which Alfredo and Hypatia, now engaged, act in the presence of King Rinarto (Rheinhart Kleiner), Alfredo and Hypatia drink from a goblet that has been poisoned by Hecatissa; they lie dying. In a rage, Gonzago perceives the trickery and kills Hecatissa; her father, Olero, kills Gonzago; Teobaldo (HPL), Alfredo’s tutor, kills Olero; Margarita kills Teobaldo; Alfredo, in his death throes, manages to stab and kill Margarita; Rinarto, in grief, drinks from the goblet and dies, leaving Mauricio (Maurice W.Moe), a Cardinal, to lament the tragedy and count his beads.
Allen, Zadok (1831–1927).
In “The Shadow over Innsmouth,” the alcoholic nonagenarian of Innsmouth who, when plied with liquor by Robert Olmstead, babbles the town’s horrible secrets and then disappears mysteriously. It is from Allen that Olmstead first learns that he has the “Marsh eyes”—hinting at his kinship with Old Man Marsh. Allen shares the life dates of, and bears a strong resemblance to, the amateur poet Jonathan E.Hoag, with whom HPL had been acquainted since 1918. Allen may also have been suggested by the character Humphrey Lathrop, the elderly doctor in Herbert Gorman’s
Alos.
In “Polaris,” the narrator’s friend, commander of the last forces of the Lomarians against the Inutos. Altberg-Ehrenstein, Karl Heinrich, Graf von.
The narrator of “The Temple.” The Lieutenant-Commander of the German submarine U-29, he is the last surviving crew member when his stricken vessel sinks to the bottom of the Atlantic Ocean, where he apparently finds the ruins of Atlantis. He leaves behind his written account on August 20, 1917— HPL’s twenty-seventh birthday.
Amateur Journalism.
The amateur journalism movement consisted of various groups of writers belonging to the two leading amateur organizations of the pe
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riod, the National Amateur Press Association (NAPA), founded in 1876, and the United Amateur Press Association (UAPA), founded in 1895. HPL’s pamphlet
HPL joined the UAPA in April 1914 at the invitation of Edward F.Daas, who noticed HPL’s contributions to the letter column of the
HPL held several offices in the UAPA: Chairman of the Department of Public Criticism (1915–17, 1918–19), First Vice-President (1915–16), President (1917–18), Official Editor (July 1917, 1920–22, 1924–25). He was interim President of the NAPA (November 1922–July 1923), taking over for William J. Dowdell, who had resigned. HPL’s amateur activity lagged after the collapse of the UAPA in 1926 but resumed in 1931 when he became a member of the Bureau of Critics (corresponding to the UAPA’s Department of Public Criticism); he wrote numerous critical articles (mostly on poetry) for the
HPL also wrote voluminously about amateurdom.
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On the whole, amateur journalism appealed to HPL because it echoed his stated literary goal of writing as nonremunerative “self-expression,” because it provided him with a forum where his literary and critical skills could be exhibited and because it supplied him with a network of friends with whom he could correspond on various topics and thereby hone his philosophical, aesthetic, and literary views. HPL is still regarded a giant in the amateur world, and articles on him continue to appear in
“Americanism.”
Essay (1,120 words); probably written in the summer of 1919. First published in the
Americanism is “expanded Anglo-Saxonism”; therefore, the “melting-pot” idea is dangerous and pernicious. America should build upon the values fostered by the English colonists. “Amissa Minerva.”
Poem (92 lines); probably written in early 1919. First published in
See Steven J.Mariconda, “On Lovecraft’s ‘Amissa Minerva,’”
“Ancient Track, The.”
Poem (44 lines); written on November 26, 1929. First published in
See Donald R.Burleson, “On Lovecraft’s ‘The Ancient Track,’”
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Andrews, Marshall.
In “The Disinterment,” a disreputable physician who claims to have concocted a bizarre scheme to treat his friend’s case of leprosy by first simulating the man’s death and then giving him a new identity. In fact, he drugs the man and transplants the man’s head on to the body of an African American. Andrews is later killed by his friend.
Angell, George Gammell.
In “The Call of Cthulhu,” Angell is a professor of Semitic languages at Brown University. In 1908, at a meeting of the American Archaeological Society, Angell first learns of the Cthulhu Cult when he is approached by inspector John R.Legrasse with a sculpture of a strange idol. Seventeen years later, when the artist Henry Anthony Wilcox shows him a bizarre bas-relief that he has just fashioned from something he dreamt of, Angell embarks anew on research into the strange cult—an act that ultimately results in his untimely death.
Angell’s last name is derived from Angell Street, one of the leading thoroughfares in Providence (itself named for Thomas Angell, a companion of Roger Williams and one of the original settlers of the city). The middle name is an echo of HPL’s aunt, Annie E.Phillips Gamwell (in Providence speech, “Gamwell” and “GamwcGammell” would be pronounced in an approximately similar manner). Anger, William Frederick (b. 1921).
Correspondent of HPL (1934–36). With Louis C.Smith, Anger planned an index to
Arkham.
Fictitious city in Massachusetts invented by HPL. The city is first cited in “The Picture in the House” (1920); other tales that feature Arkham are “Herbert West—Reanimator” (1921–22), “The Unnamable” (1923), “The Colour out of Space” (1927), “The Dunwich Horror” (1928), “The Shadow over Innsmouth” (1931), “The Dreams in the Witch House” (1932), “Through the Gates of the Silver Key” (1932–33), “The Thing on the Doorstep” (1933), and “The Shadow out of Time” (1934–35). It is the home of Miskatonic University (first cited in “Herbert West—Reanimator”); there is also an Arkham Historical Society (in “The Shadow over Innsmouth”) and an Arkham Sanitarium (in “The Thing on the Doorstep”). It had a newspaper in the 1880s, the
Will Murray has conjectured that Arkham was at first situated in central Massachusetts and that its name and possibly its location were derived from the tiny hamlet Oakham. Research by Robert D.Marten makes this theory extremely unlikely. Marten maintains that Arkham was always located on the North Shore and
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(as HPL repeatedly declares) was a fictional analogue of Salem. HPL definitively states: “My mental picture of Arkham is of a town something like Salem in atmosphere & style of houses, but more hilly (Salem is flat except for Gallows Hill, which is outside the town proper) & with a college (which Salem hasn’t). The street layout is nothing like Salem’s. As to the location of Arkham—I fancy I place the town & the imaginary Miskatonic somewhere north of Salem—perhaps near Manchester. My idea of the place is slightly in from the sea, but with a deep water channel making it a port” (HPL to F.Lee Baldwin, April 29, 1934; ms., JHL). Marten conjectures that the name Arkham was based upon Arkwright, a town in R.I. now consolidated into the community of Fiskville. HPL remarked that “The Dunwich Horror” “belongs to the Arkham cycle” (
See Will Murray, “In Search of Arkham Country,”
Armitage, Henry.
In “The Dunwich Horror,” the librarian of Miskatonic University (A.M.Miskatonic, Ph.D.Princeton, Litt. D.Johns Hopkins). He encounters Wilbur Whateley in the library, but refuses to let him take home a copy of the
Arruda, Capt Manuel.
In
American journalist and author of
Asellius, Sex[tus].
In “The Very Old Folk,” the military tribune of the fifth cohort of the XIIth legion in the Roman province of Hispania Citerior (Spain), who is ordered to investigate reports of peculiar events in the hills above Tarraco.
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“Ashes.”
Short story (3,220 words); written in collaboration with C.M.Eddy, Jr., probably in the fall of 1923. First published in
A scientist, Arthur Van Allister, has discovered a chemical compound that will reduce any substance to fine white ashes. He hires an assistant, Malcolm Bruce, who quickly falls in love with Van Allister’s secretary, Marjorie Purdy. Sometime later Bruce is alarmed that Marjorie seems to have disappeared. He enters Van Allister’s laboratory and sees a glass jar filled with white ashes. Horrified at the thought that the scientist has tried out his experiment on his secretary, Bruce tussles with Van Allister, in the course of which he lowers the scientist into the vat containing his formula. Later it is discovered that Marjorie had merely been locked in a closet; but since Van Allister had been planning to destroy Marjorie with his formula, his death is presumably justified.
No one would know that HPL had had any hand in this story (which, aside from the general triteness of the plot, features a conventional romance element very foreign to his own manner) if HPL had not said so (see
Aspinwall, Ernest B. (b. 1873).
Randolph Carter’s older cousin, Aspinwall is mentioned briefly in “The Silver Key.” In “Through the Gates of the Silver Key,” he represents Carter’s heirs as one of the men who attempt to settle Carter’s estate following his disappearance. An “L.Aspinwall” was Treasurer and a Director with Whipple V.Phillips (HPL’s grandfather) of Phillips’s Snake River Company.
Astrology, Articles on.
Six articles written in late 1914 for the [Providence]
HPL was irked when the local astrologer Joachim Friedrich Hartmann (1848–1930) published an article in the
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Astronomy, Articles on. See “Mysteries of the Heavens Revealed by Astronomy”;
Two juvenile scientific journals (eventually combined) written by HPL, 1903–4. The first five issues bear the title
The publications consist largely of technical charts of the solar system and constellations, data on the moon’s phases, planetary aspects, and the like.
“Astrophobos.”
Poem (42 lines in 7 stanzas); written in mid-November 1917. First published in the
Short novel (41,500 words); written February 24–March 22, 1931. First published in
The Miskatonic Antarctic Expedition of 1930–31, led by William Dyer (his full name is given only in “The Shadow out of Time”), begins promisingly but ends in tragedy and horror. Employing a new boring device invented by engineer Frank H.Pabodie, the expedition makes great progress at sites on the shore of McMurdo Sound (across the Ross Ice Shelf from where Admiral Byrd’s expedition had only recently camped). But the biologist Lake, struck by some peculiar markings on soapstone fragments he has found, feels the need to conduct a subexpedition far to the northwest. There he makes a spectacular discovery: not only the world’s tallest mountains (“Everest out of the running,” he laconically radios the camp), but then the frozen remains—some damaged, some intact—of monstrous winged, barrel-shaped creatures that cannot be reconciled with the known fauna of this planet. They seem half-animal and half-vegetable, with tremendous brain capacity and, apparently, with more senses than we have. Lake, who has read the
Later Lake’s subexpedition loses radio contact with the main party, apparently because of the high winds in that region. Dyer feels he must come to Lake’s aid and takes a small group of men in some airplanes to see what has gone amiss. To their horror, they find the camp devastated—by the winds or the
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sled dogs or some other nameless forces—but discover no trace of the intact specimens of the Old Ones. When they come upon damaged specimens “insanely” buried in the snow, they are forced to conclude that it is the work of the one missing human, Gedney. Dyer and the graduate student Danforth decide to take a trip by themselves beyond the titanic mountain plateau to see if they can find any explanation for the tragedy.
As they scale the plateau, they find to their amazement an enormous stone city, fifty to one hundred miles in extent, clearly built millions of years ago, long before any humans could have evolved from apes. Exploring some of the interiors, they are forced to conclude that the city was built by the Old Ones. Because the buildings contain, as wall decorations, many bas-reliefs supplying the history of the Old Ones’ civilization, they learn that the Old Ones came from space some fifty million years ago, settling in Antarctica and eventually branching out to other areas of the earth. They built their huge cities with the aid of shoggoths—amorphous, fifteen-foot masses of protoplasm that they controlled by hypnotic suggestion. Over time the shoggoths gained a semi-stable brain and began to develop a will of their own, forcing the Old Ones to conduct several campaigns of resubjugation. Later, other extraterrestrial races—including the fungi from Yuggoth and the Cthulhu spawn—came to the earth and engaged in battles over territory with the Old Ones, and eventually the latter were forced back to their original Antarctic settlement. They had also lost the ability to fly through space. The reasons for their abandonment of the city, and for their extinction, are unfathomable.
Dyer and Danforth then stumble upon signs that someone dragging a sled had passed by, and they follow it, finding first some huge albino penguins, then the sled with the remains of Gedney and a dog, then a group of decapitated Old Ones, restored from suspended animation by being thawed in Lake’s camp. Then they hear an anomalous sound—a musical piping over a wide range. Could it be some other Old Ones? They flee madly, but they simultaneously turn their flashlights upon the thing for an instant and find that it is a shoggoth: “It was a terrible, indescribable thing vaster than any subway train—a shapeless congeries of protoplasmic bubbles, faintly self-luminous, and with myriads of temporary eyes forming and unforming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter.” As they fly back to camp, Danforth shrieks in horror: he has seen something that unhinges his mind, but he refuses to tell Dyer what it is. All he can do is make the eldritch cry,
The novel is the culmination of HPL’s lifelong fascination with the Antarctic, beginning when as a boy he had written treatises on
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It is possible to conjecture what led HPL to write the novel when he did. The lead story in the November 1930
HPL was also inspired by the paintings of the Himalayas by Nicholai Roerich (1874–1947), seen the previous year at the Roerich Museum when it opened in New York. Roerich is mentioned six times in the novel. HPL probably did not set the tale in the Himalayas both because they were fairly well known and because he wanted to create the sense of awe implicit in mountains taller than any yet discovered. Only the relatively uncharted Antarctic continent could fulfill both functions. The Old Ones are the real focus of the novel. HPL gradually transforms them from objects of terror to symbols for the best in humanity; as Dyer declares: “Poor devils! After all, they were not evil things of their kind. They were the men of another age and another order of being. Nature had played a hellish jest on them…and this was their tragic homecoming…. Scientists to the last—what had they done that we would not have done in their place? God, what intelligence and persistence! What a facing of the incredible, just as those carven kinsmen and forbears had faced things only a little less incredible! Radiates, vegetables, monstrosities, star-spawn—whatever they had been, they were men!”
The most significant way the Old Ones are identified with human beings is in Dyer’s historical digression, specifically in regard to the Old Ones’ social and economic organization. In many ways they represent a utopia toward which HPL hoped humanity could aspire. The sentence “Government was evidently complex and probably socialistic” establishes that HPL had himself by this time converted to moderate socialism. The Old Ones’ civilization is founded upon slavery of a sort, and there is some suggestion that the condition of the shoggoths might, in part, resemble that of African Americans. The exhaustive history of the Old Ones on this planet, portraying their rise and fall, suggests HPL’s absorption of Oswald Spengler’s
In terms of HPL’s work, the novel makes explicit what has been evident all along—most of the “gods” of his mythology are merely extraterrestrials and that their followers (including the authors of the books of occult lore to which reference is so frequently made by HPL and others) are mistaken as to their true nature. Robert M.Price, who first noted this “demythologizing” feature in HPL, has
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pointed out that
The novel has been called a “sequel” to Poe’s
See Robert M.Price, “Demythologizing Cthulhu,”
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10; David A.Oakes, “A Warning to the World: The Deliberative Argument of
Atal.
Briefly noted as an innkeeper’s son in “The Cats of Ulthar,” Atal is, in “The Other Gods,” the priest who accompanies Barzai the Wise in his quest up Mt. Ngranek to find the gods of earth. He then becomes, in
Atwood, Professor.
In
Aylesbury.
Fictitious town in Massachusetts, invented by HPL for “The Dunwich Horror” (1928), where it is presumably near Dunwich. The name is perhaps derived from Amesbury, a town in the far northeastern corner of the state, near Haverhill and Newburyport, and the late home of John Greenleaf Whittier. HPL passed through Amesbury on several occasions, including in August 1927. There is a real town in England called Aylesbury.
“Azathoth.”
Projected novel (480 words extant); written June 1922. First published in
HPL describes the work as a “weird Vathek-like novel” (
See Will Murray, “On ‘Azathoth,’”
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B
Babson, Eunice.
In “The Thing on the Doorstep,” a servant of Edward and Asenath Derby who, after being dismissed by Edward, appears to exact some kind of blackmail from him.
Baird, Edwin (1886–1957).
First editor of
Balbutius, Cn[aeus].
In “The Very Old Folk,” the legatus of the Roman province of Hispania Citerior (Spain), who does not wish to investigate reports of peculiar events in the hills above Tarraco but is ordered to do so by the proconsul, P.Scribonius Libo.
Baldwin, F[ranklin] Lee (1913–1987).
Weird fiction fan and correspondent of HPL (1933–36). Baldwin first wrote HPL in the fall of 1933 proposing to issue “The Colour out of Space” as a booklet. HPL revised the tale slightly for the prospective publication, but the plan never materialized. In early 1934 HPL put Baldwin in touch with Duane W.Rimel, who by coincidence lived in the same small town (Asotin, Washington). The two took turns reading HPL’s letters to each of them. Baldwin wrote two columns of news notes for the
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tion for which was derived from HPL’s letters to him, as was the significant early article, “H.P.Lovecraft: A Biographical Sketch,” originally scheduled to appear in the
“Ballade of Patrick von Flynn; or, The Hibernio-German-American England-Hater, Ye.” Poem (60 lines); written no later than April 23, 1915. First published in the
Barlow, Robert H[ayward] (1918–1951).
Short-story writer, poet, artist, sculptor, publisher, collector, scholar, and HPL’s literary executor. When Barlow began corresponding with HPL in 1931, he concealed from HPL the fact that he was only thirteen. Among his early fantasy writings are “Annals of the Jinns” (
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of 1936; shortly thereafter they collaborated on “The Night Ocean” (
See Lawrence Hart, “A Note on Robert Barlow,”
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Barry, Denys.
In “The Moon-Bog,” an American who buys and restores his ancestral castle in Kilderry, Ireland. When he attempts to drain the nearby bog, the spirits that dwell there exact their vengeance on him. Like Barry, HPL always hoped (unrealistically) to buy back his ancestral home.
Barzai the Wise.
In “The Other Gods,” the learned scholar who “knew so much of the gods…that he was deemed half a god himself.” He attempts to scale Mt. Ngranek to glimpse the elusive gods of earth, thinking his great knowledge of them will protect him from their wrath. He thinks he finds them, but instead he encounters “the other gods,” and, for his hubris, he is swept into the sky.
Bates, Harry [Hiram Gilmore], III (1900–1981),
American author and editor. Bates was the first editor of the Clayton
See Will Murray, “Lovecraft and
In “Winged Death,” the houseboy of Dr. Thomas Slauenwite, whom Slauenwite deliberately causes to be bitten by a strange insect to see if the untreated bite is fatal. It proves to be so. “Battle That Ended the Century, The.”
Short story (1,200 words); written in collaboration with R.H.Barlow, June 1934. First published as a mimeographed flyer (June 1934); rpt.
On the eve of the year 2001, a great heavyweight fight is held between Two-Gun Bob, the Terror of the Plains, and Knockout Bernie, the Wild Wolf of West Shokan. After several rounds, Two-Gun Bob is declared the winner, but the World Court reverses the verdict and the Wild Wolf is declared the true victor.
The squib was conceived when HPL was visiting Barlow in Florida in the summer of 1934. Barlow was clearly the originator, as typescripts prepared by him survive, one with extensive revisions in pen by HPL. The idea was to mention as many mutual colleagues as possible, in various comical contexts relating to their actual literary work or personality. Barlow had initially cited them by their actual names, but HPL felt that this was not very interesting, so he devised parodic or punning names for them: Frank Belknap Long is alluded to as Frank Chimesleep Short, HPL as Horse-Power Hateart. Barlow and HPL then circulated the whimsy, but in such a way that its authorship would not be immediately evident. The plan was this: Barlow would
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mimeograph the item (copies exist in two 8½″×14″ sheets, each with text on one side only) and then have the copies mailed from a location that could not be traced to either HPL or Barlow. It appears that fifty duplicated copies were prepared toward the middle of June and were sent to Washington, D.C., where they would be mailed (possibly by Elizabeth Toldridge, a colleague of both HPL’s and Barlow’s but not associated with the weird fiction circle). This seems to have been done just before HPL left De Land and began heading north, so that the items would be in the hands of associates by the time HPL reached Washington.
In correspondence, the two authors talk in conspiratorial tones about its reception by colleagues: “Note the signature—Chimesleep Short—which indicates that our spoof has gone out & that he [Long] at least thinks I’ve seen the thing. Remember that if you didn’t know anything about it, you’d consider it merely a whimsical trick of his own—& that if you’d merely seen the circular, you wouldn’t think it worth commenting on. I’m ignoring the matter in my reply” (HPL to R.H.Barlow, June 29, 1934; ms., JHL). Some colleagues were amused, but others were less so. HPL notes: “Wandrei wasn’t exactly in a rage, but (according to Belknap) sent the folder on to Desmond Hall with the languid comment, ‘Here’s something that may interest you—it doesn’t interest me'” (HPL to R.H.Barlow, July 21, 1934; ms., JHL).
Bayboro.
Fictitious town in Maine invented either by HPL or by C.M. Eddy; mentioned in “The Loved Dead” (1923) and “Deaf, Dumb, and Blind” (1924).
“Beast in the Cave, The.”
Juvenile story (2,500 words); first draft written in the spring of 1904; final draft completed April 21, 1905. First published in
HPL notes that he spent “days of boning at the library” (i.e., the Providence Public Library) in researching the locale of the tale, Mammoth Cave in Kentucky. It is perhaps a kind of mirror-image of Poe’s “The Murders in the Rue Morgue”: in that story, what are taken to be the actions of a man turn out to have been performed by an ape, whereas here what is taken for an ape proves to be a man. The last page of the autograph manuscript bears the notation
Tales of Terror
I. The Beast in the Cave
By H.P. Lovecraft
(Period—Modern)
We do not know what other tales were to make up this volume.
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Bennett, George.
In “The Lurking Fear,” he and William Tobey accompany the narrator to the Martense mansion in search of the entity that haunts it. They spend the night, but Bennett and Tobey mysteriously disappear.
“Beyond the Wall of Sleep.”
Short story (4,360 words); written Spring 1919. First published in
Joe Slater (or Slaader), a denizen of the Catskill Mountains, is interned in a mental institution in 1900 because of the horrible murder of another man. Slater seems clearly mad, filled with strange cosmic visions that he, in his “debased patois,” is unable to articulate coherently. The narrator, an intern at the asylum, takes a special interest in Slater because he feels that there is something beyond his comprehension in Slater’s wild dreams and fancies. He contrives a “cosmic ‘radio’” with which he hopes to establish mental communication with Slater. After many fruitless attempts, communication finally occurs, preceded by weird music and visions of spectacular beauty: Slater’s body has in fact been occupied all his life by an extraterrestrial entity that for some reason has a burning desire for revenge against the star Algol (the Daemon-Star). With the impending death of Slater, the entity will be free to exact the vengeance it has always desired. Then reports come on February 22, 1901, of a nova near Algol.
HPL notes that the story was inspired by a passing mention of Catskill Mountain denizens in an article on the New York State Constabulary in the
Bierce, Ambrose [Gwinnett] (1842–c. 1914).
American short story writer and journalist. His best tales are collected in
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his Civil War tales (many filled with moments of terror and grue) and tales of psychological horror, the latter his weird fiction. HPL first read Bierce (at the instigation of Samuel Loveman) in 1919. HPL discusses Bierce’s work in “Supernatural Horror in Literature,” where he quotes from Loveman’s preface to Bierce’s
See Carey McWilliams,
The undertaker of Peck Valley (state unknown), who is the subject of “In the Vault.” His carelessness and unprofessionalism not only cause him to be imprisoned in the local cemetery’s receiving tomb but also exact the revenge of one of the corpses temporarily stored there.
Bishop, Mamie.
In “The Dunwich Horror,” the “common-law wife” of Earl Sawyer, who is one of the first to see Wilbur Whateley after he is born. She is the confidante of Wilbur’s mother, Lavinia. Mamie’s relationship to Seth Bishop is unspecified. Seth’s cattle suffer bizarre wounds from Wilbur’s twin brother. Silas Bishop is merely said to be “of the undecayed Bishops.”
Bishop, Zealia Brown Reed (1897–1968).
Revision client and correspondent of HPL. Samuel Loveman introduced her to HPL around 1928. She wished to write romantic fiction, but HPL attempted to steer her toward weird or serious mainstream work. HPL ghostwrote “The Curse of Yig” (
Blackwood, Algernon [Henry] (1869–1951).
British author whose work HPL praised highly: he considered “The Willows” (in
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enough, HPL did not care for Blackwood when he first read him in 1920 (see HPL to the Gallomo, [January] 1920; AHT); but when HPL read “The Willows” in an anthology in late 1924, he was convinced that, despite his unevenness, Blackwood was among the leading authors of supernatural fiction, particularly in his suggestions of cosmicism. Blackwood was a mystic with a fascination for Eastern thought; his novel
See Mike Ashley, “Lovecraft and Blackwood: A Surveillance,”
In “Deaf, Dumb, and Blind,” the author-poet from Boston who rents a country cottage near Fenham, thinking it will provide imaginative stimulus for his work. While there, he becomes aware of an unseen presence and later is found dead.
Blake, Robert.
In “The Haunter of the Dark,” the writer of weird tales from Milwaukee, Wis., who moves to Providence, R.I., for inspiration. He keeps a diary of his investigations of the Free-Will Church, which he had first observed from his window but then sought out across town. He unwittingly disturbs the unseen presence residing in the abandoned church and, in the end, dies from his encounter with the avatar of Nyarlathotep.
Blake is loosely based on Robert Bloch, to whom the story is dedicated. (Blake’s Milwaukee address was Bloch’s real address at the time the story was written.) However, he also embodies attributes of HPL himself. The view from Blake’s room in Providence is exactly that which HPL saw. The titles of the stories attributed to Blake are parodies of HPL’s and Bloch’s own stories.
Blandot.
In “The Music of Erich Zann,” the “paralytic” landlord of the boarding house on the Rue d’Auseil where Zann and the narrator reside.
Blish, James (1921–1975).
Pioneering American science fiction writer who corresponded briefly with HPL (1936). Blish and his friend William Miller planned to issue a fanzine,
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was never completed. HPL continued to correspond with Blish and Miller (apparently writing to them jointly) until the summer. Three of his letters to them were published in the fanzine
American novelist and short story writer. He first encountered HPL’s work in
Essay (500 words); probably written in the summer of 1919. First published in the
Actual town in east-central Massachusetts, cited by HPL in “Herbert West—Reanimator” (1921–22), “The Rats in the Walls” (1923), and “The Colour out of Space” (1927). The earlier story cites a Bolton Worsted Mills, but that mention is puzzling because in HPL’s day Bolton was a tiny agricultural hamlet with no industries of significance. This led Robert D.Marten (see entry on “Arkham”) to conjecture that HPL coined the name Bolton, unaware of the real town of that name. Its location appears to be near Arkham (Salem), as the real
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Bolton is not. HPL mentioned passing through Bolton in October 1934, so he may have known of it earlier.
Bonner, Marion F. (1883–1952).
Neighbor and correspondent of HPL (1936–37). Several of HPL’s letters to her (the originals of which at JHL contain hand-colored illustrations of letterhead for HPL’s imaginary feline fraternity, the Kappa Alpha Tau) are included in
(title supplied by R.H.Barlow). Story fragment (1,200 words); probably written c. October 1933. First published in
R.H.Barlow dated the fragment to 1934, but in a letter of October 1933 HPL writes: “I am at a sort of standstill in writing—disgusted at much of my older work, & uncertain as to avenues of improvement. In recent weeks I have done a tremendous amount of experimenting in different styles & perspectives, but have destroyed
See S.T.Joshi, “On The Book,’”
In “Collapsing Cosmoses,” an operator of a “cosmoscope” who sees a dangerous enemy approaching the planet from outer space.
Borellus.
Author of an unnamed work cited as an epigraph to
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See Roger Bryant, “The Alchemist and the Scientist: Borellus and the Lovecraftian Imagination,”
“Bouts Rimés.”
Two poems: “Beyond Zimbabwe” (8 lines) and “The White Elephant” (8 lines); cowritten with R.H.Barlow on May 23, 1934. First published in
Bowen, Hannah.
In “The Shunned House,” a woman who is hired by William Harris to be a servant at the house but who dies a few months later.
Boyle, Dr. E.M.
In “The Shadow out of Time,” an Australian (possibly a psychologist) who brings Nathaniel Wingate Peaslee’s papers relating to his bizarre “dreams” to the attention of Robert B.F.Mackenzie, and who then accompanies Peaslee and Mackenzie on an expedition to the Great Sandy Desert. Bradofsky, Hyman (b. 1906).
Correspondent of HPL (1934–37). He was president of the NAPA in 1935–36 and came under vicious attack by other members (in part, perhaps, because he was Jewish); HPL defended him in the essay “Some Current Motives and Practices” (1936), which R.H.Barlow mimeographed and distributed. As editor of the amateur journal
Briden, William.
In “The Call of Cthulhu,” a sailor on the crew of the
Brinton, William.
In “The Rats in the Walls,” the archaeologist who leads the exploration party into the crypt discovered beneath Exham Priory.
Brobst, Harry K[ern] (b. 1909).
Friend of HPL (1932–37). Born in Wilming-ton, Del, Brobst came with his family to Allentown, Pa., around 1921, be-friending the young Carl F.Strauch, with whom he shared an interest in weird fiction and
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in a movie theater in downtown Providence and has also noted that in 1936 HPL was horrified at the stories of Nazi atrocities as related to him by an acquaintance (a Mrs. Shepherd) who had visited Germany. Brobst visited HPL frequently in Butler Hospital during the latter’s terminal illness. He wrote letters to R.H.Barlow on March 2 and March 13, 1937, describing HPL’s condition, and saw HPL two days before his death, asking him how he felt; HPL replied, “Sometimes the pain is unbearable.” Brobst and his wife attended HPL’s funeral service and burial on March 18, 1937. Subsequently Brobst gained a B.A. in psychology from Brown University and an M.A. and Ph.D. from the University of Pennsylvania. He spent many years teaching at Oklahoma State University. His extensive recollections of HPL are recorded in “An Interview with Harry K. Brobst” (
In “The Dunwich Horror,” a hired boy at George Corey’s farm who sees the huge footprints of Wilbur Whateley’s monstrous twin brother in the vicinity of Cold Spring Glen.
Brown, Walter.
In “The Whisperer in Darkness,” the “surly farmer” whose dealings with the aliens from Yuggoth result in his mysterious disappearance.
Bruce, Malcolm.
In “Ashes,” the assistant of the scientist Arthur Van Allister. Bruce mistakenly thinks Van Allister has used his secretary in an experiment to test his newly discovered chemical compound, and after a struggle he subjects the scientist to the same formula.
Bullen, John Ravenor (1886–1927).
Canadian poet and amateur journalist. He possibly introduced HPL to the Transatlantic Circulator (an Anglo-American correspondence group) in 1921. Some of his poetry later appeared in HPL’s
“Bureau of Critics.”
Series of articles in the
The articles are similar to the “Department of Public Criticism” pieces HPL wrote for the UAPA. Here, however, he generally focused on amateur verse; he
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usually managed to persuade other critics (e.g., Helm C.Spink, Edward H.Cole, Rheinhart Kleiner) to write sections on prose, typography, and other subjects.
Bush, David Van (1882–1959).
Itinerant lecturer, would-be poet, and popular psychologist; revision client of HPL. He joined the UAPA in 1916; he first came in touch with HPL through the Symphony Literary Service (a revision service operated by HPL, Anne Tillery Renshaw, and others) in early 1917. Bush was at the time the author of several poetry volumes (not revised by HPL), including
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C
C———, Antoine, Comte de.
In “The Alchemist,” the last of a long line of comtes, each of whom suffers a mysterious death prior to the age of thirty-two—the age of Henri, Comte de C———, when, in the thirteenth century, he blamed Michel Mauvais, a wizard residing on his estates, for the disappearance of his son Godfrey. Later Godfrey is found alive, but in the meantime Henri has killed Michel. Michel’s son, Charles Le Sorcier, pronounces a curse that appears to affect all the Comtes de C———, including Godfrey’s son Robert and Robert’s son Louis.
“Call of Cthulhu, The.”
Short story (12,000 words); written probably in August or September 1926. First published in
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outlandish utterance thus: “In his house at R’lyeh dead Cthulhu waits dreaming.” A mestizo named Castro told Legrasse that Cthulhu was a vast being that had come from the stars when the earth was young, along with another set of entities named the Great Old Ones. He was entombed in the sunken city of R’lyeh and would emerge when the “stars were ready” to reclaim control of the earth. The cult “would always be waiting to liberate him.” Castro points out that these matters are spoken of in the
Scarcely knowing what to make of this bizarre material, Thurston stumbles on a newspaper clipping telling of strange events aboard a ship in the Pacific Ocean; accompanying the article is a picture of a bas-relief very similar to those of Wilcox and Legrasse. Thurston goes to Oslo to talk with the Norwegian sailor, Gustaf Johansen, who had been on board the ship, but finds that he is dead. Johansen had, however, left an account of his experience showing that he had encountered Cthulhu when the city of R’lyeh rose from the sea-bottom as the result of an earthquake; but, presumably because the stars were not “ready,” the city sinks again, returning Cthulhu to the bottom of the ocean. But the mere existence of this titanic entity is an unending source of profound unease to Thurston because it shows how tenuous is mankind’s vaunted supremacy upon this planet. The story had been plotted a full year earlier, as recorded in HPL’s diary entry for August 12–13, 1925: “Write out story plot—‘The Call of Cthulhu.’” But the origin of the tale goes back even further, to an entry in his commonplace book (#25) that must date to late 1919 or January 1920: Man visits museum of antiquities—asks that it accept a bas-relief
“dreams are older than brooding Egypt or the contemplative Sphinx or garden-girdled Babylonia” & that he had fashioned the sculpture in his dreams. Curator bids him shew his product, & when he does so curator shews horror, asks who the man may be. He tells modern name. “No—
This is the fairly literal encapsulation of a dream HPL had, which he describes at length in two letters of the period (
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information leading Machen’s protagonist, Professor Gregg, to confirm his suspicions of the existence of the “Little People” in Wales; the difficult-to-pronounce name
Another influence on the tale is theosophy. HPL cites a theosophical work, W.Scott-Elliot’s
The story contains are several autobiographical elements. The name of the narrator, Francis Wayland Thurston, is clearly derived from Francis Wayland (1796–1865), president of Brown University from 1827 to 1855. Gammell is a legitimate variant of Gamwell (a reference to HPL’s aunt Annie E.P.Gamwell), while Angell is both the name of one of the principal thoroughfares in Providence (HPL had resided in two different houses on Angell Street) and one of the most distinguished families in the city. Wilcox is a name from HPL’s ancestry. Mention of “a learned friend in Paterson, New Jersey; the curator of a local museum and a mineralogist of note” is a clear allusion to James F.Morton. (The name Castro is, however, not derived from HPL’s colleague Adolphe Danziger de Castro, as HPL did not become acquainted with him until late 1927.) The earthquake cited in the story actually occurred. The Fleur-de-Lys building at 7 Thomas Street, residence of Wilcox, is a real structure, still standing. Bertrand K.Hart, literary editor of the
On the pronunciation of
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equipment wholly unlike ours,
Farnsworth Wright of
See Robert M.Price, “HPL and HPB: Lovecraft’s Use of Theosophy,” Crypt No. 5 (Roodmas 1982): 3– 9; Steven J.Mariconda, “On the Emergence of ‘Cthulhu,’”
Campbell, George.
In “The Challenge from Beyond,” a geologist who encounters a curious crystalline cube while on vacation in the Canadian woods and becomes mentally drawn into it. He eventually realizes that the cube is a mind-exchange device launched by an interstellar civilization—“a mighty race of worm-like beings.”
Campbell, Paul J[onas] (1884–1945),
amateur journalist and editor of
In “The Trap,” a teacher at an academy in Connecticut whose pupil, Robert Grandison, becomes trapped in a magic mirror that Canevin had brought back with him from the Virgin Islands. Canevin is a frequently recurring character in Henry S.Whitehead’s tales, especially those set in the Virgin Islands. In his introduction to
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Barlow notes: “The character ‘Gerald Canevin’ is Whitehead himself, a harking back to Caer n’-Avon. ‘I use the form “Canevin” because it is easily pronounced and is made up of “cane” and “vin,” that is, cane-wine—RUM, the typical product of the West Indies….’”
Carroll,———.
In
In “The Silver Key,” Randolph Carter’s great-uncle, who raised Randolph on a farm near Arkham and Kingsport. He lives there with his wife Martha. Randolph returns to the farm when he finds the silver key and becomes a boy again. Christopher is mentioned in passing in “Through the Gates of the Silver Key.”
Carter, Randolph W. (b. 1873).
HPL introduced the recurring character Randolph Carter in “The Statement of Randolph Carter,” in which Carter is modeled after HPL from an actual dream. In “The Unnamable,” Carter, who narrates the story, is briefly identified (by last name only) as a writer of weird fiction, like HPL.
The W. in Carter’s name appears only in the “stationery” that HPL and R.H. Barlow designed for HPL in June 1935. Although HPL clearly identified with Carter on many different levels, Carter is not as autobiographical a character as many others in HPL’s fiction; he is, instead, a construct representing various of HPL’s philosophical and aesthetic views.
Short novel (51,500 words); written late January–March 1, 1927. First published (abridged) in
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number of alchemical and cabbalistic books on his shelves; in particular, he sees a copy of Borellus with one key passage—concerning the use of the “essential Saltes” of humans or animals for purposes of resurrection—heavily underscored.
In an effort to restore his reputation, Curwen arranges a marriage for himself with the well-born Eliza Tillinghast, the daughter of a ship-captain under Curwen’s control. This so enrages Ezra Weeden, who had hoped to marry Eliza himself, that he begins an exhaustive investigation of Curwen’s affairs. After several more anomalous incidents, the elders of the city—among them the four Brown brothers; Rev. James Manning, president of the recently established college (later to be known as Brown University); Stephen Hopkins, former governor of the colony; and others—decide that something must be done. A raid on Curwen’s property in 1771, however, produces death, destruction, and psychological trauma among the participants well beyond what might have been expected of a venture of this sort. Curwen is evidently killed, and his body is returned to his wife for burial. He is never spoken of again, and as many records concerning him as can be found are destroyed.
A century and a half pass, and in 1918 Charles Dexter Ward—Curwen’s direct descendant by way of his daughter Ann—accidentally discovers his relation to the old wizard and seeks to learn all he can about him. Although always fascinated by the past, Ward had previously exhibited no especial interest in the
But, perversely, Ward does not stay for the appointed meeting with Willett. Willett tracks him down, but something astounding has occurred: although still of youthful appearance, his talk is eccentric and old-fashioned, and his stock of memories of his own life seems to have been bizarrely depleted. Willett undertakes a harrowing exploration of Curwen’s old Pawtuxet bungalow, which Ward had restored for conducting experiments; he finds, among other anomalies, all manner of half-formed creatures at the bottom of deep pits. He confronts Ward—who he now realizes is no other than Curwen—in the madhouse where he has been committed; Curwen attempts an incantation against him, but Willett counters with one of his own, reducing Curwen to a “thin coating of fine bluish-grey dust.”
While living in Brooklyn, HPL was contemplating a “novelette of Salem horrors which I may be able to cast in a sufficiently ‘detectivish’ mould to sell to
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Edwin Baird for
The genesis of the work goes back beyond August 1925. The quotation from Borellus—Pierre Borel (c. 1620–1689), the French physician and chemist—is a translation or paraphrase by Cotton Mather in
In late August 1925 HPL’s aunt Lillian related to him an anecdote about his hometown. HPL replied: “So the Halsey house is haunted! Ugh! That’s where Wild Tom Halsey kept live terrapins in the cellar —maybe it’s their ghosts. Anyway, it’s a magnificent old mansion, & a credit to a magnificent old town!” (HPL to Lillian D.Clark, August 24, 1925; ms., JHL). The Thomas Lloyd Halsey house at 140 Prospect Street is the model for Charles Dexter Ward’s residence, which HPL deliberately renumbers 100 Prospect Street. Now broken into apartments, it is still a superb late Georgian structure (c. 1800) fully deserving the encomium HPL gives it in his novel.
One significant literary influence may be Walter de la Mare’s novel
Although there are many autobiographical touches in the portraiture of Ward, many surface details appear to be taken from a person actually living in the Halsey mansion at this time, William Lippitt Mauran (b. 1910). HPL was probably not acquainted with Mauran, but it is highly likely that he observed Mauran on the street and knew of him. Mauran was a sickly child who spent much of his youth as an invalid, being wheeled through the streets in a carriage by a nurse. Indeed, a mention early in the novel that Ward as a young boy was “wheeled… in a carriage” in front of the “lovely classic porch of the double-bayed brick building” that was his home may reflect an actual glimpse HPL had of Mauran in the early 1920s, before he went to New York. Moreover, the Mauran family owned a farmhouse in Pawtuxet, exactly as Curwen is said to have done. Other details of Ward’s character fit Mauran more closely than HPL. One other amusing in-joke is a mention of Manuel Arruda, captain of a Spanish vessel, the
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In many ways the novel is a refinement of “The Horror at Red Hook”: Curwen’s alchemy parallels Suydam’s cabbalistic activities; Curwen’s attempt to repair his standing in the community with an advantageous marriage echoes Suydam’s marriage with Cornelia Gerritsen; Willett as the valiant counterweight to Curwen matches Malone as the adversary of Suydam. HPL again dipped into his relatively small store of basic plot elements and again retold a mediocre tale in masterful fashion. HPL, however, felt that the novel was an inferior piece of work, a “cumbrous, creaking bit of selfconscious antiquarianism” (HPL to R.H.Barlow, [March 19, 1934]; ms., JHL). He therefore made no effort to prepare it for publication, even though publishers throughout the 1930s professed greater interest in a weird novel than a collection of stories. R.H.Barlow began preparing a typescript in late 1934, and in 1936 was still typing it, but he typed only twenty-three pages. Barlow did not deposit the manuscript at JHL until around 1940, by which time a full transcript (full of errors, however) had been made by Derleth and Wandrei for its abridged appearance in
See Barton L. St. Armand, “Facts in the Case of H.P.Lovecraft,”
Casey.
In “The Shadow over Innsmouth,” a factory inspector who overheard strange sounds in the Gilman House, the Innsmouth hotel where he was staying. When inspecting the Marsh Refinery, he found the books in total disorder and with no indication of where it obtained the gold it refined.
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HPL discovered in 1928 that he had Caseys in his Rhode Island ancestry (see
In “The Call of Cthulhu,” the aged mestizo who tells Inspector John R. Legrasse the story of the Great Old Ones following a raid of the Cthulhu cult in Louisiana. (He is not named for HPL’s colleague Adolphe de Castro, whom HPL encountered a year or so after writing the story.)
“Cats and Dogs.”
Essay (6,050 words); written on November 23, 1926. First published in
This delightful essay was written for a Blue Pencil Club meeting in New York—which HPL, having returned to Providence that spring, was unable to attend—at which the relative merits of cats and dogs would be debated. HPL, vastly preferring felines, sees in cats a symbol of aristocracy, unemotionalism, and pride (“The dog is a peasant and the cat is a gentleman”). He maintains that cats are much superior in intellect than dogs, are not dependent upon human beings, and are far more aesthetically beautiful than dogs. In the first appearance of the essay, some of HPL’s more outrageously oligarchical statements (e.g., “whether the forces of disintegration are already too powerful for even the fascist sentiment to check, none may yet say”) were expunged by R.H.Barlow; his editing was copied by August Derleth (who also retitled the essay) in
“Cats of Ulthar, The.”
Short story (1,350 words); written on June 15, 1920. First published in
The narrator proposes to explain how the town of Ulthar passed its “remarkable law” that no man may kill a cat. There was once a very evil couple who hated cats and who brutally murdered any that strayed on their property. One day a caravan of “dark wanderers” comes to Ulthar, among which is the little boy Menes, owner of a tiny black kitten. When the kitten disappears, the heart-broken boy, learning of the propensities of the cat-hating couple, “prayed in a tongue no villager could understand.” That night all the cats in the town vanish, and when they return in the morning they refuse for two entire days to touch any food or drink. Later it is noticed that the couple has not been seen for days; when at last the villagers enter their house, they find two clean-picked skeletons. There are several superficial borrowings from Dunsany: the name of the boy Menes (possibly derived from King Argimenes of the play
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Cave, Hugh B[arnett] (b. 1910).
American pulp writer and correspondent of HPL in the 1930s. Cave contributed voluminously to the weird and science fiction pulps from 1929 onward and became a prototypical “professional” writer. In the 1930s, Cave resided in Pawtuxet, R.I., but he and HPL never met. The two engaged in a heated exchange of correspondence (nonextant) regarding the ethics and aesthetics of writing for the pulps. Some of Cave’s pulp writing is collected in
See Audrey Parente,
“Celephaïs.”
Short story (2,550 words); written in early November 1920. First published in Sonia Greene’s amateur journal, the
Kuranes (who has a different name in waking life) escapes the prosy world of London by dream and drugs. In this state he comes upon the city of Celephaïs, in the Valley of Ooth-Nargai. It is a city of which he had dreamed as a child, and there “his spirit had dwelt all the eternity of an hour one summer afternoon very long ago, when he had slipt away from his nurse and let the warm seabreeze lull him to sleep as he watched the clouds from the cliff near the village.” But Kuranes awakes in his London garret and finds that he can return to Celephaïs no more. He dreams of other wondrous lands, but his sought-for city continues to elude him. He increases his use of drugs, runs out of money, and is turned out of his flat. Then, as he wanders aimlessly through the streets, he comes upon a cortege of knights who “rode majestically through the downs of Surrey,” seeming to gallop back in time as they do so. They leap off a precipice and drift softly down to Celephaïs, and Kuranes knows that he will be its king forever. Meanwhile, in the waking world, the tide at Innsmouth washes up the corpse of a tramp, while a “notably fat and offensive millionaire brewer” purchases Kuranes’s ancestral mansion and “enjoys the purchased atmosphere of extinct nobility.” HPL notes that the story was based upon an entry in his commonplace book (#10) reading simply: “Dream of flying over city.” Another entry (#20) was perhaps also an inspiration: “Man journeys into the past—or imaginative realm—leaving bodily shell behind.” The story is strikingly similar in conception to Dunsany’s “The Coronation of Mr. Thomas Shap” (in
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“Challenge from Beyond, The.”
Round-robin short story (6,100 words; HPL’s part, 2,640 words); HPL’s part written in late August 1935. First published in
[C.L.Moore:] George Campbell, camping in the Canadian woods, hears a shrieking in the sky and finds that a strange missile, in the form of crystal cubes, has descended from space. Some shape seems embedded in the center of the cube—a disk with characters incised upon it. [A.Merritt:] Campbell ponders the cube, seeing its interior alternately glow and fade. He hears music, then feels himself being sucked into the cube. [HPL:] Campbell seems to be hurtling through space at an incredible speed. At length he feels himself lying upon a hard, flat surface. He remembers reading in the Eltdown Shards about a mighty race of wormlike creatures on a distant planet who sent out crystal cubes that would exercise fascination upon any intelligent entity who encountered them. The mind of that individual would be sucked into the cube and made to inhabit the wormlike body of the alien race, while the mind of the alien race inhabited the other’s body and learned all it could about the civilization in question. After a time a reversal would be effected. The cone-shaped beings who had inhabited Australia millions of years ago had learned of the nature of these cubes and sought to destroy them, thereby earning the wrath of the wormlike creatures. As Campbell ponders this bizarre tale, he realizes that he is now in the body of the wormlike creature. [Robert E.Howard:] Awaking from his faint, Campbell snatches a sharp-pointed metal shard and approaches the god of the creatures, intent on killing it. [Frank Belknap Long:] On the alien planet, George Campbell, in the body of a wormlike creature, kills the god and becomes a god of the worm people himself, while on earth the creature occupying the body of Campbell dies a raving madman.
The story was the brainchild of Julius Schwartz, who wanted two round-robin stories of the same title, one weird and one science fiction, for the third anniversary issue of
Moore initiated the story with a rather lackluster account of George Campbell. Long then wrote what HPL calls “a rather clever development” (
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worm- or centipede-like creatures). His segment is clearly an adaptation of the central conception of “The Shadow out of Time”—mind-exchange. Accordingly, the idea got into print months before its much better utilization in the latter story. HPL’s segment is three to four times as long as that of any other writer’s, or nearly half the story.
Robert E.Howard was persuaded to take the fourth installment, while Long—whom HPL talked into returning to the project after he had abandoned it when Schwartz dropped his initial installment— concludes the story.
The complete weird and science fiction versions appear in
Chambers, Robert W[illiam] (1865–1933).
American author. HPL discovered his early fantastic writing—
See Lee Weinstein, “Chambers and
Chandraputra, Swami.
In “Through the Gates of the Silver Key,” he attends the meeting to divide Randolph Carter’s estate, purportedly with information about what happened to Carter following Carter’s disappearance. The Swami is actually a disguise for Zkauba the Wizard from the planet Yaddith, whom Carter became after he passed through the Gate of Dreams. The Swami is also mentioned briefly in “Out of the Charging Buffalo.
In “The Mound,” a young buck who in 1541 guides Panfilo de Zamacona to the entrance of a mound in what is now Oklahoma, but refuses to accompany Zamacona within. Some time earlier he had tentatively explored the mound, and he tells Zamacona tales of the Old Ones living within. Choynski, Paul.
In “The Dreams in the Witch House,” an occupant of the Witch House in Arkham during the period of Walter Gilman’s bizarre dreams and sleepwalking.
“City, The.”
Poem (45 lines in 9 stanzas); probably written in the fall of 1919. First published in
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The narrator finds himself in a strange but splendid city and strives to remember when and how he had known it before; finally a revelation comes to him and he “flew from the knowledge of terrors forgotten and dead.”
See Dirk W.Mosig, “Poet of the Unconscious,”
In “Herbert West—Reanimator,” a surgeon who dies when his plane is shot down as it is approaching a base in Flanders where Herbert West is stationed with a Canadian regiment. As Clapham-Lee is nearly decapitated in the plane crash, West perversely reanimates the head and the body separately. Later Clapham-Lee exacts his vengeance on West.
Clarendon, Dr. Alfred Schuyler.
In “The Last Test,” a physician who is appointed medical director of the San Quentin Penitentiary by the governor but is later removed because of his handling of the case of a prisoner stricken with black fever, whose death prompts fear of an epidemic in San Francisco. Clarendon is in fact not trying to find a cure for black fever at all, but—under the evil influence of the mysterious Surama, who acts as his assistant—is attempting to produce a serum that will induce a disease that will kill all humankind. He tries to inject his sister, Georgina, with the serum; prevented from doing so, he injects himself instead. Fearing the outcome, he destroys himself and his clinic by fire. Clark, Franklin Chase, M.D. (1847–1915).
Husband of HPL’s elder aunt Lillian Delora Phillips Clark. He attended high school in Warren, R.I., and received an A.B. from Brown University (1869). He studied literature and attended special classes given by Oliver Wendell Holmes, Sr., and received a medical degree from the College of Physicians and Surgeons in New York City (1872). Returning to Providence as an intern at Rhode Island Hospital, Clark served as surgeon in the outpatient department (1876–83). He conducted a private medical practice from 1872 to 1915 and also served as physician for Providence Dispensary and for the Home for Aged Women (1883–84) and as acting police surgeon for the City of Providence (1896). He was a prolific writer of articles on medicine, natural history, and genealogy; collections of his magazine articles and of his manuscripts are held in the University Archives at Brown. He married Lillian Delora Phillips on April 10, 1902; they had no children. In 1904, with HPL’s father and grandfather both dead, Clark became the leading male adult figure in HPL’s life; HPL testifies that his early prose and verse were much improved by Clark’s assistance (see
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Clark, Lillian D[elora Phillips] (1856–1932).
First child of Whipple V.Phillips and Robie Alzada Place Phillips; elder sister of Sarah Susan Phillips Lovecraft, HPL’s mother. She spent two academic years at the Wheaton Seminary in Norton, Mass. (1871–73), and completed her education at the Rhode Island Normal School. She was a schoolteacher prior to her marriage to Dr. Franklin Chase Clark, M.D., on April 10, 1902; they had no children. After Dr. Clark’s death, she lived in various rented rooms in Providence, including 135 Benefit Street (the locale for “The Shunned House” [1924]) in 1919–20. She was the principal housekeeper for HPL at 598 Angell Street during 1919–24, after the hospitalization and death of HPL’s mother. HPL wrote an enormous number of letters (now at JHL) to her during his New York period (1924–26); in spite of her chronic poor health, she came to Brooklyn in December 1924 to assist HPL in moving to 169 Clinton Street. Upon HPL’s return to Providence in April 1926, Lillian took rooms immediately above his at 10 Barnes Street. She was a gifted painter in oils who exhibited at the Providence Art Club. She died on July 3, 1932.
Clay, Ed.
In “The Mound,” the elder of two brothers in the Oklahoma Territory who explore the mound region in 1920. He comes back three months later with his hair turned white and a strange scar branded on his forehead. He claims that his brother Walker had died after being captured by Indians. Later Ed commits suicide after writing a note urging that the mound region be left alone.
A “hideous novel” conceived by HPL in March 1920 (see
Coates, Walter J[ohn] (1880–1941).
Amateur journalist in North Montpelier, Vt., who issued the little magazine
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with HPL to the end of the latter’s life, and wrote an obituary of HPL for
Massachusetts amateur journalist; editor of
Kansas amateur journalist and editor of
“Collapsing Cosmoses.”
Short story fragment (640 words); written in collaboration with R.H.Barlow. First published in
Dam Bor looks through his cosmoscope and sees an enemy fleet advancing through space. He and the narrator go to the Great Council Chamber to alert delegates from other galaxies. Hak Ni, a commander, is asked by Oll Stof, the president of the chamber, to battle the fleet. He does so. The fragment ends at this point.
The idea was for each author to write alternating paragraphs, although HPL sometimes wrote only a few words before yielding the pen to his younger colleague, so that considerably more than half the piece is Barlow’s, as are a fair number of the better jokes. As a satire on the space operas popularized by Edmond Hamilton, E.E. “Doc” Smith, and others, the story is fairly effective. “Colour out of Space, The.”
Short story (12,300 words); written in March 1927. First published in
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who examine the object find that its properties are very bizarre: the substance refuses to cool, displays shining spectroscopic bands never seen before, and fails to react to conventional solvents. Within the meteorite is a “large coloured globule”: “The colour…was almost impossible to describe; and it was only by analogy that they called it colour at all.” When tapped with a hammer, it bursts. The meteorite itself, continuing anomalously to shrink, finally disappears.
Henceforth increasingly odd things occur. Nahum’s harvest yields apples and pears unprecedentedly huge in size, but they prove unfit to eat; plants and animals undergo peculiar mutations; Nahum’s cows start to give bad milk. Then Nahum’s wife Nabby goes mad, “screaming about things in the air which she could not describe”; she is locked in an upstairs room. Soon all the vegetation starts to crumble to a grayish powder. Nahum’s son Thaddeus goes mad after a visit to the well, and his sons Merwin and Zenas also break down. Then there is a period of days when Nahum is not seen or heard from. Ammi finally summons the courage to visit his farm and finds that the worst has happened: Nahum himself has gone insane, babbling only in fragments; but that is not all: “That which spoke could speak no more because it had completely caved in.” Ammi brings policemen, a coroner, and other officials to the place, and after a series of bizarre events they see a column of the unknown color shoot into the sky from the well; but Ammi sees a small fragment of it return to earth. The gray expanse of the “blasted heath” grows by an inch per year, and no one can say when it will end. The reservoir in the tale is the Quabbin Reservoir, plans for which were announced in 1926, although it was not completed until 1939. And yet, HPL declares in a late letter that it was the Scituate Reservoir in Rhode Island (built in 1926) that caused him to use the reservoir element in the story (HPL to Richard Ely Morse, October 13, 1935; ms., JHL). He saw the reservoir when he passed through the west-central part of the state on the way to Foster in late October 1926. But HPL surely was also thinking of the Quabbin, which is located exactly in the area of central Massachusetts where the tale takes place, and which involved the abandonment and submersion of entire towns in the region. Also, Clara Hess’s statement that HPL’s mother once told her about “weird and fantastic creatures that rushed out from behind buildings and from corners at dark” reminds one of Nabby Gardner’s madness.
HPL felt the story was more an “atmospheric study” (
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The story is the first of HPL’s major tales to effect the union of horror and science fiction that became the hallmark of his later work. It is therefore not surprising that
the story—a mere
¢ per word—and then only after three dunning letters. Although in later years
HPL briefly considered requests from Gernsback or from his associate editor, C.A.Brandt, for further submissions, he never again sent a tale to
Sam Moskowitz’s assertion that HPL submitted the story first to
See Will Murray, “Sources for ‘The Colour out of Space,’”
Series of five advertising articles written in 1925 (general title coined by R.H.Barlow). First published in
The five articles are as follows: “Beauty in Crystal” (on the Corning Glass Works, Corning, N.Y.); “The Charm of Fine Woodwork” (on the Curtis Companies, Clifton, IA); “Personality in Clocks” (on the Colonial Manufacturing Company, Zealand, MI); “A Real Colonial Heritage” (on the Erskine-Danforth Corporation, New York, N.Y.); and “A True Home of Literature” (on the Alexander Hamilton Book Shop, Paterson, N.J.). The articles were written in early 1925 for a trade magazine conceived by one Yesley (a friend of Arthur Leeds): authors would write the advertising copy (based on press notices or advertising matter supplied by the company) and have it published in the magazine; salesmen would then take the issue to the companies in question and urge them to buy a quantity of the magazines for advertising purposes, whereupon the author would get 10% of the net sales. But the venture never materialized, so far as can be ascertained, and HPL’s articles apparently were never published. HPL clearly sought out “high-toned” establishments to write about, and his articles— seemingly stiff and formal—are presumably meant to suggest the aristocratic quality of the products manufactured or sold by the companies about which he is writing.
Commonplace Book.
Notes (5,000 words); written between late 1919/early 1920 and 1935. First published in
No “book” at all, HPL’s commonplace book was merely a sheaf of long, narrow, folded sheets of paper, on which he jotted ideas for stories. In January 1920, he wrote to Rheinhart Kleiner, “I have lately…been collecting ideas and images for subsequent use in fiction. For the first time in my life, I am keeping a ‘com
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monplace-book’—if that term can be applied to a repository of gruesome and fantastick thought” (
Few entries in the book are story plots per se; most are merely notes to jog the memory or spur the imagination. Consider these sample entries from c. 1920: “Transposition of identity.” “Man followed by invisible
In 1938, the Futile Press published HPL’s notebook, derived from a manuscript in the possession of R.H.Barlow and augmented by later notes HPL kept on a typed copy made for him by Barlow. See “Notes on Weird Fiction” concerning the related material published with these notes. In
Comptons.
In “The Curse of Yig” and “The Mound,” Sally (“Grandma”), married to Joe, mother of Clyde, is a first-generation pioneer, “a veritable mine of anecdote and folklore.” She is the source of the story about their neighbors, the Davises, in “The Curse of Yig,” and it is she who discovers Walker Davis’s body.
“Confession of Unfaith, A.”
Essay (2,170 words); probably written in late 1921. First published in the
One of HPL’s most significant personal and philosophical essays, tracing the development of his rejection of orthodox Christianity from boyhood (when, under the influence of classical mythology, he actually thought he saw dryads and satyrs in the woods near his home) to maturity. HPL copied much of the essay in his autobiographical letter to Edwin Baird, February 3, 1924 (
Weird fiction fan who corresponded with HPL (1936–37). Conover wished to start a fan magazine, the
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from
See obituary,
Amateur magazine edited by HPL (1915–23). Rpt. (unabridged) as
The magazine consists of 13 issues: 1, No. 1 (April 1915), 8 pp.; 1, No. 2 (July 1915), 12 pp.; 1, No. 3 (October 1915), 16 pp.; 1, No. 4 (January 1916), 4 pp.; 2, No. 1 (April 1916), 4 pp.; 2, No. 2 (July 1916), 4 pp.; 2, No. 3 (October 1916), 12 pp.; 2, No. 4 (January 1917), 4 pp.; 3, No. 1 (July 1917), 4 pp.; 4, No. 1 (July 1918), 8 pp.; 5, No. 1 (July 1919), 12 pp.; No. 12 (March 1923), 8 pp.; No. 13 (July 1923), 28 pp. [For complete table of contents, see S.T.Joshi,
The first issue was printed by an unidentified Providence printer. The next five issues were printed by The Lincoln Press (Albert A.Sandusky), Cambridge, Mass. The next three were printed locally, and W.Paul Cook printed the final four. HPL wrote most of the first three issues himself, but subsequently opened the magazine to prose and poetic contributions by his associates, including Rheinhart Kleiner, Winifred Virginia Jackson, Anne Tillery Renshaw, Alfred Galpin, Samuel Loveman, and others. The issue for July 1916 consists entirely of Henry Clapham McGavack’s essay “The American Proletariat versus England.” Beginning with the October 1916 issue, HPL instituted an editorial column entitled “In the Editor’s Study,” containing some of his most controversial political, social, and literary musings.
Rheinhart Kleiner reports on the effect of reading the first issue: “…many were immediately aware that a brilliant new talent had made itself known. The entire contents of the issue, both prose and verse, were the work of the editor, who obviously knew exactly what he wished to say, and no less exactly how to say it.
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its time, and held that place with ease through the period of seven or eight years during which it made occasional pronouncements. Its critical pronouncements were relished by some and resented by others, but there was no doubt of the respect in which they were held by all” (“Howard Phillips Lovecraft,”
Cook, W[illiam] Paul (1881–1948).
Printer, publisher, and amateur press editor residing in Athol, Mass.; he published under the pseudonym Willis Tete Crossman. Cook served as Official Editor (1918–19) and President of the NAPA (1919–20); he was also appointed Official Editor of the UAPA in 1907, but resigned before the end of his term. He edited and published several amateur magazines, including
See R. Alain Everts, “The Man Who Was W.Paul Cook,”
Short story (3,440 words); written probably in February 1926. First published in
The narrator, having “secured some dreary and unprofitable magazine work” in the spring of 1923, finds himself in a run-down boarding-house whose landlady is a “slatternly, almost bearded Spanish woman named Herrero” and occupied generally by low-life except for one Dr. Muñoz, a cultivated and intelligent retired medical man who is continually experimenting with chemicals and in
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dulges in the eccentricity of keeping his room at a temperature of about 55° by means of an ammonia cooling system. Muñoz suffers from the effects of a horrible malady that struck him eighteen years ago. He is obliged to keep his room increasingly cooler, as low as 28°. When, in the heat of summer, his ammonia cooling system fails, the narrator undertakes a frantic effort to fix it, enlisting “a seedy-looking loafer” to keep the doctor supplied with the ice that he repeatedly demands in ever larger amounts. But it is to no avail: when the narrator returns from his quest for air-conditioner repairmen, he finds the boarding-house in turmoil; the loafer, faced with some nameless horror, had quickly abandoned his task of supplying ice. When the narrator enters Muñoz’s room, he sees a “kind of dark, slimy trail [that] led from the open bathroom to the hall door” and “ended unutterably.” In fact, Muñoz died eighteen years before and had kept himself functioning by artificial preservation.
There are several autobiographical touches in the story. The setting is the brownstone at 317 West 14th Street (between Eighth and Ninth Avenues) in Manhattan, occupied in August–October 1925 by George Kirk, both as a residence and as the site of his Chelsea Book Shop. HPL describes it in a letter: “It is a typical Victorian home of New York’s ‘Age of Innocence’, with tiled hall, carved marble mantels, vast pier glasses & mantel mirrors with massive gilt frames, incredibly high ceilings covered with stucco ornamentation, round arched doorways with elaborate rococo pediments, & all the other earmarks of New York’s age of vast wealth & impossible taste. Kirk’s rooms are the great groundfloor parlours, connected by an open arch, & having windows only in the front room. These two windows open to the south on 14th St., & have the disadvantage of admitting all the babel & clangour of that great crosstown thoroughfare with its teeming traffick & ceaseless street-cars” (HPL to Lillian D. Clark, August 19–23, 1925; ms., JHL). Dr. Muñoz may have been suggested by HPL’s neighbor across the street, “the fairly celebrated Dr. Love, State Senator and sponsor of the famous ‘Clean Books bill’ at Albany…evidently immune or unconscious of the decay” (HPL to B.A.Dwyer, March 26, 1927; AHT). Even the ammonia cooling system has an autobiographical source. In August 1925 HPL’s aunt Lillian had told him of a visit to a theatre in Providence, to which he replied: “Glad you have kept up with the Albee Co., though surprised to hear that the theatre is
HPL stated that the inspiration for the tale was not, as one might expect, Poe’s “Facts in the Case of M.Valdemar” but Machen’s “Novel of the White Powder” (HPL to Henry Kuttner, July 29, 1936;
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See Bert Atsma, “Living on Borrowed Time: A Biologist Looks at ‘M.Valdemar’ and ‘Cool Air,’”
Corey, Benijah.
In “The Silver Key,” the hired man of the young Randolph Carter’s Uncle Christopher. When Carter, having found the silver key, returns bodily to his childhood, “Benijy” chides “Randy” for being late for supper.
Corey, George.
In “The Dunwich Horror,” the owner of a farm near Cold Spring Glen. His wife is not named. His relationship to Wesley Corey, one of the party that exterminates Wilbur Whateley’s twin brother, is not specified.
Crane, [Harold] Hart (1899–1932).
American poet. HPL (through his friend Samuel Loveman) met Crane in Cleveland in August 1922 and saw him again in New York in 1924–26, when he was working on
Crawford, William L. (1911–1984).
Semi-professional publisher in Everett, Pa. In the fall of 1933, Crawford proposed to start a nonpaying weird magazine,
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right page declares the date of publication as April 1936), but the book was so riddled with typographical errors that HPL insisted on an errata sheet (which, alas, was also faulty).
“Crawling Chaos, The.”
Short story (3,020 words); written in collaboration with Winifred Virginia Jackson, probably in December 1920. First published (as by “Elizabeth Berkeley and Lewis Theobald, Jun.”) in the
The narrator tells of his one experience with opium, when a doctor unwittingly gave him an overdose to ease his pain. After experiencing a sensation of falling, “curiously dissociated from the idea of gravity or direction,” he finds himself in a “strange and beautiful room lighted by many windows.” A sense of fear comes over him, and he realizes that it is inspired by a monotonous pounding that seems to come from below the house in which he finds himself. Looking out a window, he sees that the pounding is caused by titanic waves that are rapidly washing away the piece of land on which the house stands, transforming the land into an ever-narrowing peninsula. Fleeing through the back door of the house, the narrator finds himself walking along a sandy path and rests under a palm tree. Suddenly a child of radiant beauty drops from the branches of the tree, and presently two other individuals—“a god and goddess they must have been”—appear. They waft the narrator into the air and are joined by a singing chorus of other heavenly individuals who wish to lead the narrator to the wondrous land of Teloe. But the pounding of the sea disrupts this throng, and the narrator appears to witness the destruction of the world.
The story was written shortly after the prose poem “Nyarlathotep” (whose opening phrase is “Nyarlathotep…the crawling chaos…”). HPL remarks in a letter: “I took the title C.C. from my Nyarlathotep sketch…because I liked the sound of it” (HPL to R.H.Barlow, [December 1, 1934]; ms., JHL). HPL appears to allude to the genesis of the story in a letter of May 1920, in which he notes the previous collaboration with Jackson, “The Green Meadow”: “I will enclose—subject to return—an account of a Jacksonian dream which occurred in the early part of 1919, and which I am some time going to weave into a horror story…” (
Various points in the account carry the implication that the narrator is not actually dreaming or hallucinating but envisioning the far future of the world—a point clumsily made by his conceiving of Rudyard Kipling as an “ancient” author. It is manifest that the entire tale was written by HPL; as with “The Green Meadow,” Jackson’s only contribution must have been the dream whose imagery probably laid the foundations for the opening segments.
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Alfred Galpin (“Department of Public Criticism,”
“Crime of the Century, The.”
Essay (970 words); probably written in early 1915. First published in the
HPL asserts that the British and the Germans are committing a kind of racial suicide, since they are “blood brothers” belonging to the same Teutonic race—a race that is “the summit of evolution” and destined to rule all other races in the world.
Crofts, Anna Helen.
Amateur writer and collaborator with HPL. Crofts lived in North Adams, Mass., in the far northwestern corner of the state. She collaborated with HPL on the story “Poetry and the Gods” (
Cthulhu Mythos.
Term devised by August Derleth to denote the pseudomythology underlying some of HPL’s tales, chiefly the “cosmic” stories of his last decade of writing.
It is difficult to know how seriously HPL himself regarded his invented pantheon or his invented New England topography (which has also been regarded by later critics as an important component of the Mythos). That pantheon developed from his very earliest work—“Dagon” (1917)—to his last, and it was in a state of constant flux, as HPL never felt bound to present a rigidly consistent theogony from one tale to the next. His own references to his pseudomythology are vague and inconsistent, suggesting that, even though he employed it often enough, it was merely for coloration, not the primary theme of his fiction. One of HPL’s first comments on the matter is briefly stated in a letter to James. F.Morton (April 1, 1927; AHT), when he remarks that he has written an “atmospheric episode of the Arkham cycle” (i.e., “The Colour out of Space”). He next noted that “The Dunwich Horror” (1928) “belongs to the Arkham cycle” (
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Writing to Clark Ashton Smith ([November 11, 1930]; ms. in private hands), HPL mentioned YogSothoth as one of several “ingredients of the Miskatonic Valley myth-cycle.” In early 1931, HPL wrote to Frank Belknap Long: “I really agree that ‘Yog-Sothoth’ is a basically immature conception, & unfitted for really serious literature…. But I consider the use of actual folk-myths as even more childish than the use of new artificial myths, since in employing the former one is forced to retain many blatant puerilities and contradictions of experience which could be subtilised or smoothed over if the supernaturalism were modelled to order for the given case. The only permanently artistic use of Yog-Sothothery, I think, is in symbolic or associative phantasy of the frankly poetic type; in which fixed dream-patterns of the natural organism are given an embodiment & crystallisation…. But there is another phase of cosmic phantasy (which may or may not include frank Yog-Sothothery) whose foundations appear to me as better grounded than those of ordinary oneiroscopy; personal limitation regarding the
HPL emphasized that
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which invented the toad-god Tsathoggua. Whether Smith was inspired by HPL’s example is debatable; in fact, it was HPL who borrowed from Smith, citing Tsathoggua in his revision of Zealia Bishop’s “The Mound” (1929–30), on which he was then working, and also in “The Whisperer in Darkness” (1930). Smith himself later wrote, in reference to several citations by other authors of elements he had invented: “It would seem that I am starting a mythology” (Smith to August Derleth, January 4, 1933; ms., SHSW).
In 1930 N.J.O’Neail wrote a letter to
August Derleth, however, appears to have become obsessed with the Mythos, from as early as 1931, when he wrote the first draft of “The Return of Hastur” (
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1931; ms., SHSW). Derleth used that last sentence as a license to continue writing tales using HPL’s pseudomythology, although even before HPL’s death he warned at least one writer (Henry Kuttner) to avoid using HPL’s pseudomythological elements in his own work as doing so could hamper HPL’s ability to earn income from his own ideas. Ultimately Derleth himself departed from the tradition of HPL’s own colleagues by writing stories entirely
In 1932 the composer Harold S.Farnese engaged HPL in an epistolary discussion of HPL’s theory and practice of weird fiction. Farnese seems to have misunderstood much of what HPL said to him, and after HPL’s final move to 66 College Street, the two lost touch with each other. Then, after HPL’s death, when August Derleth asked Farnese to lend him HPL’s correspondence for use in
1.
notably the barrel-shaped extraterrestrials in
2.
3.
4.
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tered references to his pseudomythology, his imaginary topography, and his mythical books across many stories, making the exercise of segregating them into mutually exclusive categories a futile endeavor.
5.
(Derleth to Felix Stefanile, August 11, 1958; ms., SHSW). There is no evidence in HPL of an Innsmouth theme, or a Dunwich theme, or that he intended to join them. Derleth began expounding his view of the Mythos—and attributing it to HPL—as early as the article “H.P.Lovecraft, Outsider” (
See Matthew H.Onderdonk, “The Lord of R’lyeh,”
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“Curse of Yig, The.”
Short story (7,030 words); ghostwritten for Zealia Brown Reed Bishop, in the spring of 1928. First published in
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the completed tale to Bishop in early March 1928, making it clear in his letter to her that even the title is his. He adds: “I took a great deal of care with this tale, and was especially anxious to get the beginning smoothly adjusted…. For geographical atmosphere and colour I had of course to rely wholly on your answers to my questionnaire, plus such printed descriptions of Oklahoma as I could find.” HPL charged Bishop $17.50 for the tale. She sold the story to
Curwen, Joseph (1662/3–1771; 1928).
In
“Cycle of Verse, A.”
Poem cycle consisting of three poems, “Oceanus” (16 lines), “Clouds” (22 lines), and “Mother Earth” (40 lines); written in November and December 1918. First two poems first published in the
The poems tell of the weirdness to be found in the ocean, the sky, and the earth (“from whence all horrors have their birth”).
Czanek, Joe.
In “The Terrible Old Man,” a thief (of Polish ancestry) who meets a bad end when he attempts to rob an old sea captain of his reputed hoard of Spanish gold and silver.
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D
Daas, Edward F. (1879–1962).
Amateur journalist in Milwaukee, Wis., who read HPL’s letters and poems in the letter column of the
Daemon of the Valley.
In “Memory,” a supernatural entity who, as “Memory, …wise in lore of the past,” informs a Genie of the former existence and current extinction of the human race.
“Dagon.”
Short story (2,240 words); written July 1917. First published in
The unnamed narrator is about to kill himself after writing his account because he has no more money for the morphine that prevents him from thinking of what he has experienced. A supercargo on a vessel during the Great War, this individual is captured by a German sea-raider but manages to escape five days later in a boat. He drifts in the sea, encountering no land or other ship. One night he falls asleep, awaking to find himself half-sucked in “a slimy expanse of hellish black mire which extended about me in monotonous undulations as far as I could see”; evidently there had been an upheaval of some subterranean land mass while he slept. In a few days the mud dries, permitting the narrator to walk along its vast expanse. He aims for a hummock far in the distance, and when finally attaining it finds himself looking down into “an immeasurable pit or canyon.” Descending the side of the canyon, he notices a “vast and singular object” in the distance: it is a gigantic monolith “whose massive bulk had known the workmanship and perhaps the worship of living and thinking creatures.”
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Stunned by the awareness that such a civilization existed unknown to human science, the narrator explores the monolith, finding repellent marine bas-reliefs and inscriptions on it. But a still greater shock is coming to the narrator, for now a living creature emerges from the waves. He flees, and later finds himself in a San Francisco hospital, having been rescued by an American ship. But his life is shattered; he cannot forget what he has seen, and morphine is only a temporary palliative. His narrative concludes when he writes: “God,
“Dagon” was in part inspired by a dream. In responding to a criticism regarding the narrator’s actions, HPL writes: “…the hero-victim
Some critics have believed that the monster actually appears at the end of the story; but the notion of a hideous creature shambling down the streets of San Francisco is preposterous, and we are surely to believe that the narrator’s growing mania has induced a hallucination. HPL remarked, shortly after writing the story, that “Both [‘The Tomb’ and ‘Dagon’] are analyses of strange monomania, involving hallucinations of the most hideous sort” (HPL to Rheinhart Kleiner, August 27, 1917; “By Post from Providence”).
See Will Murray, “Dagon in Puritan Massachusetts,”
In “The Last Test,” the governor of California who is in love with Dr. Alfred Clarendon’s sister, Georgina. Dalton prevents Clarendon from conducting a medical experiment on her. Danforth,———.
In
Davenport, Eli.
In “The Whisperer in Darkness,” the author of an “exceedingly rare monograph” recording material obtained orally prior to 1839 from old Vermont denizens concerning the possible existence of a hidden race of alien entities in the mountains.
Davis, Dr.
In “In the Vault,” George Birch’s original personal physician, who is summed to Birch’s side when the latter crawls out of the receiving tomb in which he had been trapped. Davis, recognizing the nature and cause of Birch’s injuries, berates his patient for his carelessness and callousness.
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Davis, [Francis] Graeme (1882–1938).
Early amateur journalist who, as Official Editor of the NAPA (1917–18), violently attacked both HPL and the UAPA in two articles in his journal,
Davis, Sonia H[aft Greene Lovecraft] (1883–1972).
HPL’s wife (1924–29). Born Sonia Haft Shafirkin in Ichnya (near Kiev), in the Ukraine, she came to Liverpool with her mother and brother around 1890; her mother, Racille, went on to New York and married Solomon H———(last name unknown) in 1892. Sonia joined her mother later that year. She married Samuel Seckendorff in 1899; a son, born in 1900, died after three months, and a daughter, Florence, was born on March 19, 1902. Seckendorff later adopted the name Greene from a friend in Boston. The marriage was turbulent, and Samuel Greene died in 1916, apparently by his own hand. In 1917 Sonia became acquainted with James F.Morton, who introduced her to amateur journalism. She was by this time a highly paid executive at a clothing store in Manhattan, Ferle Heller’s, and had a salary of $10,000. She resided at 259 Parkside Avenue in the fashionable Flatbush section of Brooklyn. She came to the NAPA convention in Boston in early July 1921; Rheinhart Kleiner introduced her to HPL. Shortly thereafter she contributed $50 to the UAPA (see
In the spring of 1922 Sonia persuaded HPL to come to New York to meet his friends, notably Samuel Loveman; HPL stayed in Sonia’s apartment (April 6–12) while she stayed with a neighbor. She then persuaded HPL to spend more than a week with her in Gloucester and Magnolia, Mass. (June 26– July 5)—evidently the first time HPL had spent time alone with a woman to whom he was not related. At this time Sonia conceived the idea for the story “The Horror at Martin’s Beach,” which HPL later revised for her (published in
By the spring of 1924 it was clear that HPL and Sonia were seriously involved. The impetus to marry probably came from her, but HPL agreed to it apparently without reluctance. He did not, however, inform his aunts of his decision; instead, he boarded a train to New York on March 2 and married Sonia the
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next day at St. Paul’s Cathedral in Manhattan. They left for a honeymoon in Philadelphia on March 4, but they spent much of the time retyping “Under the Pyramids,” a story ghostwritten for Harry Houdini, the typescript of which HPL had left in the Providence train station. They settled in Sonia’s apartment in Flatbush. (Her daughter Florence moved out around this time; evidence suggests that Florence did not approve of Sonia’s marriage to HPL.) Shortly thereafter Sonia either lost her position at Ferle Heller’s or resigned in order to begin her own independent hat shop; this venture was a failure, and by July HPL himself had to consider finding employment; his efforts were notably unsuccessful. From May 1924 to July 1925 Sonia was President of the UAPA and HPL Official Editor; they managed to publish a few issues of the
In October 1924 Sonia was stricken with a gastric attack and had to spend several days in a hospital. By the end of December she managed to secure employment at Mabley & Carew’s, a department store in Cincinnati; she left on December 31. Sonia’s health continued to be poor. She twice spent time in a private hospital in Cincinnati, and by late February 1925 had lost her position and returned to Brooklyn. She spent most of the period from late March to early June in the home of a woman physician in Saratoga Springs, N.Y. After staying in Brooklyn for most of June and July, she secured a job at Halle’s, the leading department store in Cleveland, and worked there for just under a year. The result was that, during the period 1925–26 (when HPL moved into a single-room apartment at 169 Clinton Street in Brooklyn), she was with HPL for a total of only three months, mostly for a few days at a time at widely scattered intervals.
By the spring of 1926 Sonia acquiesced in the wishes of HPL’s aunts that HPL return to Providence. She came with him to assist him in the relocation on April 17, spending about a week with him before returning to Brooklyn (she had by this time left Halle’s). At some point, either at this time or some months later, Sonia proposed opening a hat shop in Providence; but HPL’s aunts refused the offer, feeling it shameful for their nephew to have a wife working as a tradeswoman in their native city, where they were still part of the informal social aristocracy. For the next two years their relationship was conducted almost solely by correspondence, although HPL did return to New York on September 13–19, 1926, presumably because Sonia (who now had a position in Chicago) was on a purchasing trip to New York and asked HPL to come. In the spring of 1928 Sonia asked HPL to come to Brooklyn again, as she was setting up another hat shop. HPL stayed at her apartment (395 East 16th Street) from April 24 to June 7 while helping her set up the shop.
By the end of 1928 Sonia must have begun to press for divorce, since she was no longer satisfied with a marriage by correspondence. HPL repeatedly refused to grant the divorce, claiming that a “gentleman did not divorce his wife without cause,” but he finally relented. Because of the restrictive divorce laws in New York State, the divorce was initiated in Rhode Island, under the charade that Sonia had deserted HPL. The final decree must have been issued in March or April 1929, but HPL did not sign it; therefore, he was never technically divorced from Sonia, and Sonia’s subsequent marriage was legally bigamous.
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The last time Sonia saw HPL was in mid-March 1933, when she had come to Hartford, Conn., for a visit and asked HPL to join her. (In correspondence HPL mentions the trip but not that he was meeting Sonia.) Later that year Sonia left for California; prior to her departure she destroyed HPL’s letters to her (only a few postcards survive). In 1936 she married Dr. Nathaniel Davis. She did not hear of HPL’s death until 1945. Three years later her memoir “Howard Phillips Lovecraft as His Wife Remembers Him” appeared in the
See R.Alain Everts, “Mrs. Howard Phillips Lovecraft,”
In “The Curse of Yig,” they are settlers in the Oklahoma Territory in 1889. Walker, who has a tremendous fear of snakes, is inadvertantly killed by Audrey when she mistakes him for Yig, the legendary snake god. She herself gives birth to three half-human, half-snake offspring, of which only one survives.
“Deaf, Dumb, and Blind.”
Short story (4,720 words); written in collaboration with C.M.Eddy, c. February 1924. First published in
A deaf, dumb, and blind man, Richard Blake, “the author-poet from Boston,” rents a lonely cottage— the Tanner place, on the outskirts of Fenton—because he thinks its “weird traditions and shuddering hints” might be an imaginative stimulus. The hermit Simeon Tanner had been found dead in the house in 1819, and something about the expression on his face led the townspeople to burn the body and the books and papers in the house. Blake moves into the place with his manservant, Dobbs. But after some anomalous incident Dobbs flees, babbling incoherently. Blake is left to himself, and he records his impressions in a diary he is preparing on his typewriter. This diary shows that Blake had become aware of some nameless presence in the house, and presently he somehow
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write the last paragraph.” This seems to suggest—although perhaps not by design—that HPL revised only the last paragraph; in truth, the entire tale was probably revised, although Eddy presumably wrote the first draft.
The tale’s conclusion bears some analogy with “The Statement of Randolph Carter”: in that story, the monstrous entity makes its presence known by speech (through a telephone); here, the entity reveals itself by writing. There is also a foreshadowing of “The Dunwich Horror,” in that Simeon Tanner is said to have “bricked up the windows of the southeast room, whose east wall gave on the swamp,” suggesting that he had kept some creature imprisoned within the room, just as Old Man Whateley attempted to contain Wilbur Whateley’s twin.
[Death Diary.]
Written January 1–March 11, 1937.
HPL’s so-called death diary is mentioned in his obituary in the
de Castro, Adolphe (1859–1959).
Correspondent and revision client of HPL. He was born Gustav Adolphe Danziger in a Germanspeaking Russian territory along the Baltic Sea, and studied at the University of Bonn. He moved to the United States in 1886, was employed at one time or another at tasks as diverse as dentist and American consul in Madrid. He became acquainted with Ambrose Bierce and did the basic translation from German into English of
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See Chris Powell, “The Revised Adolphe Danziger de Castro,”
British author whose weird work (a small segment of his
Delapore,———.
The narrator of “The Rats in the Walls,” whose decision to restore Exham Priory, the home of his ancestors in England, ultimately leads to his downfall and his confinement in an insane asylum. Gilbert de la Poer, first Baron Exham, was granted the site of Exham Priory in 1261. Walter de la Poer, eleventh Baron Exham, fled to Virginia, probably in the seventeenth century, and founded the family later known as Delapore. Randolph Delapore is the cousin of the narrator of “The Rats in the Walls,” who “became a voodoo priest after he returned from the Mexican War.” Alfred Delapore is the narrator’s son. In 1917, he served overseas as an aviation officer, becoming friendly with Capt. Edward Norrys. He was injured and died two years later. His name is probably a nod toward HPL’s friend, Alfred Galpin.
“Department of Public Criticism.”
Column criticizing amateur publications appearing in the
HPL wrote the columns for: January 1915; March 1915; May 1915; September 1915; December 1915; April 1916; June 1916; August 1916 (subtitled “First Annual Report, 1915–1916”); September 1916; March 1917; May 1917; July 1917; January 1918; March 1918; May 1918; September 1918 (in part); November 1918 (in part); January 1919 (in part); March 1919; May 1919 (in part). HPL notes (“What Amateurdom and I Have Done for Each Other”) that he had been appointed chairman of the Department of Public Criticism in the fall of 1914, taking over for Ada P.Campbell; HPL was then reappointed to the post for the 1915–16 and 1916–17 terms. Rheinhart Kleiner was appointed chairman for 1917–18, but HPL notes (letter to Arthur Harris, January 12, 1918; ms., JHL) that Kleiner was unable to serve, so that HPL ended up writing some of the articles for that official year. He was reappointed for the 1918–19 year.
The articles are, on the whole, rather mundane criticisms of the prose and verse appearing in the amateur journals of the period, largely concerned with pointing out grammatical errors in prose and errors in meter and scansion in
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poetry; occasionally HPL reveals his own prejudices by contesting the authors’ opinions on literary, social, and political topics. The column was largely designed for an educational purpose, as a means of assisting amateurs to improve their writing skills. Some of HPL’s articles are of great length—the column for September 1915 is 7,225 words long.
Derby, Edward Pickman.
In “The Thing on the Doorstep,” the weak-willed husband of Asenath Waite, who forces him to exchange his personality with hers. As a youth, Derby was a boy genius, who published the volume of poetry,
Derleth, August [William] (1909–1971).
Novelist, poet, biographer, anthologist, correspondent of HPL (1926–37), and later his publisher. Derleth published stories in
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Simon & Schuster turned down
Derleth veritably controlled all HPL activity from 1937 to 1971. He wrote many tales of the “Cthulhu Mythos,” veering far from HPL’s original conception, including “The Return of Hastur” (first draft 1931; rewritten 1937;
See
de Russy, Antoine.
In “Medusa’s Coil,” a Louisiana planter whose decaying mansion is visited by the narrator, who spends the night there. De Russy’s tale about his son and his mysterious wife, whom he buried in the cellar of his house, constitute the story’s narrative.
de Russy, Denis.
In “Medusa’s Coil,” a young man who visits Paris and there falls in love with and marries the mysterious Marceline Bedard, whom he brings to Missouri to live with him. His friend Frank Marsh is captivated by Marceline, and he desires to paint her portrait. De Russy suspects his wife of infidelity with
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Marsh, but later he realizes that Marsh has been trying to inform him of his wife’s tainted background, and he kills her. He is strangled by Marceline’s animate hair.
de Russy, Marceline (Bedard).
In “Medusa’s Coil,” an alluring young woman in Paris who claims to be the illegitimate daughter of the Marquis de Chameaux, but who, after she marries Denis de Russy and returns with him to his estate in Missouri, is revealed to be not only an ancient entity endowed with animate hair, but also “a negress.”
“Descendant, The”
(title supplied by R.H.Barlow). Fragmentary story (1,500 words); probably written in early 1927. First published in
Lord Northam is thought “harmlessly mad” by the people who know him; he lives with a cat in Gray’s Inn, London, and “all he seeks from life is not to think.” A man of great learning, Northam has been scarred by some harrowing incident in the past. One day a young man named Williams brings Lord Northam a copy of the
See S.T. Joshi, “On ‘The Descendant,’”
Essay (78,000 words); written September 1930–January 14, 1931. First published in HPL’s
HPL’s single longest literary work—an exhaustive history of Quebec and a detailed travelogue of the city and neighboring regions, based upon his first ecstatic visit to the region in late summer of 1930. HPL relied largely on published
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histories and guidebooks for much of his historical account, but the travelogue section is manifestly based upon first-hand experience. The entire text is written in exquisite eighteenth-century English and reflects a British attitude in recording the defeat of the French by the English in the course of the eighteenth century. The text is filled with HPL’s drawings of typical Quebec architecture, and there is an appendix providing French and English names of prominent landmarks and the origins of placenames and street-names. HPL never prepared the text for publication, nor even a typescript to circulate among colleagues; hence it long remained unpublished. De Camp’s edition contains many mistranscriptions and also fails to correct several instances of HPL’s erroneous French. “Despair.”
Poem (40 lines in 5 stanzas); written c. February 19, 1919. First published in
A brooding, pessimistic poem speaking of “Sweet Oblivion” to be found “beyond the groans and grating/Of abhorrent Life.” HPL notes (
Desrochers,———.
In “The Dreams in the Witch House,” a French Canadian who lives in the room directly below Walter Gilman’s in the Witch House in Arkham, and who sees and hears numerous odd things during the time of Gilman’s dreams and sleepwalking.
Dexter, Mercy.
In “The Shunned House,” the maiden sister of Rhoby (Dexter) Harris, who moves into the Shunned House in 1768 to tend to Rhoby, who had lapsed into insanity after the death of her husband and several of her children. Her health begins to fail from the moment she occupies the house, and she dies in 1782.
[Diary: 1925.]
Diary; unpublished (ms., JHL).
A small pocket diary in which HPL wrote very compressed records of his activities during 1925, when he was living alone at 169 Clinton Street. A sample entry: [March 1] “Up noon—call on GK [George Kirk]—SH [Sonia] get dinner here—eggs—pot. chips—crackers—cheese GW coffee—read papers— write Sonny [Frank Belknap Long] telephone—SL [Samuel Loveman] GK RK [Rheinhart Kleiner] call & go out to dinner—Wrote LDC [Lillian D. Clark]////Boys return—Session at Kirk’s—out to Scotch Bakery—GK & HP return to talk till dawn—retire.”
“Diary of Alonzo Typer, The.”
Short story (8,260 words); ghostwritten for William Lumley, October 1935. First published in
In a spectral house in upstate New York, strange forces were summoned by a Dutch family, the van der Heyls, that had resided there. Alonzo Typer, an occult explorer, attempts to fathom the mysteries of the place. He senses several strange presences in the house, especially in the cellar. He realizes that he will
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probably not be allowed to leave and that some great cataclysm is to occur around Walpurgisnacht (May Eve). At length he discovers that an “ancient forgotten One” is lurking beneath the house who will show Typer “the gateway I would enter, and give me the lost signs and words I shall need.” At the climactic moment, Typer realizes that he himself is related to the van der Heyls and that he has been called here for the fulfilling of some hideous purpose. Typer continues writing in his diary to the last: “Too late—cannot help self—black paws materialise—am dragged away toward the cellar….” The story was based upon a nearly illiterate draft produced by Lumley (published in
HPL revised the story for no pay, thinking that it would encourage Lumley’s efforts at writing. Lumley promptly submitted the story to
“Disinterment, The.”
Short story (4,600 words); written in collaboration with Duane W.Rimel, September 1935. First published in
The unnamed narrator awakes to find himself in a hospital bed in a private clinic—a “veritable medieval fortress.” He then remembers that he had contracted leprosy while in the Orient and had appealed to his friend, Marshall Andrews, for help. Andrews, a surgeon of dubious reputation, persuades the narrator to spend nearly a year in his castle undergoing treatment. Then Andrews goes to the West Indies to study “native” medical methods. Returning, Andrews claims that he has found a drug in Haiti that could simulate death, even to temporary rigor mortis. The plan is to inject the narrator with the drug, have him declared dead, interred in a grave, and then resurrected. In this way the narrator could assume another identity without the stigma of leprosy. As the narrator wakes, he feels the lingering effects of the drug, and he seems paralyzed. Gradually the paralysis passes, but movement of arms and legs is still painful and jerky. There seems to be some kind of alienation between the narrator’s head and the rest of his body. Tormented by dreams and suspecting that some nameless experiment has been made upon him, he staggers out of bed, finds Andrews sleeping in a chair, and kills him with a candelabrum. He later kills Andrews’ butler, Simes. Going outside, he approaches his manor house and enters the family cemetery. He comes to his own tombstone, begins to dig up the grave, and finds to his horror his own headless body: Andrews had transplanted his head upon the body of an African American from Haiti.
HPL discusses the story in a letter to Rimel of September 28, 1935: “First of all, let me congratulate you on the story. Really, it’s
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verbal changes acceptable” (ms., JHL). The critical issue is what to make of this statement (the manuscript or typescript, with HPL’s putative corrections, does not survive). The fact that HPL refers to “slight verbal changes” should not lead us to minimize his role in the tale, since this may simply be an instance of his customary modesty. Rimel maintains that HPL performed only slight revisions on the story; but if so, then Rimel never came so close to imitating HPL’s style and idiom. The tale bears some resemblance to HPL’s early tales of the macabre, notably “The Outsider.” See Will Murray, “Facts in the Case of ‘The Disinterment,’”
Essay, purportedly by HPL, dating to 1906. Printed by August Derleth in
In “The Dreams in the Witch House,” the landlords of the Witch House in Arkham at the time when Walter Gilman experiences his bizarre dreams and sleepwalking.
“Doom That Came to Sarnath, The.”
Short story (2,740 words); written on December 3, 1919. First published in the
Ten thousand years ago, in the land of Mnar, stood the stone city of Ib near a vast still lake. Ib was inhabited by “beings not pleasing to behold”: they were “in hue as green as the lake and the mists that rise above it…they had bulging eyes, pouting, flabby lips, and curious ears, and were without voice.” Many eons later new folk came to Mnar and founded the city of Sarnath; these were the first human beings of the region, “dark shepherd folk with their fleecy flocks.” They loathed the creatures of Ib and destroyed both the town and its inhabitants, preserving only the “sea-green stone idol chiselled in the likeness of Bokrug, the water-lizard.” After this Sarnath flourished greatly. Every year a festival is held commemorating the destruction of Ib, and the thousandth year of this festival was to be of exceptional lavishness. But during the feasting and celebrating Sarnath is overrun by “a horde of indescribable green voiceless things with bulging eyes, pouting, flabby lips, and curious ears.” Sarnath is destroyed.
Many features in the story betray borrowings from Dunsany, but all in externals. HPL thought he had come by the name Sarnath independently, but maintained that he later found it in a story by Dunsany; this is not, however, the case. Sarnath is also a real city in India (purportedly the place where Buddha first taught), but HPL may not have known this. The green idol Bokrug is reminis
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cent of the green jade gods of Dunsany’s play
Douglas, Capt. J.B.
In
Dow, Johnny.
In “The Horror in the Burying-Ground,” a friend of Tom Sprague who goes mad after witnessing the apparent deaths of Sprague and his enemy, Henry Thorndike.
Dowdell, William J. (1898–1953).
Amateur writer in Cleveland. Dowdell edited several amateur journals, including
Short novel (43,100 words); written October 1926–January 22, 1927. First published in
Randolph Carter engages in a quest through dreamland in search of the “sunset city” of his dreams, which he can no longer attain. The city is described as follows: “All golden and lovely it blazed in the sunset, with walls, temples, colonnades, and arched bridges of veined marble, silver-basined fountains of prismatic spray in broad squares and perfumed gardens, and wide streets marching between delicate trees and blossom-laden urns and ivory statues in gleaming rows; while on steep northward slopes climbed tiers of red roofs and old peaked gables harbouring little lanes of grassy cobbles.” He believes that his only recourse is to plead his case before the “hidden gods of dream that brood capricious above the clouds on unknown Kadath.” No one in dreamland knows where Kadath is, and the journey appears to be fraught with dangers, but Carter undertakes the quest nonetheless.
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He first visits the land of the zoogs, “furtive and secretive” creatures who live in burrows or in the trunks of trees. They do not know where Kadath is, but one elderly zoog has heard that a copy of the “inconceivably old Pnakotic Manuscripts” is at Ulthar and that it tells much about the gods. So Carter makes his way to Ulthar, beyond the river Skai, where the friendly cats cluster about him. Carter seeks the patriarch Atal, who long ago had ascended Mt. Hatheg-Kla in the company of Barzai the Wise, in order to look upon the gods; only Atal had come down. Carter drugs Atal with the zoogs’ moon-wine, so that Atal becomes talkative: he tells Carter of a great image of the gods (called the Great Ones or the gods of earth) carved on Mt. Ngranek, on the isle of Oriab; if Carter were to see this image, and then look for similar images among the races of dreamland, he would probably find the gods. The gods, after all, were fond of marrying the daughters of men and producing offspring who had divine blood in their veins and divine features on their countenances.
At Atal’s urging, Carter joins a caravan bound for Dylath-Leen, a great city on the Southern Sea. Arriving there, he hears that ships from Baharna, a city on Oriab, came occasionally to trade at Dylath-Leen. These ships had an unsavory reputation, for they would merely exchange enormous rubies for hordes of black slaves. Presently such a ship comes into the harbor, and Carter speaks to one of the merchants on it; but the merchant plies Carter with drugged wine, and he is taken aboard the ship as a prisoner. Carter suspects that the ship is in league with the Other Gods, who under the aegis of the crawling chaos Nyarlathotep protect the mild gods of earth. The ship sails between the Basalt Pillars of the West, and then leaps into the air and lands on the moon, eventually docking at a peculiar city on a “leprous-looking coast”; on the shore are huge grayish-white toadlike creatures moving cargo and slaves off the ships. Other creatures, turbaned and approximately human in outline, are also seen. Two of the toad-creatures seize Carter and take him to a dungeon, and later he is led in a procession, surrounded by both the toads and the almost-human entities. Suddenly Carter hears the yell of a cat, and he realizes that the moon is where all cats come at night. Carter, knowing the cats’ language, utters a cry for help; and there ensues a battle between the cats on one side and the toad-creatures and almost-humans on the other side. The cats prevail and then make a gigantic leap back to earth, Carter safely carried along in their midst.
Carter finds himself back at Dylath-Leen and this time boards a ship for the isle of Oriab. Reaching the port of Baharna, Carter undertakes the arduous ascent of Mt. Ngranek; finally attaining the farther side of it, he is astounded at the enormous face carved thereon. But mingled with his awe is recognition, for Carter knows that he has seen likenesses of that face in the taverns of the seaport Celephaïs, ruled by King Kuranes. Carter knows he must head there, but before he can climb down the mountain he is plucked by hideous winged creatures with no faces—the night-gaunts. They bear him beyond the Peaks of Thok and leave him in the vale of Pnath, “where crawl and burrow the enormous bholes.” Carter is, however, aware that bholes are terrified of ghouls, and he has had dealings in the past with ghouls—specifically with one ghoul named Richard Upton Pickman, who used to be a man. Carter summons the ghouls, who lower an enormous rope ladder up which he climbs to the top of a crag. The ghouls take
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Carter to Pickman, who “had become a ghoul of some prominence in abysses nearer the waking world.” Carter outlines his plan to get to the enchanted wood and thence to Celephaïs, but Pickman tells him that to do so he will have to pass through the kingdom of the gugs, “hairy and gigantic,” and their enemies, the ghasts. Pickman gives Carter a handful of ghouls to accompany him to the gugs’ kingdom and has Carter disguise himself as a ghoul.
Carter and the ghouls reach the kingdom of the gugs. They seek to ascend a cliff to the enchanted wood, but encounter an enormous gug, fifteen feet high and with a mouth that opens vertically. At that moment, however, the gug is attacked by a swarm of ghasts, and this allows Carter and his escorts to go forth and reach an enormous tower with huge stone steps leading up. After “aeons of climbing” they reach the summit, going through a stone trapdoor just before a gug can capture them. At this point the ghouls leave Carter to return to their own realm. As he is making his way through the enchanted wood, he overhears zoogs planning a war of revenge upon the cats, who had killed several zoogs when Carter was at Ulthar. Carter realizes that he must foil the plan, so he summons the cats and informs them of the zoogs’ scheme.
Carter follows the river Oukranos to Kiran and Thran, and there boards a galleon to Celephaïs. He describes to the mariners the face on Mt. Ngranek, and the mariners tell him that people matching that description are found in a faraway twilight land called Inganok, close to Leng. After passing by Hlanith, Carter comes to Celephaïs, where he meets his old friend Kuranes. But Kuranes, although now a king, longs for his old home. Trevor Towers, in England, and suggests that Carter’s “sunset city” may not be as satisfying as he thinks.
At length a ship from Inganok docks at the harbor, and Carter is thrilled to see “living faces so like the godlike features on Ngranek.” Carter takes passage on their ship and eventually comes to the onyx city of Inganok. He is unnerved to see again the slant-eyed merchant who had drugged him in Dylath-Leen, but the latter disappears before Carter can speak to him. Carter wishes to talk with the onyx-miners in the north, so he hires a yak for the purpose and makes his way to the quarries. Ascending the black cliffs higher and higher, Carter reaches the crest and sees, far in the distance, what appears to be an enormous range of black mountains, but is in fact a series of gigantic onyx figures, “their right hands raised in menace against mankind.” From their laps Carter sees arising a black cloud of shantak-birds. In front of him he sees the slant-eyed merchant astride a yak and leading a horde of shantaks. The merchant compels Carter to mount one of the birds, and they fly through space to the doorway of a windowless stone monastery in Leng. Carter is led before a “lumpish figure robed in yellow silk…and having a yellow silken mask over its face,” whom Carter realizes as the “highpriest not to be described, of which legend whispers such fiendish and abnormal possibilities.” At one point the priest’s mask slips, and the brief glimpse of the face impels Carter to flee madly through the labyrinthine corridors of the monastery. Without warning he slides down an almost vertical burrow and, seemingly miles below, finds himself in a ruined city that he recognizes is Sarkomand.
Carter sees a glow ahead, and approaching carefully he sees that it is a campfire near the seashore, where a black galley from the moon is docked; around the campfire Carter sees a group of the toadlike moon-beasts, who have captured his
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erstwhile ghoul escorts. Carter realizes that he must summon help, so he goes down an immense set of spiral staircases; but as he is slipping down the steps, he is caught up by night-gaunts. Now aware that the night-gaunts are in league with the ghouls, Carter utters a ghoul-cry and tells the nightgaunt to take him back to Pickman and his cohorts. Explaining the situation to the ghouls, he sees them arraying themselves for battle, each ghoul jumping astride a night-gaunt and flying toward the seashore where the captured ghouls are being held. Another battle ensues, with the ghouls and night-gaunts eventually victorious. The ghouls decide to exterminate the garrison of the toadlike creatures, and they board a captured galley with the night-gaunts and defeat the moon-beasts and their almost-human slaves in a titanic struggle.
In gratitude for Carter’s assistance, the entire army of ghouls and nightgaunts agrees to accompany Carter in approaching the Great Ones in their castle and making a plea for his sunset city. Flying over Leng and Inganok, they see Kadath looming in front of them—a mountain of almost inconceivable height, with the Great Ones’ castle on top. They begin an ascent, but after a time Carter notices that the night-gaunts are no longer flapping their wings: a “force not of earth” has seized the army and is bearing it up to the castle. Swept into the castle, Carter finds to his amazement that the place is entirely empty and dark, except for one small light that glowed from a tower room. Then a “daemon trumpet” blasts three times, and Carter notices that he is now alone—the ghouls and night-gaunts have disappeared. Accompanied by an array of “giant black slaves,” a “tall, slim figure with the young face of an antique Pharaoh” approaches him. It is Nyarlathotep, “messenger of the Other Gods,” and he speaks at length to Carter. The Great Ones, the gods of earth, have deserted their castle to dwell amidst Carter’s own sunset city, and this is why he himself is denied it in his dreams. But what is that sunset city? Nyarlathotep tells him:
“For know you, that your gold and marble city of wonder is only the sum of what you have seen and loved in youth. It is the glory of Boston’s hillside roofs and western windows aflame with sunset; of the flower-fragrant Common and the great dome on the hill and the tangle of gables and chimneys in the violet valley where the many-bridged Charles flows drowsily. These things you saw, Randolph Carter, when your nurse first wheeled you out in the springtime, and they will be the last things you will ever see with eyes of memory and of love….
“…These, Randolph Carter, are your city; for they are yourself. New-England bore you, and into your soul she poured a liquid loveliness which cannot die. This loveliness, moulded, crystallised, and polished by years of memory and dreaming, is your terraced wonder of elusive sunsets; and to find that marble parapet with curious urns and carven rail, and descend at last those endless balustraded steps to the city of broad squares and prismatic fountains, you need only to turn back to the thoughts and visions of your wistful boyhood.”
What Carter must do is to go back to his sunset city and urge the Great Ones to return to their castle. Nyarlathotep provides Carter with a shantak to take him back, and they fly off. But Carter becomes aware that it is all a trick: the shantak plunges him “through shoals of shapeless lurkers and caperers in darkness” and is heading toward the great throne of Azathoth in “those inconceivable, unlighted chambers beyond Time.” It then occurs to Carter that all he has to do is
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wake up in his Boston room, leave dreamland behind, and take cognizance of the beauty to be found on his doorstep. He does so, and Nyarlathotep’s plan to destroy Carter and deprive him of his sunset city is foiled.
While writing the story, HPL expressed considerable doubts about its merits: “I…am very fearful that Randolph Carter’s adventures may have reached the point of palling on the reader; or that the very plethora of weird imagery may have destroyed the power of any one image to produce the desired impression of strangeness” (
If there is any dominant literary influence on the novel, it is probably William Beckford’s
The novel seeks to unite most of HPL’s previous “Dunsanian” tales, making explicit references to features and characters in such tales as “Celephaïs,” “The Cats of Ulthar,” “The Other Gods,” “The White Ship,” and others (not to mention the “real-world” story “Pickman’s Model”); but in doing so it creates considerable confusion. In particular, it suddenly transfers the settings of these tales into the dreamworld, whereas those tales themselves had manifestly been set in the dim prehistory of the real world.
It has frequently been conjectured that the tale carries out HPL’s old novel idea “Azathoth” (1922); but while this may be true superficially in the sense that both works seem to center around protagonists venturing on a quest for some wondrous land, in reality the novel of 1926 presents a thematic reversal of the novel idea of 1922. In the earlier work—conceived at the height of HPL’s Decadent phase—the unnamed narrator “travelled out of life on a quest into the spaces whither the world’s dreams had fled”; but he does this because “age fell upon the world, and wonder went out of the minds of men.” In other words, the narrator’s only refuge from prosy reality is the world of dream. Carter thinks that this is the case for him, but at the end he finds more value and beauty in that
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reality—transmuted by his dreams and memories—than he believed. (Carter’s realization is prefigured in the episode involving Kuranes.)
In this sense, the resurrection of the Dunsanian idiom—not used since “The Other Gods” (1921)—is meant not so much as a homage as a repudiation of Dunsany, at least of what HPL at this moment took Dunsany to be. Just as, when he wrote “Lord Dunsany and His Work” in 1922, he felt that the only escape from modern disillusion would be to “worship afresh the music and colour of divine language, and take an Epicurean delight in those combinations of ideas and fancies which we know to be artificial,” so in 1926—after two years spent away from the New England soil that he now realized was his one true anchor against chaos and meaninglessness—he felt the need to reject these decorative artificialities.
See Peter Cannon, “The Influence of
“Dreams in the Witch House, The.”
Short story (4,940 words); written in February 1932. First published in
A mathematics student at Miskatonic University named Walter Gilman who lives in a peculiarly angled room in the old Witch House in Arkham begins having bizarre dreams filled with sights, sounds, and shapes of an utterly indescribable cast; other dreams, much more realistic in nature, reveal a huge rat with human hands named Brown Jenkin, apparently the familiar of the witch Keziah Mason, who once dwelt in the Witch House. Meanwhile Gilman, in his classwork, begins to display a remarkable intuitive grasp of hyperspace, or the fourth dimension. But then his dreams take an even weirder turn, and there are indications that he is sleepwalking. Keziah seems to be urging him on in some nameless errand (“He must meet the Black Man, and go with them all to the throne of Azathoth at the centre of ultimate Chaos”). Then in one very clear dream he sees himself “half lying on a high, fantastically balustraded terrace above a boundless jungle of outlandish, incredible peaks, balanced planes, domes, minarets, horizontal discs poisoned on pinnacles, and numberless forms of still greater wildness.” The balustrade is decorated with designs representing ridged, barrel-shaped entities (i.e., the Old Ones from
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playing a crucifix given to him by a fellow tenant; when Brown Jenkin comes to her aid, he kicks the familiar down an abyss, but not before it has made some sort of sacrificial offering with the baby’s blood. The next night Gilman’s friend Frank Elwood sees a ratlike creature eat its way through Gilman’s body to his heart. The Witch House is rented no more, and years later, when it is razed, an enormous pile of human bones going back centuries is discovered, along with the bones of a huge ratlike entity.
The working title for the story was “The Dreams of Walter Gilman.” HPL states that it was typed by a revision client as payment for revisory work (HPL to August Derleth, May 14, [1932]; ms., SHSW). This may be Hazel Heald, who claimed to have typed the story. The existing manuscript (at JHL) may, however, be one that August Derleth “copied” (i.e., retyped) about a year later, as HPL suggests (
The story is HPL’s ultimate modernization of a conventional myth (witchcraft) by means of modern science. Fritz Leiber notes that it is “Lovecraft’s most carefully worked out story of hyperspace-travel. Here (1) a rational foundation for such travel is set up; (2) hyperspace is visualized; and (3) a trigger for such travel is devised.” Leiber elaborates on these points, noting that the absence of any mechanical device for such travel is vital to the tale, for otherwise it would be impossible to imagine how a “witch” of the seventeenth century could have
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managed the feat; in effect, Keziah simply applied advanced mathematics and “thought” herself into hyperspace.
See Fritz Leiber, “Through Hyperspace with Brown Jenkin” (in
Drogman, Abdul Reis el.
In “Under the Pyramids,” a guide who leads Harry Houdini to the top of the Great Pyramid to witness a boxing match between two other Arabs—an incident that proves to be a trap whereby el Drogman binds Houdini and thrusts him down an immense hole in the Great Pyramid. Later, Houdini wonders at the anomalous resemblance of el Drogman to the ancient pharaoh, King Khephren. Dudley, Jervas.
In “The Tomb,” the “dreamer and visionary” who develops a monomaniacal obsession with the Hyde family vault on his own family’s estate.
Dunn, John T[homas] (1889–1983).
Irish-American living in North Providence who came in touch with HPL in late 1914 in the Providence Amateur Press Club and corresponded with him for the period 1915–17. (HPL’s letters to him, edited by S.T.Joshi and David E.Schultz, were published in
Dunsany, Lord (Edward John Moreton Drax Plunkett, 18th Baron Dunsany) (1878– 1957).
Irish author of fantasy tales. Author of many stories of imaginary-world fantasy, including
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pears to be a tribute to Dunsany, but may be a kind of repudiation of him in Randolph Carter’s abandonment of otherworldly fantasy for memories of his youth. See entries on these stories for discussions of works by Dunsany that may have influenced them.
In “Some Notes on a Nonentity” (1933) HPL states that he “got the idea of the artificial pantheon and myth-background represented by ‘Cthulhu’, ‘YogSothoth’, ‘Yuggoth’, etc.” from Dunsany, who in
Late in life Dunsany came across HPL’s stories and noted that “in the few tales of his I have read I found that he was writing in my style, entirely originally & without in any way borrowing from me, & yet with my style & largely my material” (letter to August Derleth, March 28, 1952; quoted in
See T.E.D.Klein, “Some Notes on the Fantasy Tales of H.P.Lovecraft and Lord Dunsany,” Honors thesis: Brown University, 1969; Mark Amory,
Dunwich.
Fictitious city in Massachusetts invented by HPL.
Dunwich was created for “The Dunwich Horror” (1928) and is cited only in that tale and in the poem “The Ancient Track” (1929). It was based roughly upon the area in south-central Massachusetts around the towns of Wilbraham, Monson, and Hampden (see
HPL presumably derived the name Dunwich from the decaying town on the southeast coast of England. The town is the basis of a poem by Algernon Charles Swinburne, “By the North Sea” (although Dunwich is not mentioned in the poem); Dunwich is also mentioned in Arthur Machen’s short novel
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“Dunwich Horror, The.”
Novelette (17,590 words); written in August 1928. First published in
In the seedy area of Dunwich in “north central Massachusetts” live a number of backwoods farmers. One family, the Whateleys, has been the source of particular suspicion ever since the birth, on Candlemas 1913, of Wilbur Whateley, the offspring of an albino woman and an unknown father. Lavinia’s father, Old Whateley, shortly after the birth makes an ominous prediction:
Meanwhile bizarre things are happening elsewhere. The monstrous entity the Whateleys had evidently been raising bursts forth, having no one to feed or tend to it. It creates havoc throughout the town, crushing houses as if they were matchsticks. Worst of all, it is completely invisible, leaving only huge footprints to indicate its presence. It descends into a ravine called the Bear’s Den, then later emerges and causes hideous devastation. Armitage has in the meantime been decoding the diary in cipher that Wilbur had kept and finally learns the true state of affairs: “His [Armitage’s] wilder wanderings were very startling indeed, including…fantastic references to some plan for the extirpation of the entire human race and all animal and vegetable life from the earth by some terrible elder race of beings from another dimension.” Armitage knows how to stop it, and he and two colleagues ascend a small hill facing Sentinel Hill, where the monster appears to be heading. They are armed with an incantation to send the creature back to the dimension it came from, as well as a sprayer containing a powder that will make it visible for an instant. The incantation and powder both work as planned, and the entity is seen to be a huge, ropy, tentacled monstrosity that shouts, “HELP! HELP!…
There are several significant literary influences on the tale. The central premise—the sexual union of a “god” or monster (in this case Yog-Sothoth, the entity first cited rather nebulously in
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human woman—is taken from Arthur Machen’s “The Great God Pan”; HPL makes no secret of it, having Armitage say of the Dunwich people at one point, “Great God, what simpletons! Shew them Arthur Machen’s Great God Pan and they’ll think it a common Dunwich scandal!” The use of bizarre footsteps to indicate the presence of an otherwise undetectable entity is borrowed from Algernon Blackwood’s “The Wendigo.” HPL knew well the celebrated tales featuring invisible monsters— Maupassant’s “The Horla” (certain features of which he had adapted for “The Call of Cthulhu”); FitzJames O’Brien’s “What Was It?”; Bierce’s “The Damned Thing”—and derived hints from each of them in his own creation. A less well-known tale, Anthony M.Rud’s “Ooze” (
HPL acknowledged (see
Although very popular with readers, the story has been criticized for being an obvious good-vs.-evil tale with Armitage representing the forces of good and the Whateley family representing the forces of evil. Donald R.Burleson suggests that the tale be read as a satire or parody, pointing out that it is the Whateley twins (regarded as a single entity) who, in mythic terms, fulfill the traditional role of the “hero” much more than Armitage does (e.g., the mythic hero’s descent to the underworld is paralleled by the twin’s descent into the Bear’s Den), and pointing out also that the passage from the
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offers no evidence that the tale was meant parodically (i.e., as a satire on immature readers of the pulp magazines) or that the figure of Armitage is meant anything but seriously. He suggests the reverse when he writes: “[I] found myself psychologically identifying with one of the characters (an aged scholar who finally combats the menace) toward the end” (HPL to August Derleth, [September 1928]; ms., SHSW). Armitage is clearly modeled upon Marinus Bicknell Willett of
The popularity of the tale can be seen both in its wide reprinting in anthologies (most notably in Herbert A.Wise and Phyllis Fraser’s
See Donald R.Burleson, “Humour Beneath Horror: Some Sources for ‘The Dunwich Horror’ and ‘The Whisperer in Darkness,’”
Dwight, Frederick N.
In “In the Walls of Eryx,” an employee of the Venus Crystal Company whose decaying corpse the narrator, Kenton J.Stanfield, finds in the invisible maze in which he himself becomes entrapped. Dwight, Walter C.
In
Dwyer, Bernard Austin (1897–1943).
Correspondent of HPL, residing in West Shokan and Kingston, N.Y.Dwyer reached HPL through
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Dyer, William.
In
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E
“East and West Harvard Conservatism.”
Essay (1,110 words); probably written in the summer of 1922. First published in
The article is on David Van Bush’s New England lecture campaign and the success of his popular psychology in staid Massachusetts. Probably commissioned by Bush, the article appeared in his magazine,
“East India Brick Row, The.”
Poem (48 lines in quatrains); written early to mid-December 1929. First published in the
The poem was written in a futile attempt to prevent the destruction of early nineteenth-century warehouses on South Water Street in Providence, which HPL admired for their humble beauty but which had become so decrepit that it would have been difficult to restore them. HPL notes (letter to August Derleth, [January 1930]; ms., SHSW) that the poem received such a favorable response from readers in the newspaper that he received a cordial letter from the editor about it. See Joseph Payne Brennan, “Lovecraft’s ‘Brick Row,’”
Author and correspondent of HPL. A native of Providence, R I., Eddy was a precocious reader and writer, interested in mythology and the occult. His first published tale, “Sign of the Dragon” (
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appear through 1922 in various magazines. He came in touch with HPL in 1923 (see letter to Frank Belknap Long, October 7, 1923 [
See George Popkins, “He Wrote of the Supernatural,”
Eddy, Muriel E[lizabeth] (Gammons) (1896–1978).
Wife of C.M.Eddy and friend of HPL. In
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“Editorial.”
Published in the
These items contain general remarks on the nature and purpose of his amateur journal; later articles contain rebuttals of criticisms he has received in other amateur papers.
“Editorial.”
Published in the
HPL wrote these editorials in his capacity as Official Editor of the UAPA and Editor of the
Edkins, Ernest A[rthur] (1867–1946).
Amateur writer and correspondent of HPL (1932–37). Edkins was one of the leading writers of the “halcyon days” (c. 1885–1895) of amateur journalism. In his account of this period, “Looking Backward” (1920), written long before he knew Edkins, HPL speaks of Edkins’s poem “The Suicide” as “a supremely artistic bit of weird genius…a bit of night-black poetical fancy so arresting in its sombre power that we cannot refrain from reproducing it here in full….” Edkins later left amateurdom and repudiated much of his literary work, becoming instead a businessman in Highland Park, Ill. (later Coral Gables, Fla.). HPL, getting in touch with him in 1932, eventually lured him back into amateur activity. Edkins produced several issues of the amateur journal
See Rheinhart Kleiner,
Poem (98 lines); probably written in the fall of 1918. First published in
“Electric Executioner, The.”
Short story (8,050 words); ghostwritten for Adolphe de Castro, in July 1929. First published in
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The unnamed narrator is asked by the president of his company to track down a man named Feldon who has disappeared with some papers in Mexico. Boarding a train, the man later finds he is alone in a car with one other occupant, who seems to be a dangerous maniac. This person apparently has devised a hoodlike instrument for performing executions and wishes the narrator to be the first experimental victim. Realizing he cannot overwhelm the man by force, the narrator seeks to delay the experiment until the train reaches the next station, Mexico City. He first asks to be allowed to write a letter disposing of his effects; then he asserts that he has newspaper friends in Sacramento who would be interested in publicizing the invention; and finally he says that he would like to make a sketch of the thing in operation—why doesn’t the man put it on his own head so that it can be drawn? The madman does so; but then the narrator, having earlier perceived that the lunatic has a taste for Aztec mythology, pretends to be possessed by religious fervor and begins shouting Aztec and other names at random as a further stalling tactic. The madman begins shouting also, and in the process his device pulls taut over his neck and executes him; the narrator faints. When revived, the narrator finds the madman no longer in the car, although a crowd of people is there; he is informed no one was ever in the car. Later Feldon is discovered dead in a remote cave—with certain objects unquestionably belonging to the narrator in his pockets.
The story is a radically revised version of a tale called “The Automatic Executioner,” published in de Castro’s collection,
Eliot,———.
The auditor to whom the events of “Pickman’s Model” are addressed.
Eliot, Matt.
In “The Shadow over Innsmouth,” the first mate on one of Capt. Obed Marsh’s ships. While in the South Seas, he hears reports of an island where the inhabitants can procure all the fish they want and also seem to have unlimited quantities of gold. He later realizes that this bounty is the result of the natives’ mating with loathsome sea-creatures, and he urges Obed to have nothing to do with the place. He later disappears from Innsmouth.
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Elton, Basil.
In “The White Ship,” the keeper of the North Point lighthouse, who tells of his adventures aboard the White Ship.
Elwood, Frank.
In “The Dreams in the Witch House,” a student at Miskatonic University and friend of Walter Gilman who attempts to help control Gilman’s sleepwalking and determine the source of Gilman’s strange dreams. He witnesses Gilman’s horrible death at the hands of Brown Jenkin.
Eshbach, Lloyd Arthur (b. 1910).
Science fiction writer and publisher from Reading, Pa., and correspondent of HPL (1935–37?). Since 1931 Eshbach had published several stories in the science fiction pulps, but in early 1935 he was beginning a general magazine called
“Evil Clergyman, The.”
Letter excerpt (1,720 words); probably written in the fall of 1933. First published (as “The Wicked Clergyman”) in
The unnamed narrator explains how he is ushered into an attic chamber by a “grave, intelligentlooking man” who tells about someone referred to only as
The “story” is an account of a dream described in a letter to Bernard Austin Dwyer. HPL remarks in a letter to Clark Ashton Smith (October 22, 1933) that “Some months ago I had a dream of an evil clergyman in a garret full of forbidden books” (
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like “The Thing on the Doorstep” and other tales, this dream-fragment does not involve mindtransference but transference of a very physical sort: because the protagonist unwisely handled the small box that he had specifically been told not to touch, he summoned the “evil clergyman” and somehow effected an exchange of external features with him, while yet retaining his mind and personality. It is difficult to say how HPL would have developed this conventional supernatural scenario.
“Ex Oblivione.”
Prose poem (910 words); probably written in late 1920 or early 1921. First published (as by “Ward Phillips”) in the
A depressed and embittered narrator seeks various exotic worlds in dream as an antidote to the grinding prosiness of daily life; later, when “the days of waking became less and less bearable from their greyness and sameness,” he begins to take drugs to augment his nightly visions. In the “dream-city of Zakarion” he comes upon a papyrus containing the thoughts of the dream-sages who once dwelt there, he reads of a “high wall pierced by a little bronze gate,” which may or may not be the entrance to untold wonders. Realizing that “no new horror can be more terrible than the daily torture of the commonplace,” the narrator takes more and more drugs in an effort to find this gate. Finally he seems to come upon it—the door is ajar. As he enters, he finds to his ecstasy that the realm he is entering is nothing other than “native infinity of crystal oblivion from which the daemon Life had called me for one brief and desolate hour.”
The story reiterates the topos (“Life is more horrible than death”) that was the apparent theme of the lost story “Life and Death”; the notion is probably derived from HPL’s reading of Schopenhauer at this time. Compare, for example,
See Paul Montelone, “‘Ex Oblivione’: The Contemplative Lovecraft,” LSNo. 33 (Fall 1995): 2–14
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F
“Facts Concerning the Late Arthur Jermyn and His Family.”
Short story (3,720 words); probably written in the fall of 1920. First published in the
Sir Arthur Jermyn was of a venerable but eccentric family. In the eighteenth century, Sir Wade Jermyn “was one of the earliest explorers of the Congo region,” but was placed in a madhouse after speaking wildly of “a prehistoric white Congolese civilisation.” He had brought back from the Congo a wife—reportedly the daughter of a Portuguese trader—who was never seen. The offspring of the union were very peculiar in both physiognomy and mentality. In the middle of the nineteenth century, a Sir Robert Jermyn killed nearly his entire family as well as a fellow African explorer who had brought back strange tales (and perhaps other things) from the area of Sir Wade’s explorations. Arthur Jermyn seeks to redeem the family name by continuing Sir Wade’s researches and perhaps vindicating him. Pursuing reports of a white ape who became a goddess in the prehistoric African civilization, he comes upon the remains of the site in 1912 but finds little confirmation of the story of the white ape. This confirmation is supplied by a Belgian explorer who ships the object to Jermyn House. The hideous rotting thing is found to be wearing a locket containing the Jermyn coat of arms; what remains of its face bears an uncanny resemblance to that of Arthur Jermyn. When he sees this object, Jermyn douses himself in oil and sets himself aflame.
The story is somewhat more complex than it appears on the surface. We are apparently to believe that there is more going on than merely a single case of miscegenation. The narrator’s opening comment (“Science, already oppressive with its shocking revelations, will perhaps be the ultimate exterminator of our human species—if separate species we be—for its reserve of unguessed horrors could never be borne by mortal brains if loosed upon the world”), in particular the clause “if separate species we be,” is a generalized statement that does not
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logically follow if we are to assume that it is only the Jermyn line that has been tainted by a white ape in its ancestry; instead, the implication appears to be that the Congolese city discovered by Sir Wade Jermyn is the source for all white civilization. To a racist like HPL, this would have been the acme of horror.
HPL makes a suggestive comment on the literary source for the tale:
[The] origin [of “Arthur Jermyn”] is rather curious—and far removed from the atmosphere it suggests. Somebody had been harassing me into reading some work of the iconoclastic moderns— these young chaps why pry behind exteriors and unveil nasty hidden motives and secret stigmata— and I had nearly fallen asleep over the tame backstairs gossip of Andersen’s
Alfred Galpin, writing under the house name Zoilus, remarked of the tale: “It is perfect in execution, restrained in manner, complete, and marked by Mr. Lovecraft’s uniquely effective handling of introductory and concluding portions. The legend is not so powerful as many of Mr. Lovecraft’s dreamings have been, but it is unquestionably original and does not derive from Poe, Dunsany, or any other of Mr. Lovecraft’s favorites and predecessors” (
See S.T.Joshi, “What Happens in ‘Arthur Jermyn’?”
Fan magazine edited by Charles D.Hornig; typeset and printed by Conrad Ruppert (September 1933– February 1935).
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Perhaps Hornig’s greatest accomplishment was the serialization of the revised version of HPL’s “Supernatural Horror in Literature” (October 1933– February 1935). However, the serialization proceeded at such a slow place that it reached only the middle of Chapter VIII before the magazine folded.
After the demise of
Farnese, Harold S. (1885–1945).
Musical composer and correspondent of HPL (1932–33). In July 1932, Farnese (assistant director of the Institute of Musical Art, Ltd. in Los Angeles) asked HPL’s permission to set to music two sonnets from
See Kenneth W.Faig, Jr., “A Note Regarding the Harold Farnese Musical Pieces,”
Farr, Fred.
In “The Dunwich Horror,” one of the party that exterminates Wilbur Whateley’s monstrous twin brother.
Feldon, Arthur.
In “The Electric Executioner,” the “furtive” assistant superintendent with the Tlaxcala Mining Company, who absconds with important company papers. He is pursued by the narrator of the story and is accidentally killed by the hoodlike execution device he has invented.
Fenham.
Fictitious town in Maine invented either by HPL or by C.M.Eddy and cited in “The Loved Dead” (1923) and “Deaf, Dumb, and Blind” (1924).
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Fenner, Matthew.
In “In the Vault,” a man for whom George Birch builds a new coffin, when he recognizes that his first effort was somewhat shoddy for the person intended. Birch uses the rejected casket for someone he did not like very well, with disastrous results.
Fenton, Dr.
In “Beyond the Wall of Sleep,” a physician at a psychopathic institution in upstate New York and the boss of the narrator, an intern there.
“Festival.”
Poem (20 lines in 4 stanzas); written around Christmas 1925. First published in
A poem to Farnsworth Wright, editor of
“Festival, The.”
Short story (3,700 words); probably written in October 1923. First published in
The story is based upon HPL’s several trips to Marblehead, Mass., beginning in December 1922. Of his first trip there HPL later wrote that it was “the most powerful single emotional climax experienced during my nearly forty years of existence. In a flash all the past of New England—all the past of Old England—all the past of Anglo-Saxondom and the Western World—swept over me and identified me with the stupendous totality of all things in such a way as it never did before and never will again. That was the high tide of my life” (
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Michael’s Episcopal Church in Frog Lane, but this identification appears to be incorrect: St. Michael’s has no steeple, and allusions to it in this story and later tales make it clear that it is on a hill and that it is a Congregational church. In all likelihood, HPL was probably referring to one of two nowdestroyed Congregational churches in the city. The old cemetery on the hill is clearly Old Burial Hill, where many ancient graves are to be found.
In 1933 HPL stated in reference to the tale: “In intimating an alien race I had in mind the survival of some clan of pre-Aryan sorcerers who preserved primitive rites like those of the witch-cult—I had just been reading Miss Murray’s
See Donovan K.Loucks, “Antique Dreams: Marblehead and Lovecraft’s Kingsport.”
Finlay, Virgil [Warden] (1914–1971),
American artist; perhaps the most accomplished artist to appear in the pulp magazines. Finlay came in touch with HPL in September 1936 and corresponded with HPL until the latter’s death. Finlay actually offered to illustrate HPL’s tales for a potential book of his work, even though HPL had no prospects for any such book publication at the time. HPL was prodigiously impressed with Finlay’s art, and in late November 1936 he wrote a sonnet (“To Mr. Finlay, upon His Drawing for Mr. Bloch’s Tale, ‘The Faceless God’”;
Essay (535 words); probably written in the spring of 1920. First published in the
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Brief article on the importance of the UAPA in fostering education and the literary development of amateur writers.
Foster, Abel.
In “Two Black Bottles,” the sexton of a church in Daalbergen, N.J., who studies the occult books amassed by the church’s first pastor, Guilliam Slott. It is Foster who imprisons the soul of the current pastor, Vanderhoof, in a bottle. As in the case of Vanderhoof, his own soul is trapped in a similar bottle that, when broken, causes Foster to crumble to dust.
Foxfield.
Fictitious town in Massachusetts invented by HPL, although never cited in any story. A “Plan of Foxfield—for possible fictional use” in HPL’s handwriting survives in AHT; it indicates that Foxfield is east of Aylesbury and Dunwich and northwest of Arkham.
See Will Murray, “Where Was Foxfield?”
“From Beyond.”
Short story (3,030 words); written on November 16, 1920. First published in the
Crawford Tillinghast is a scientist who has devised a machine that will “break down the barriers” that limit our perception of phenomena to what our five senses perceive. He shows to his friend, the narrator, “a pale, outré colour or blend of colours” that he maintains is ultraviolet, ordinarily invisible to the human eye. As the experiment continues, the narrator begins to perceive amorphous, jellylike objects drifting through what he previously thought was empty air; he even sees them “brushing past me and occasionally
The story appears to be a fictionalization of some conceptions that HPL found in Hugh Elliot’s
In the original draft (revised much later for its first appearance), the scientist was named Henry Annesley. Both “Crawford” and “Tillinghast” are two old and wealthy families of colonial Providence (both are mentioned in
See S.T.Joshi, “The Sources for ‘From Beyond,’”
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Frome, Nils [Helmer] (1918–1962).
Swedish-born fan of weird and science fiction and late correspondent of HPL (1936–37). Residing for much of his life in Fraser Mills, Canada (a suburb of Vancouver), Frome early became interested in science fiction and solicited from HPL a contribution to his fan magazine,
See Sam Moskowitz, ed.,
In “The Dunwich Horror,” a family (comprising Elmer and his wife Selina) dwelling on the eastern edge of Cold Spring Glen. They and their farmhouse are “erased” by Wilbur Whateley’s twin brother.
Series of thirty-five sonnets initially, dated December 27, 1929–January 4, 1930 (ms., JHL). The complete cycle of thirty-six poems was not published in its entirety until
In the first three sonnets, the unnamed narrator obtains a mysterious tome—a “book that told the hidden way/Across the void and through the space-hung screens”—from an ancient bookseller and is followed home by an unseen pursuer. The remaining poems, which HPL considered suitable for publication independent of the introductory poems, are discontinuous vignettes concerning a variety of unrelated weird themes, told in the first person and (apparently) third person. The cumulative effect is that of a series of shifting dream images.
The poem was written following a burst of versifying, after a long hiatus, that occurred in late 1929, the other poems being “Recapture,” The East India Brick Row,” “The Outpost,” and “The Messenger.” HPL referred to the
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HPL published five of the poems in the
See Winfield Townley Scott, “A Parenthesis on Lovecraft as a Poet” (
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G
Galpin, Alfred (1901–1983).
Amateur writer, composer, and correspondent of HPL (1917–37). Galpin, one of Maurice W.Moe’s students in Appleton (Wis.) High School, was appointed Fourth Vice-President of the UAPA for the 1917–18 term, and HPL came in touch with him in late 1917. Galpin (who in the amateur press sometimes appeared under the pseudonym Consul Hasting) went on to hold several other positions in the UAPA—including First Vice-President (1918–1919), President (1920–21), and chairman of the Department of Public Criticism (1919–22)—but published only one issue of his own amateur periodical,
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at an unspecified date (probably before 1920) collaborated with HPL on the poem “Nathicana,” published (
On July 29, 1922, HPL boarded a train in New York for Cleveland, arriving the next day. He was met by Galpin, who resided at 9231 Birchdale Avenue. HPL stayed until August 15. At that time Galpin gave HPL a copy of Clark Ashton Smith’s
In “Old Bugs,” a once-successful writer who took to drink and thereby alienated the woman he loved, Eleanor Wing. He dies in the attempt to prevent Wing’s son, Alfred Trever, from imbibing alcohol at a tavern.
Gamba.
In “Winged Death,” a factor’s messenger whom Dr. Thomas Slauenwite deliberately causes to be bitten by a strange insect. Slauenwite cures him, but allows another bitten African, Batta, to die. Gamwell, Annie E[meline] Phillips (1866–1941).
Fifth and last child of Whipple V.Phillips and Robie Alzada Place Phillips; youngest sister of Sarah Susan Phillips Lovecraft, HPL’s mother. Gamwell was educated in Providence and married Edward Francis Gamwell on June 3, 1897; they had two children, a son, Phillips Gamwell, and a daughter, Marion Roby Gamwell, who lived only five days in February 1900. She separated from her husband some time prior to the death of her son in Colorado at the end of 1916. During part of the period 1919–24, she assisted her sister Lillian Clark in keeping house for HPL at 598 Angell Street; however, in a letter to her dated August 27, 1921 (
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42. August Derleth and Donald Wandrei also visited her in Providence in 1938. They dedicated to her the first hardcover collection of HPL’s stories,
Married HPL’s aunt Annie Emeline Phillips on June 3, 1897. He received the A.B. from Brown University in 1894. Gamwell was city editor of the Cambridge (Mass.)
See Kenneth W.Faig, Jr.,
Son of Annie E.Phillips Gamwell and Edward F.Gamwell. He was the only other member of HPL’s generation in descent from Whipple V.Phillips and his wife Robie A.Place Phillips. He lived most of his short life with parents in Cambridge, Mass. He began corresponding with HPL around 1910. HPL donated his boyhood stamp collection to him. HPL later attributed his fondness for letter-writing to the extensive correspondence he had with Gamwell from 1912 to 1916 (see
Gardner.
In “The Colour out of Space,” the family on whose farm the strange meteorite lands. Nahum is the patriarch, the last survivor of the blight that overtakes his farm. When his wife Nabby (short for Abigail) goes mad, he locks her in the attic, where she becomes a “terrible thing [that] very slowly and perceptibly moved as it continued to crumble” and ultimately “does not reappear in [Ammi Pierce’s] tale as a moving object.” Zenas is their oldest son, followed by Thaddeus (1866–1883) and Merwin (sometimes affectionately called Mernie). Thaddeus goes mad, and Merwin and Zenas disappear into the poisoned well.
Gedney,———.
In
Genie.
In “Memory,” a supernatural entity who asks the Daemon of the Valley of the deeds and identity of the creatures (i.e., human beings) in a deserted valley.
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Gerritsen, Cornelia.
In “The Horror at Red Hook,” a society woman from Bayside, Queens, whom Robert Suydam marries to deflect attention from his bizarre activities and improve his social standing. She and her husband die mysteriously on their wedding day.
“Ghost-Eater, The.”
Short story (3,880 words); written in collaboration with C.M.Eddy, Jr., in October 1923. First published in
The first-person narrator needs to get from Mayfair to Glendale (two cities in Maine) but can find no one to take him. So he goes by himself on foot, stopping at night in a deserted wood. After sleeping for a time, he awakens in the night and realizes that it will shortly begin raining. Entering a clearing, he sees on the farther side of it a building—a “neat and tasteful house of two stories.” Knocking at the place, he is invited in by a “strikingly handsome” man who, with a faint trace of a foreign accent, invites him to stay for the night. Retiring to an upstairs bedroom, the traveler (who is carrying a large amount of money on his person) decides to exercise caution: he arranges the bedclothes to make it appear as if he is sleeping there, and prepares to settle down in a chair for the duration of the night. Shortly thereafter he hears footsteps ascending the stairs. The door opens and a man whom he had never seen before (“indubitably a foreigner”) enters the room. This man disrobes, gets into the vacant bed, and appears to go to sleep. The narrator is unclear whether the scene he has witnessed is real or merely a dream, so he reaches over the recumbent figure and seeks to grasp the man’s shoulder; but
A conventional ghost/werewolf story, the impetus for its writing clearly came from Eddy. HPL wrote to Eddy’s wife, Muriel, on 20 October 1923: “Here, at last, is the amended ‘Ghost-Eater’, whose appearance I trust Mr. Eddy will find satisfactory. I made two or three minor revisions in my own revised version, so that as it stands, it ought to be fairly acceptable to an editor” (quoted in
Gifford, Jonathan.
In “The Lurking Fear,” a friend of Jan Martense who, wor
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ried over the lack of correspondence from Jan, comes to the Martense mansion in the fall of 1763, only to be told that Jan is dead.
Gilman, Walter.
In “The Dreams in the Witch House,” the student of advanced mathematics and physics at Miskatonic University who resides at the old Witch House in Arkham. In his strange dreams and bouts of sleepwalking (induced by the strangely angled room in which lives), he observes bizarre landscapes and encounters the witch Keziah Mason, who formerly inhabited his room. Gilman is ultimately killed by Brown Jenkin, the witch’s familiar.
Glendale.
Fictitious town in Maine invented either by HPL or by C.M.Eddy and cited in “The Ghost-Eater” (1923).
Gll’-Hthaa-Ynn.
In “The Mound,” the leader of a cavalcade of men and beasts who comes upon Panfilo de Zamacona in a temple in the underworld realm beneath the mound and leads him back to the great city of Tsath.
Goodenough, Arthur [Henry] (1871–1936).
American poet and amateur journalist from Brattleboro, Vt. He was the author of several small, privately printed volumes of poetry, including
Grandison, Robert.
In “The Trap,” a student who becomes entrapped in the magic mirror at the house of Gerald Canevin.
“Green Meadow, The.”
Short story (2,330 words); written in collaboration with Winifred Virginia Jackson, c. 1918 or 1919. First published in
An introductory note states that the following narrative was found in a notebook embedded in a meteorite that landed in the sea near the coast of Maine. This notebook was made of some unearthly substance and the text was
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approaching it, and gradually he hears a weird singing on it; but as he approaches close enough to see “the
HPL admits that the story was based upon a dream that Jackson had, probably in late 1918, and that this dream “was exceptionally singular in that I had one exactly like it myself—save that mine did not extend so far. It was only when I had related my dream that Miss J. related the similar and more fully developed one” (
See Stefan Dziemianowicz, “‘The Green Meadow’ and ‘The Willows’: Lovecraft, Blackwood, and a Peculiar Coincidence,”
Gresham, Mr.
In “The Loved Dead,” the owner of the Gresham Corporation, a company that maintains the largest funeral parlors in the city of Fenham, who finds the narrator making love to a corpse and dismisses him from his service. Later Gresham dies in “the influenza epidemic” (i.e., of 1918–19). Grey Eagle, Chief.
In “The Curse of Yig” and “The Mound,” an American Indian, nearly 150 years old. It is he who corroborates much of the folklore constituting the narrative of “The Mound.”
Guiney, Louise Imogen (1861–1920).
Massachusetts poet and critic. HPL states that he and his parents boarded with Guiney and her mother in Auburndale, Mass., in the winter of 1892–93 (see
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H
Haines, Mark.
In “Two Black Bottles,” the proprietor of a grocery store in Daalbergen, N.J., who tells the narrator of the strange events surrounding the death of the narrator’s uncle, Johannes Vanderhoof. “Hallowe’en in a Suburb.”
Poem (35 lines in 7 stanzas); probably written in early 1926. First published in the
Halsey, Allan.
In “Herbert West—Reanimator,” the dean of the medical school of Miskatonic University. He opposes Herbert West’s experiments in reanimation, but when he succumbs to typhoid, West resuscitates him with only partial success.
Hammett, [Samuel] Dashiell (1894–1961).
Pioneering American writer of “hard-boiled” detective fiction who compiled the horror anthology
Hardman, ’Squire.
In “Sweet Ermengarde,” the owner of the mortgage on the home of Hiram Stubbs, whose daughter, Ermengarde, he hopes to marry. After a succession of adventures, he does so.
Harré, T[homas] Everett (1884–1948).
American journalist who assembled the horror anthology
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Poe.” HPL met Harré when he visited New York in January 1934 (see
Harris, Arthur (1895–1966).
Amateur journalist in Wales and correspondent of HPL (1915–37). Harris, living in Llandudno, published one of the longest-running amateur journals,
Harris, William (d. 1764).
In “The Shunned House,” a merchant and seaman, the first inhabitant of the Shunned House, along with his wife Rhoby (Dexter) Harris and their children Elkanah (1755–1766), Abigail (1757– 1763), William, Jr. (1759–1797), and Ruth (1761–1763). Most of the family and their servants die while living in the house. Rhoby goes mad, and although William, Jr., becomes quite sickly, he survives, enlists in the army, and returns to the house. He marries Phoebe (Hetfield) Harris of Elizabethtown, N.J., in 1780, but after she gives birth to a stillborn daughter, he moves out of the house and shuts it down. In 1785 his wife bears a son, Dutee Harris, and after his parents die in the yellow fever epidemic of 1797, he is raised by his cousin, Rathbone Harris, son of William’s cousin Peleg Harris. Later descendants are Dutee’s son Welcome Harris (d. 1862), Welcome’s son Archer Harris (d. 1916), and Archer’s son Carrington Harris, the current (i.e., as of 1924) owner of the Shunned House.
Harris, Woodburn (1888–1988).
Correspondent of HPL, living in Vermont. He came in touch with HPL around 1929, probably through the mediation of Walter J.Coates. HPL revised some of Harris’s tracts against Prohibition, although these do not appear to have been published. Only three of HPL’s letters to him survive, but one of these was a handwritten letter of seventy pages (see
Hart, Bertrand K[elton] (1892–1941).
Literary editor of the
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HPL’s doorstep at 3 A.M. that night. At 3:07 A.M. HPL wrote the sonnet “The Messenger” and sent it to Hart, who published it in his column for December 3. Hart printed a letter by HPL in his column for March 18, 1930. Some of Hart’s columns discussing HPL were gathered in
Hartmann, J[oachim] F[riedrich] (1848–1930).
Astrologer who incurred HPL’s ire when he wrote the article “Astrology and the European War” in the Providence
Hartwell, Dr.
In “The Dunwich Horror,” Henry Armitage’s personal physician.
“Haunter of the Dark, The.”
Short story (9,350 words); written November 5–9, 1935. First published in
Robert Blake, a young writer of weird fiction, comes to Providence for a period of writing. Looking through his study window down College Hill and across to the far-away and vaguely sinister Italian district known as Federal Hill, Blake becomes fascinated by an abandoned church “in a state of great decrepitude.” Eventually he gains the courage actually to go to the place and enter it, and he finds many anomalous things within. There are strange and forbidden books; there is, in a large square room, an object resting upon a pillar—a metal box containing a curious gem or mineral—that exercises an unholy fascination upon Blake; and there is the decaying skeleton of a newspaper reporter whose notes Blake reads. The notes speak of the ill-regarded Starry Wisdom church, whose congregation gained in numbers throughout the nineteenth century and was suspected of satanic practices of a very bizarre sort, until the city finally shut the church in 1877. The notes also mention a “Shining Trapezohedron” and a “Haunter of the Dark” that cannot exist in light. Blake concludes that the object on the pillar is the Shining Trapezohedron, and in an “access of gnawing, indeterminate panic fear” he closes the lid of the object and flees the place.
Later he hears strange stories of some object lumbering within the belfry of the church, stuffing pillows in all the windows so that no light can come in. A tremendous electrical storm on August 8–9 causes a blackout for several hours.
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A group of superstitious Italians gathers around the church with candles, and they sense an enormous dark object emerging from the belfry. Blake’s diary tells the rest of the tale. He feels that he is somehow losing control of his sense of self (“My name is Blake—Robert Harrison Blake of 620 East Knapp Street, Milwaukee, Wisconsin…. I am on this planet”; and still later: “I am it and it is I”); his perspective is all confused; finally he sees some nameless object approaching him. The next morning he is found dead—of electrocution, even though his window was closed and fastened. What, in fact, has happened to Blake? The poignant but seemingly cryptic entry “Roderick Usher” in his diary tells the whole story. Just as in “Supernatural Horror in Literature” HPL analyzed Poe’s “The Fall of the House of Usher” as a tale that “displays an abnormally linked trinity of entities at the end of a long and isolated family history—a brother, his twin sister, and their incredibly ancient house all sharing a single soul and meeting one common dissolution at the same moment,” so in “The Haunter of the Dark” we are to believe that the entity in the church—the Haunter of the Dark, described as an avatar of Nyarlathotep—has possessed Blake’s mind but, at the moment of doing so, is struck by lightning and killed, and Blake dies as well.
The story came about almost as a whim. Robert Bloch had written “The Shambler from the Stars” in the spring of 1935, in which a character—never named, but clearly meant to be HPL—is killed. HPL was taken with the story, and when it was published in
Many landmarks described in the story are manifestly based upon actual sites. The view from Blake’s study is a poignant description of what HPL saw from his own study at 66 College Street. The same view can be seen today from such a vantage point as Prospect Terrace on the brow of College Hill. Blake’s address, as given in the story, was Bloch’s actual address in Milwaukee. The church that figures so prominently in the tale was St. John’s Catholic Church on Atwell’s Avenue in Federal Hill (torn down in 1992). This church was situated on a raised plot of ground, as in the story, although there was (at least in recent years) no metal fence around it. It was, in HPL’s day, the principal Catholic
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church in the area. The description of the interior and belfry of the church is quite accurate. HPL heard that the steeple had been destroyed by lightning in late June of 1935 (he was not there at the time, being in Florida visiting R.H. Barlow); instead of rebuilding the steeple, the church authorities simply put a cap on the brick tower (see HPL to Richard F.Searight, December 24, 1935;
See Steven J.Mariconda, “Some Antecedents of the Shining Trapezohedron,”
Hawthorne, Nathaniel (1804–1864).
American novelist and short story writer. Hawthorne was a central figure in early Gothic literature in America and a major influence on HPL, who at the age of six first developed a fascination with Graeco-Roman mythology by reading Hawthorne’s rewritings of Greek myths,
See Dirk W.Mosig, “Poe, Hawthorne and Lovecraft: Variations on a Theme of Panic,”
Hayden, Ben.
In “The Man of Stone,” a friend of the narrator who takes the narrator with him to investigate the uncannily lifelike sculptures of Arthur Wheeler.
“He.”
Short story (4,310 words); written on August 11, 1925. First published in
The narrator ruefully announces: “My coming to New York had been a mistake….” He had hoped to find literary inspiration in the “teeming labyrinths“ of the city, but instead finds only “a sense of horror and oppression which threatened to master, paralyse, and annihilate me.” The narrator confesses that the gleaming towers of New York had captivated him at first, but later he came to realize that “this city of stone and stridor is not a sentient perpetuation of Old New York as London is of Old London and Paris of Old Paris, but that it is in fact quite dead, its sprawling body imperfectly embalmed and infested with queer animate things which have nothing to do with it as it was in life.” He seeks out Greenwich Village
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as the one area in the city where antiquity can still be found; it is here, at 2:00 one August morning, that he meets “the man.” This person has an archaic manner of speaking and is wearing similarly archaic attire, and the narrator takes him for a harmless eccentric; but the latter immediately senses a fellow antiquarian. The man leads him on a circuitous tour of old alleys and courtyards, finally coming to “the ivy-clad wall of a private estate,” where the man lives. In the manor house the man begins to relate an account of his “ancestor,” who practiced some sort of sorcery, in part from knowledge gained from the Indians in the area; later he conveniently killed them with bad rum, so that he alone now had the secret information he had extracted from them. What is the nature of this knowledge? The man leads the narrator to a window and, parting the curtains, reveals an idyllic rural landscape—it can only be the Greenwich of the eighteenth century, brought magically before his eyes. The narrator, stunned, asks harriedly, “Can you—dare you—go
The story was written in the course of an all-night tour of the antiquities of the New York metropolitan area. By 7 A.M. on August 11, HPL had reached Elizabeth, N.J., by ferry. There he purchased a 10¢ composition book at a shop, went to Scott Park, and wrote the story. The actual location of the story is Greenwich Village; specifically, a courtyard off Perry Street that HPL had explored the previous August in response to an article on it (in a regular column, “Little Sketches about Town”) in the
See S.T.Joshi, “Lovecraft and Dunsany’s
Heald, Hazel (1896–1961).
Revision client of HPL, residing in Somerville, Mass. According to Muriel E.Eddy (
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Heald was a member of a New England writers’ club that Mrs. Eddy had begun; sometime in 1932 Mrs. Eddy introduced Heald to HPL, having read “The Man of Stone,” which she found poorly written but with an interesting plot. Although other parts of Mrs. Eddy’s memoir appear falsified or erroneous, nothing in HPL’s letters contradicts this account; HPL, in fact, never mentions how he first came to know Heald. HPL eventually revised five stories for her—“The Man of Stone,” “Winged Death,” “The Horror in the Museum,” “Out of the Aeons,” and “The Horror in the Burying-Ground”— most of them in 1932–33. (See entries on individual stories for details of publication and other particulars.) Four of the stories feature an element in common: a human being who is either dead or immobilized but whose brain is alive (“Winged Death” features a man whose brain or personality ends up in the body of an insect). Mrs. Eddy suggests that Heald, a divorcee, was romantically attracted to HPL and that she once invited him to a candlelight dinner in Somerville; in his memoir W.Paul Cook notes that after his trip to Quebec in the summer of 1932, HPL stopped to visit him in Athol, Mass., and that “he was going to take a midnight bus to Providence after dinner in Somerville” (Cook does not mention Heald in his account). HPL himself does not seem to have been particularly attracted to Heald. Heald did not keep her letters from HPL.
Heaton,———.
In “The Mound,” a young man who in 1891 goes to the mound region in Oklahoma looking for treasure but returns with his mind shattered by something he has seen. He dies eight years later in an epileptic fit.
Henneberger, J[acob] C[lark] (1890–1969).
Magazine publisher who, with J.M.Lansinger, founded Rural Publications, Inc., in 1922, to publish a variety of popular magazines. Henneberger achieved great success with the magazine
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never happened. In the fall of 1924 Henneberger provisionally hired HPL to edit a new humor magazine that he was planning (possibly titled the
“Herbert West—Reanimator.”
Short story (12,100 words); written from early October 1921 to mid-June 1922. First published as a serial (under the title “Grewsome Tales”) in
The story is narrated by a friend and colleague of Dr. Herbert West; both he and West attended the Miskatonic University Medical School in Arkham and later went on to experience various adventures as practicing physicians. It was in medical school that West derived his peculiar theories about the possibility of reanimating the dead. These views “hinged on the essentially mechanistic nature of life; and concerned means for operating the organic machinery of mankind by calculated chemical action after the failure of natural processes…. my friend believed that artificial reanimation of the dead can depend only on the condition of the tissues; and that unless actual decomposition has set in, a corpse fully equipped with organs may with suitable measures be set going again in the peculiar fashion known as life.” The six episodes of the story show West producing more and more hideous instances of reanimation. In the first, West injects a serum into a corpse, but it seems to produce no results; the two doctors bury the corpse in the potter’s field, only to learn later that it came to life after all. In the second, West reanimates Dr. Allan Halsey, who as head of the medical school had vigorously opposed West’s experiments and had died in the typhoid epidemic that raged through Arkham. Halsey creates havoc throughout the city before he is caught and locked up in Sefton Asylum. In the third, West and the narrator have set up practice in the small Massachusetts town of Bolton and attempt to resurrect an African American—an amateur boxer named Buck Robinson, “The Harlem Smoke”—but seem to find that the serum “prepared from experience with white specimens only” will not work on him; later they learn otherwise. In the fourth episode the narrator, returning from a vacation with his parents in Illinois, finds West in a state of unusual excitement. He has designed an embalming fluid that will preserve a corpse in a state of freshness indefinitely and claims that a traveling salesman who had come to visit West had died unexpectedly and would therefore serve as a perfect specimen because of the freshness of the corpse. When it is reanimated, the narrator finds that West’s account of the matter is not wholly accurate. The fifth episode takes us to the horrors of the Great War, where West and the narrator have enlisted in a Canadian regi
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ment in 1915. West now seeks to put into practice still more eccentric views on the reanimation of the dead and does so in a loathsome manner. The sixth episode finds the two doctors in Boston after the war, and it ends with the various reanimated bodies returning to tear West to pieces and bear off the fragments of his corpse through ancient underground tunnels leading to a cemetery. George Julian Houtain, an amateur colleague of HPL, commissioned “Herbert West—Reanimator” for the early issues of his professional humor magazine,
It has commonly been assumed that the obvious influence upon the story is Mary Shelley’s
See Robert D.Marten, “Arkham Country: In Rescue of the Lost Searchers,”
Herrero, Mrs.
In “Cool Air,” the slatternly landlady of the brownstone on West 14th Street in New York City where Dr. Muñoz lives. Her son Esteban brings food, laundry, medicine, and other necessities to Dr. Muñoz, but when the latter’s condition worsens, his mother refuses to permit Esteban to run errands for him.
Hiram.
In “The Tomb,” Jervas Dudley’s faithful servant, who promises Dudley that he will be interred in the Hyde family vault.
“History of the
Sketch (915 words); written in the fall of 1927 (see
A tongue-in-cheek “history” of the sinister book and its equally sinister author, Abdul Alhazred. HPL traces the book’s history from its writing in the eighth century to its translation into Greek, Latin, and other languages, stressing the rarity of
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surviving copies of any edition of the book. HPL drew up the history largely in order to be consistent in subsequent references to the tome in fiction.
Hoadley, Abijah.
In “The Dunwich Horror,” a Congregational minister who in 1747 delivers a sermon on “the close presence of Satan and his imps” in Dunwich.
Hoag, Jonathan E[than] (1831–1927).
Poet living in and around Troy, N.Y., who entered amateur journalism late in life. HPL wrote birthday poems to him from 1918 to 1927; they presumably corresponded, but no letters have surfaced. Hoag’s descriptions of the Catskill Mountains may have contributed to the topographical atmosphere of “Beyond the Wall of Sleep” and “The Lurking Fear,” set there. HPL compiled and wrote an introduction to Hoag’s
Hodgson, William Hope (1877–1918).
Weird novelist and short story writer who died in Belgium during World War I. He wrote four novels —
Holm, Axel (1612–1687).
In “The Trap,” a Danish scholar expert in both glass working and magic who designs a mirror that can draw human beings and other
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objects into a strange fourth-dimensional world within itself. He achieves a kind of immortality in this manner (so long as the mirror itself is intact), but finds existence to be extremely tiresome, enlivened only by drawing other people into the mirror-world.
Holt, Ebenezer.
In “The Picture in the House,” the eighteenth-century merchant from Salem who trades to the aged cannibal of the story a copy of Pigafetta’s
“Homes and Shrines of Poe.”
Essay (2,010 words); written in July 1934. First published in the
(1916–1999), youthful editor of
Short story (2,410 words); written in collaboration with Sonia H.Greene, probably in June 1922. First published (as “The Invisible Monster”) in
The crew of a fishing smack kills a sea creature “fifty feet in length, of roughly cylindrical shape, and about ten feet in diameter” at Martin’s Beach (an unspecified and imaginary locale, but presumably near Gloucester, Mass., which is mentioned several times). Scientists prove the creature to be a mere infant, hatched only a few days previously and probably originating from the deep sea; the day after it is placed on exhibition, it and the vessel that caught it disappear without a trace. Some days later a terrified cry for help emerges from the sea, and the lifeguards throw out a life-preserver to assist the stricken individual; but the life-preserver, attached to a long rope, appears to have been grasped by some nameless entity that pulls it out to sea, and when the lifeguards and other individuals attempt to reel it in, they not only find themselves unable to do so, but also find that they cannot release the rope. They are inexorably dragged to their deaths in the sea. The idea is that the parent of the infant creature has not only grasped the life-preserver but also hypnotized the rescuers so that their wills no longer function. (This is why Prof. Alton’s article “Are Hypnotic Powers Confined to Recognized Humanity?” is cited early in the text.) The tale bears a striking (but accidental) similarity to the British horror film
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“Horror at Red Hook, The.”
Short story (8,400 words); written on August 1–2, 1925. First published in
Thomas Malone, an Irish police detective working from the Borough Hall station in Brooklyn (near the racially heterogeneous slum known as Red Hook), becomes interested in the case of Robert Suydam, a wealthy man of ancient Dutch ancestry who lives in Flatbush. Suydam first attracts notice by “loitering on the benches around Borough Hall in conversation with groups of swarthy, evil-looking strangers.” He realizes that his clandestine activities must be masked by a façade of propriety; he foils the attempts of relatives to deem him legally incompetent by ceasing to be seen with the foreigners and marries Cornelia Gerritsen, “a young woman of excellent position” whose wedding attracts “a solid page from the Social Register.” The wedding celebration held aboard a steamer at the Cunard Pier ends in horror as the couple is found horribly murdered and completely bloodless. Incredibly, officials follow the instructions written on a sheet of paper, signed by Suydam, and turn his body over to a suspicious group of men headed by “an Arab with a hatefully negroid mouth.” The scene shifts to a dilapidated church in Red Hook that has been turned into a dance-hall, in the basement of which loathsome monstrosities perform horrible rites to Lilith. Suydam’s corpse, miraculously revivified, resists being sacrificed to Lilith and somehow manages to overturn the pedestal on which she rests (with the result that the corpse sends “its noisome bulk floundering to the floor in a state of jellyish dissolution”), thereby somehow ending the horror. All this time detective Malone merely watches from a convenient vantage point, although the sight so traumatizes him that he must spend many months recuperating in a small village in Rhode Island. HPL notes in a letter to Frank Belknap Long that the story “deals with hideous cult-practices behind the gangs of noisy young loafers whose essential mystery has impressed me so much. The tale is rather long and rambling, and I don’t think it is very good; but it represents at least an attempt to extract horror from an atmosphere to which you deny any qualities save vulgar commonplaceness” (
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Another piquant reference, not relating to topography, is to the fact that some of the evil denizens of Red Hook are of a Mongoloid stock originating in Kurdistan—“and Malone could not help recalling that Kurdistan is the land of the Yezidis, last survivors of the Persian devil-worshippers.” This appears to be a borrowing from E.Hoffmann Price’s fine tale “The Stranger from Kurdistan,” published in
Much of the magical mumbo-jumbo in the story was copied directly from the articles on “Magic” and “Demonology” (both by E.B.Tylor, celebrated author of the landmark anthropological work,
See Robert M.Price, “The Humor at Red Hook,”
Short story (5,810 words); ghostwritten for Hazel Heald, c. 1933 or 1934. First published in
In the rustic town of Stillwater, the village undertaker, Henry Thorndike, has devised a peculiar chemical compound that, when injected into a living person, will simulate death even though the person is alive and conscious. Thorndike attempts to dispose of an enemy, Tom Sprague (of whose sister Sophie he is fond), in this fashion, but in the course of embalming the body he is himself injected with the substance. Although Thorndike, before he lapses into immobility, pleads not to be entombed, he is pronounced dead and buried alive.
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HPL never mentions the story in any extant correspondence, so its date of composition is difficult to specify; but he seems not to have had much to do with Heald after 1934, and this is evidently the last of the tales he ghostwrote for her. Much of the story is narrated in a backwoods patois reminiscent—and perhaps a parody—of that used in “The Dunwich Horror.” The use of the names Akeley (from “The Whisperer in Darkness”), Zenas (from “The Colour out of Space”), At wood (from
“Horror in the Museum, The.”
Short story (11,440 words); ghostwritten for Hazel Heald, probably in October 1932. First published in WT (July 1933); first collected in
The curator of a waxworks museum in London, George Rogers, claims to have captured the deity Rhan-Tegoth on an expedition to Alaska. Rogers shows his skeptical friend Stephen Jones a photograph of the entity, and then shows him the corpse of a dog that has been sucked dry of blood, with puncture wounds all over its body; he claims that he had fed the dog to Rhan-Tegoth, who is kept locked in a crate in the basement of the museum. Irked by Jones’s disbelief of his tale, Rogers challenges Jones to spend the night alone in the museum. Jones agrees, and in the course of the night he seems to hear curious noises in the basement; but it proves to be Rogers himself, who appears to have gone mad and wishes to sacrifice Jones to his deity. Jones manages to overpower Rogers and tie him up; but then both of them hear another noise, and Jones is horrified to see
HPL says of the story: “My latest revisory job comes so near to pure fictional ghost-writing that I am up against all the plot-devising problems of my bygone auctorial days” (HPL to E.Hoffmann Price, October 20, 1932; ms., JHL). Elsewhere HPL says: “‘The Horror in the Museum’—a piece which I ‘ghost-wrote’ for a client from a synopsis so poor that I well-nigh discarded it—is virtually my own work” (
(pseudonym of Enrich Weiss, 1874–1926), magician and debunker of spiritualism. In early 1924 J.C.Henneberger, owner of
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venture that Houdini purportedly had in Egypt; but as HPL investigated the details of the incident (told to him in correspondence with Henneberger), he found that it was almost entirely mythical. HPL therefore asked Henneberger for as much imaginative latitude as possible in writing the story. The result was “Under the Pyramids” (published in the May-June-July issue as “Imprisoned with the Pharaohs”). Henneberger was going to print a joint byline to the story, but because HPL had written it in the first person (as if narrated by Houdini), he felt obliged to omit HPL’s name. Houdini, reading the story in manuscript, expressed great approbation of it (see
See Ruth Brandon,
Houghton, Dr.
In “The Dunwich Horr or,” a physician who is summoned by Wilbur Whateley during Old Whateley’s terminal illness.
“Hound, The.”
Short story (3,000 words); written c. October 1922; first published in
Upon their return, strange things begin to happen. Their home seems besieged by a nameless whirring or flapping, and over the moors they hear the “faint, distant baying” as of a gigantic hound. One night, as St. John is walking
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home alone from the station, he is torn to ribbons by some “frightful carnivorous thing.” As he lies dying, he manages to utter, “The amulet—that damned thing—.” The narrator realizes that he must return the amulet to the Holland grave, but one night in Rotterdam thieves take it. Later the city is shocked by a “red death” in a squalid part of town. The narrator, driven by some fatality, returns to the churchyard and digs up the old grave. As he uncovers it, he finds “the bony thing my friend and I had robbed; not clean and placid as we had seen it then, but covered with caked blood and shreds of alien flesh and hair, and leering sentiently at me with phosphorescent sockets and sharp ensanguined fangs yawning twistedly in mockery of my inevitable doom.” The narrator, after telling his tale, proposes to “seek with my revolver the oblivion which is my only refuge from the unnamed and unnamable.”
The story was written sometime after HPL and his friend Rheinhart Kleiner visited the churchyard of the Dutch Reformed Church (1796) in Brooklyn on September 16, 1922. HPL remarks: “From one of the crumbling gravestones—dated 1747—I chipped a small piece to carry away. It lies before me as I write—& ought to suggest some sort of a horror-story. I must some night place it beneath my pillow as I sleep…who can say what
“The Hound” has been criticized for being overwritten, but it appears to be a self-parody, as becomes increasingly evident from the obvious literary allusions (St. John’s “that damned thing” echoing the celebrated tale by Ambrose Bierce; the “red death” and the indefinite manner of dating [“On the night of September 24, 19—”], meant as playful nods to Poe; the baying of the hound clearly meant to recall Doyle’s
Some autobiographical touches in the story are noteworthy. While St. John is clearly meant to be Kleiner, the connection rests only in the name, as there is not much description of his character. The museum of tomb-loot collected by the protagonists may be a reference to Samuel Loveman’s impressive collection of
In terms of HPL’s developing pseudomythology, “The Hound” is important in that it contains the first explicit mention of the
See Steven J.Mariconda, “‘The Hound’—A Dead Dog?”
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“House, The.”
Poem (36 lines in 4 stanzas); written c. July 16, 1919. First published in the
HPL notes (
(1884–1945), amateur journalist (President of the NAPA, 1915–17) who edited
(1906–1936), pulp writer from Cross Plains, Tex., best known as the author of “sword and sorcery” tales of Conan, King Kull, Bran Mak Morn, and Solomon Kane, in which the supernatural, historical fiction, and adventure are mingled. When HPL’s “The Rats in the Walls” was reprinted in
Some of Howard’s horror stories are indebted to HPL; notable among them are “The Black Stone” (
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German title,
See Glenn Lord,
Hutchins Family.
In “The Dunwich Horror,” neighbors of Wilbur Whateley. Wilbur shoots Elam Hutchins’s dog Jack. Elam’s relationship to “old” Sam Hutchins and Will Hutchins, who assist in exterminating Wilbur’s twin brother, is unspecified.
Hutchinson, Edward.
In
Hyde.
In “The Tomb,” the family whose ancestral vault is haunted by Jervas Dudley. Dudley becomes convinced that he is a Hyde when he finds an old porcelain miniature with his likeness and the initials J.H., for “Jervase Hyde.”
“Hypnos.”
Short story (2,840 words); written c. March 1922. First published in
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verse their previous reclusiveness (they had dwelt in an “old manor-house in hoary Kent”) and seek as many “assemblies of the young and the gay” as they can, but it is all for naught. One night the teacher cannot stay awake for all the efforts of his sculptor friend, something happens, and all that is left of the teacher is an exquisitely sculpted bust of “a godlike head of such marble as only old Hellas could yield,” with the word HYPNOS at the base. People maintain that the narrator never had a friend, but that “art, philosophy, and insanity had filled all my tragic life.”
There is an ambiguity maintained to the end of the tale as to whether the narrator’s friend actually existed or was merely a product of his imagination; but this point may not affect the analysis appreciably. The tale is, as with “The Other Gods,” one of hubris, although more subtly suggested. At one point the narrator states: “I will hint—only hint—that he had designs which involved the rulership of the visible universe and more; designs whereby the earth and the stars would move at his command, and the destinies of all living things be his.” If the friend really existed, then he is merely endowed with overweening pride and his doom—at the hands of the Greek god of sleep, Hypnos—is merited. On a psychological interpretation, the friend becomes merely an aspect of the narrator’s own personality; note how, after the above statement, he adds harriedly, “I affirm—I swear—that I had no share in these extreme aspirations”—a clear instance of the conscious mind shirking responsibility for its subconscious fantasies. Like “Beyond the Wall of Sleep,” the story features the notion that certain “dreams” provide access to other realms of entity beyond that of the five senses or the waking world.
An early entry in HPL’s commonplace book (#23) provides the plot-germ for the story: “The man who would not sleep—dares not sleep—takes drugs to keep himself awake. Finally falls asleep—&
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I
“Ibid.”
Short story (1,720 words); written probably in the summer of 1928. First published in
In this “biography” of the celebrated Ibidus, the author is careful to point out that his masterpiece was not, as is sometimes believed, the
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HPL to revise it slightly; but later he and HPL concluded that revision for a commercial magazine was not possible and that the work “would have to be content with private circulation” (Maurice W.Moe to HPL, January 29, 1931; ms., JHL).
“Idealism and Materialism—A Reflection.”
Essay (4,310 words); written in 1919/20/21. First published in the
Forceful essay presenting an anthropology of religion (derived largely from Nietzsche and from John Fiske’s
“In a Major Key.”
Essay (1,050 words); probably written in the summer of 1915. First published in the
A response to Charles D.Isaacson’s
“In a Sequestered Providence Churchyard Where Once Poe Walk’d.”
Acrostic poem (13 lines); written on August 8, 1936. First published in
The poem was written in St. John’s Churchyard in Providence, where HPL and his guests R.H.Barlow and Adolphe de Castro wrote acrostic “sonnets” (they lack one line for a true sonnet) to Poe. De Castro promptly send his to
See David E.Schultz, “In a Sequester’d Churchyard,”
Collective title for a series of three essays: “The Defence Reopens!” (3,820 words; January 1921); “The Defence Remains Open!” (5,980 words; April 1921); and “Final Words” (2,100 words; September 1921). First published in its entirety in
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The essays were written in response to comments on HPL’s poems and stories submitted to the Transatlantic Circulator, an Anglo-American organization of amateur journalists who circulated their work in manuscript and commented on it. The essays present a strong defense of HPL’s brand of weird fiction (the weird writer is “the poet of twilight visions and childhood memories, but sings only for the sensitive”), calling upon Oscar Wilde’s critical theories to combat the notion that weird art (or any art) can be “morbid” or “unhealthy.” HPL also vigorously defends his atheistic materialism (first expressed in a letter or essay that does not now survive), maintaining that religion has been largely disproven by the sciences of physics and biology and that anthropology has accounted for the origin of religious belief. Many comments by other members of the Circulator (which included John Ravenor Bullen, who was perhaps responsible for HPL’s entry into the group) survive at JHL. “In Memoriam: Robert Ervin Howard.”
Essay (1,580 words); written in June or July 1936. First published in
Poignant overview of Howard’s life and work, written shortly after his suicide. The essay is based largely on a letter to E.Hoffmann Price (July 5, 1936). A shorter version (probably written first) appeared as “Robert Ervin Howard: 1906–1936” (
“In the Editor’s Study.”
A regular column of commentary in issues of the
The column appeared in seven issues of the paper. In October 1916 there were three subsections: “The Proposed Author’s Union” (a satirical squib on unionization of authors); “Revolutionary Mythology” (on extravagant praise of the heroes of the American Revolution); and “The Symphonic Ideal” (on the need to remain “childlike and contented” in the modern age). In January 1917 there were two subsections: “The Vers Libre Epidemic” (an attack on free verse) and “Amateur Standards” (on a political feud in the UAPA). In July 1917 there was one subsection: “A Remarkable Document” (on a temperance article by Booth Tarkington). In July 1918 there were six subsections: “AngloSaxondom” (on the need for America and Great Britain to unite against immigrants); “Amateur Criticism” (on the criticism of amateur writing; specifically directed at Prof. Philip B.McDonald); “The United 1917–1918” (on the accomplishments of the UAPA during the past year); “The Amateur Press Club” (on a new international organization of amateur journalists); “Ward Phillips Replies” (a paragraph prefacing HPL’s poem “Grace,” responding to a poem written by Rheinhart Kleiner); and
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July 1923 the column appeared without any subsections, discussing the need to take cognizance of recent developments in art and philosophy.
“In the Vault.”
Short story (3,430 words); written on September 18, 1925. First published in
George Birch is the careless and thick-skinned undertaker of Peck Valley, somewhere in New England. He finds himself trapped in the cemetery’s receiving tomb where eight coffins are being stored for the winter by the slamming of the door in the wind and the breaking of the neglected latch. Birch realizes that the only way to escape the tomb is to pile the coffins like a pyramid and squeeze through the transom. Although working in the dark, he is confident that he has stacked the coffins in the sturdiest manner possible; in particular, he believes that he has placed the well-made coffin of the diminutive Matthew Fenner on the very top, rather than the flimsy coffin initially built for Fenner but later used for the tall Asaph Sawyer, a vindictive man whom he had not liked in life. Ascending his “miniature Tower of Babel,” Birch finds that he has to knock out some of the bricks around the transom in order for his large body to escape. As he does so, his feet fall through the top coffin into the decaying contents within. He feels horrible pains in his ankles—as from splinters or loose nails—but manages to crawl out the window and drop to the ground. He cannot walk—his Achilles tendons have been cut—but drags himself to the cemetery lodge where he is rescued. Later Dr. Davis examines his wounds and finds them very unnerving. Going to the receiving-tomb, he learns the truth: Asaph Sawyer was too big to fit Fenner’s coffin, so Birch had phlegmatically cut off Sawyer’s feet at the ankles to make the body fit; but he had not reckoned on Sawyer’s inhuman vengeance. The top coffin was not Fenner’s but Sawyer’s, and the wounds in Birch’s ankles are teeth marks.
The plot of the story was suggested to HPL sometime in August 1925 by C.W. Smith, editor of
HPL dedicated the story to C.W.Smith, “from whose suggestion the central situation is taken.” HPL submitted it to Farnsworth Wright of
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“In the Walls of Eryx.”
Short story (12,000 words); written in collaboration with Kenneth J.Sterling, January 1936. First published in
Kenton J.Stanfield, of the Venus Crystal Company, is exploring for the valuable crystals—used for power both on Venus and back on earth—near the company’s post of Terra Nova when he sees an immense crystal sitting in a field on the plateau (the “Erycinian Highland”) of Eryx. (In Greek mythology, Eryx is the son of Aphrodite [Venus].) Approaching the object at a run, Stanfield is startled to encounter an invisible obstruction. He gradually realizes that the object is an invisible maze, made of some glasslike substance that is preternaturally hard. He finds an entrance and begins to approach the crystal, which appears to be in the very center of the maze. He continually seems to make progress but is always halted by an unexpected barrier. Stanfield begins to crack under the strain and is half convinced there is something supernatural about the maze. Then the “manlizards” native to Venus surround the maze and seem to mock Stanfield by waving their feelers at him. Days pass; Stanfield’s supply of oxygen and food dwindle; every attempt to find the right passageway to the crystal fails, nor can Stanfield find his way out of the maze. Finally he collapses and dies. His body, and the diary he had kept, is found by another operative of the Venus Crystal Company, who realizes that Stanfield could easily have emerged from the maze by proceeding through the opening
Sterling has stated that the idea of the invisible maze was his and that this core idea was adapted from Edmond Hamilton’s story (which HPL liked), “The Monster-God of Mamurth” (
The authors have made the tale amusing with in-jokes on certain mutual colleagues: Kenton J.Stanfield’s initials are those of Sterling; sificlighs=Science Fiction League, to which Sterling belonged; farnoth-flies=editor Farnsworth Wright of
The hackneyed use of Venus as a setting for the tale is perhaps its one significant drawback. The notion of a human being walking without difficulty (albeit with an oxygen mask and protective suit) on the surface of Venus was not preposterous in its day. There was much speculation as to the surface conditions of the planet, some astronomers believing it to be steamy and swampy like our own Palaeozoic age, others that it is a barren desert blown by dust storms; still others thought the planet covered with huge oceans of carbonated water or even
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with hot oil. It was only in 1956 that radio waves showed the surface temperature to be a minimum of 570° F, while in 1968 radar and radio observations at last confirmed the temperature to be 900° F and the surface atmospheric pressure to be at least ninety times that of the earth. HPL’s handwritten draft was presumably typed by Sterling, since the existing typescript is in an unrecognizable typewriter face. The byline reads (surely at HPL’s insistence) “By Kenneth Sterling and H.P.Lovecraft.” Sterling reports that the story was submitted to
Innsmouth.
Fictitious city invented by HPL. Innsmouth was first mentioned in “Celephaïs” (1920), but clearly set in England. It was revived for two sonnets (“The Port” [VIII] and “The Bells” [XIX]) of
In “The Quest of Iranon,” the bard who seeks his far-off home of Aira where he is a prince. In Teloth, the inhabitants have no use for his “profession,” and they force him to work as a cobbler. Iranon does not age. He later sets out on a voyage, with a young friend, Romnod, to seek Aira. After many years he learns that he is no prince at all, but only a beggar’s son. He dies an old man. Isaacson, Charles D[avid] (1891–1936).
Amateur journalist who edited
“Isaacsonio-Mortoniad, The.”
Poem (136 lines); written no later than September 14, 1915. First published in
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Part of HPL’s feud with Charles D.Isaacson and James F.Morton, who had responded to HPL’s attacks on Isaacson’s amateur paper,
In “The Dreams in the Witch House,” a Catholic priest at St. Stanislaus’ Church in Arkham who gives a crucifix to one of Walter Gilman’s friends, Joe Mazurewicz, who then gives it to Gilman to protect him from Keziah Mason. Iwanicki had first been cited in the so-called “discarded draft” of “The Shadow over Innsmouth” (written in late 1931, a few months before “The Dreams in the Witch House”), but was excised from the final draft. See
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J
Jack.
The narrator of “The Man of Stone,” who accompanies Ben Hayden on a trip to see the celebrated sculptures of Arthur Wheeler.
Jackson, Henry.
In “The Man of Stone,” a man who is treated for tuberculosis near Lake Placid, N.Y., where he hears of the tale that constitutes the narrative of the story and which he passes on to his friend, Ben Hayden, who then goes to investigate the story.
Jackson, Winifred Virginia (1876–1959).
Amateur poet living in the Boston area and friend of HPL. HPL was extensively involved with Jackson in amateur journalism during the period 1918–21. He wrote a brief biographical sketch of her, “Winifred Virginia Jordan: Associate Editor” (
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Their relations may have been somewhat more personal. According to research by George T.Wetzel and R.Alain Everts, HPL and Jackson were widely regarded in amateur circles as being romantically involved. Evidence for this assertion is somewhat indirect, the strongest coming from HPL’s wife Sonia, who purportedly stated, “I stole HPL away from Winifred Jackson.” There is also a photograph of HPL and Jackson at the seaside (probably in Massachusetts). But since HPL stated to Sonia in the summer of 1922 that he had not been kissed since he was a boy, the “romance” must have been somewhat lacking in passion. Also, Wetzel and Everts claim that Jackson married an African American, Horace Jackson, in 1915 (hence her appearance in earlier amateur journals as Winifred Virginia Jordan); she had divorced him by early 1919 and then carried on a longtime affair with the African American poet and critic William Stanley Braithwaite (1878–1962). If HPL had known of either involvement, he presumably—given his severe prejudice against African Americans—would have ceased all relations with Jackson. HPL met Jackson on several occasions, but always at amateur gatherings in the company of others: July 4–5 and September 5, 1920, in Allston, Mass., and (probably) at the NAPA convention in early July 1921 (the same convention at which he first met Sonia). There is no evidence that HPL met or corresponded with her after July 1921. Jackson’s poem “Insomnia” (
See George T.Wetzel and R.Alain Everts,
Jacobi, Carl (1908–1997).
Minnesota author of over 100 stories in pulp magazines including
See R.Dixon Smith,
British author of four celebrated volumes of ghost stories—
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See S.G.Lubbock,
Jermyn, Arthur.
In “Facts Concerning the Late Arthur Jermyn and His Family,” a poet and scholar who sets fire to himself after examining a boxed object from Africa. The entire Jermyn line is marked by a strange history. In the eighteenth century, Sir Wade Jermyn, Arthur’s great-great-great-grandfather, explored the Congo, bringing back with him a mysterious wife. Sir Philip Jermyn, Wade’s son and Arthur’s great-great-grandfather, though a baronet, joins the navy as a common sailor and disappears one night as his ship lay off the coast of the Congo. Sir Robert Jermyn, Arthur’s greatgrandfather, kills his entire family except for a two-year old grandson, when he learns certain information about his past. Philip’s second son, Nevil, marries a commoner and sires a son, Sir Alfred Jermyn, who is Arthur’s father. He joins the Barnum & Bailey circus (never explicitly named, but alluded to as “The Greatest Show on Earth”) but is killed by a gorilla with whom he was conducting a boxing match.
Johansen, Gustav.
In “The Call of Cthulhu,” the Norwegian second mate of the schooner
Johnson, Dr. Richard H. (d. 1933).
In “Out of the Æons,” the curator of the Cabot Museum of Archaeology in Boston. The story is a manuscript prepared by
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him before his mysterious death by heart failure. It is he who obtains the strange living mummy for the museum.
Jones, Algernon Reginald.
In “Sweet Ermengarde,” a “city chap” who seeks to seduce Ermengarde Stubbs but is rejected. Jones, Dr.
In “The Last Test,” the jealous assistant of Dr. Alfred Clarendon at San Quentin Penitentiary, who contrives to have Clarendon removed from his post and himself appointed in his place. Jones, Stephen.
In “The Horror in the Museum,” the doubting friend of George Rogers, who spends a night in Rogers’s Museum. When he glimpses a monstrous creature there, he flees; upon returning a week later, he finds that Rogers has been destroyed by the creature.
Juvenile Works: Fiction.
Aside from HPL’s surviving juvenile fiction—“The Little Glass Bottle,” “The Secret Cave,” “The Mystery of the Grave-yard,” “The Mysterious Ship,” “The Beast in the Cave,” and “The Alchemist” (see entries on these tales)—we know of several other nonextant tales written prior to 1908.
HPL’s first work of fiction was “The Noble Eavesdropper” (1897), which concerned “a boy who overheard some horrible conclave of subterranean beings in a cave” (HPL to J.Vernon Shea, July 19– 31, 1931; ms., JHL). It may have been inspired by the
HPL also notes writing “several yarns” about Antarctica around 1899, inspired by W.Clark Russell’s
HPL also claimed to have written detective stories “very often, the works of A.Conan Doyle being my model so far as plot was concerned.” In describing one he writes: “One long-destroyed tale was of twin brothers—one murders the other, but conceals the body, and tries to
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antedates my 11th year” (
HPL’s fascination with ancient Rome led to the writing of at least one tale: “The idea of a Roman settlement in America is something which occurred to me years ago—in fact, I began a story with that theme (only it was about Central America & not U.S.) in 1906 or 1907, tho’ I never fmish’d it” (HPL to Lillian D. Clark, November 14–19, 1925; ms., JHL).
Of “The Picture” (1907) HPL remarks: “I had a man in a Paris garret paint a mysterious canvas embodying the quintessential essence of all horror. He is found clawed & mangled one morning before his easel. The picture is destroyed, as in a titanic struggle—but in one corner of the frame a bit of canvas remains …& on it the coroner finds to his horror the painted counterpart of the sort of claw which evidently killed the artist” (
Juvenile Works: Poetry.
HPL’s earliest surviving work is a poem: “The Poem of Ulysses: Written for Young People.” The extant manuscript is labeled a “second edition” and dated to November 8, 1897; the first edition presumably dates prior to August 20, 1897, since HPL states that the work was initially written at the age of six (“A Confession of Unfaith” [1922]). It is a retelling of the basic plot of the
There are four other surviving juvenile poetical works. “Ovid’s Metamorphoses” is a fairly literal verse translation of the first 88 lines of Ovid’s poem (HPL’s version takes 116 lines) and shows that HPL had learned Latin well enough by this time to perform the task. It probably dates to around 1900, as it is listed in a catalogue of works found at the back of
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Argonauts” (presumably a retelling of the voyage of the
One last surviving poem is “De Triumpho Naturae: The Triumph of Ignorance over Northern Ignorance” (July 1905). This viciously racist work is based upon (and dedicated to) William Benjamin Smith, author of the tract
All extant works are included in
Juvenile Works: Science.
Aside from
Of chemical treatises, four survive:
Several early treatises (nonextant) testify to HPL’s devotion to geography, specifically his fascination with Antarctica:
Of miscellaneous treatises there is extant one issue of
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Also nonextant is
HPL’s juvenile scientific work culminates in
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K
Kalem Club.
Informal band of friends in New York City, of which HPL was the central figure. According to Rheinhart Kleiner, the club existed in a rudimentary form prior to HPL’s advent to New York in March 1924, its original members including Rheinhart Kleiner, Everett McNeil, and perhaps James F.Morton. When HPL arrived, he introduced several more members, notably Frank Belknap Long, George Kirk, and Arthur Leeds. The club initially met on Thursday nights, but later shifted to Wednesdays because Long attended night classes at New York University. Still later there were separate “McNeil” and “Leeds” meetings because of a dispute between these two members over a small loan that the former had made to the latter; many members did not go to the McNeil meetings (held at Everett McNeil’s apartment in Hell’s Kitchen) because they found McNeil tiresome. HPL always attended both meetings. The club was not named until February 1925; Kirk provides an account of the event: “Because all of the last names of the permanent members of our club begin with K, L or M, we plan to call it the KALEM KLYBB” (George Kirk to Lucile Dvorak, February 1925; quoted in Hart, “Walkers in the City” [see under George Kirk]). HPL, however, never refers to it under this name in his correspondence, making mention only of “the gang” or “The Boys.” The club achieved its heyday in 1925, especially with HPL largely unemployed and living by himself. HPL took pride in being a solicitous host for the meetings held at his apartment, purchasing an aluminum pail for 49¢ to fetch coffee from the neighboring delicatessen; he would serve it and various desserts on his best china. In late 1925 Wilfred B. Talman and Vrest Orton were enrolled as members, but it was decided that the name would not be changed; these two were very sporadic participants in any event. By the spring of 1928, however (two years after HPL’s departure from New York), HPL notes that the club had “almost dissolved” (HPL to Lillian D. Clark, April 29–30, 1928; ms., JHL), leading one to suspect that he had been the driving force behind it.
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See Rheinhart Kleiner, “After a Decade and the Kalem Club,”
Kalos.
In “The Tree,” the sculptor, erstwhile friend of Musides, who competes with him in creating a sculpture of Tyché for the Tyrant of Syracuse. Musides poisons Kalos that he may take the prize, but Kalos exacts revenge from beyond the grave. The name means “fair” or “beautiful” in Greek. Kingsport.
Fictitious city in Massachusetts invented by HPL. Kingsport first appeared in “The Terrible Old Man” (1920) but was not then based upon any specific site; only in “The Festival” (1923) was it identified with Marblehead, a living museum of colonialism, which HPL visited in December 1922. It is cited briefly in “The Silver Key” (1926), used extensively in “The Strange High House in the Mist” (1926), and mentioned glancingly in
Bookseller, publisher, and friend of HPL. Born in Akron, Ohio, he entered the book trade at an early age. He spent the years 1920–22 in California, where he became acquainted with Clark Ashton Smith. In early 1922 he published his only book: Samuel Loveman’s edition of
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until they finally ran out in the mid-1930s. During HPL’s visit to New York in September 1926, Kirk introduced HPL to Howard Wolf, a reporter for the
Kleiner, Rheinhart (1892–1949).
Poet, amateur journalist, and one of HPL’s oldest associates. He came in touch with HPL in early 1915, when he received the first issue of HPL’s
Kleiner wrote the first analysis of HPL’s poetry, “A Note on Howard P.Lovecraft’s Verse” (
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from Providence” (
In “The Temple,” the next to last surviving crew member of the disabled German submarine U-29. In his confinement, he believes he is being summoned by the dead man from whom he confiscated an ivory amulet and then exits the stricken vessel to his death.
Knockout Bernie.
In “The Battle That Ended the Century,” one of two antagonists who engage in a boxing match in the year 2001. The character (nicknamed “the Wild Wolf of West Shokan”) is a parody of HPL’s friend Bernard Austin Dwyer, of West Shokan, N.Y.
Koenig, H[erman] C[harles] (1893–1959).
Bibliophile and late associate of HPL. Koenig, employed in the Electrical Testing Laboratories in New York, came in touch with HPL in the fall of 1933 when he asked HPL how to procure the
Kranon.
In “The Cats of Ulthar,” a burgomaster in Ulthar.
Kuntz, Eugene B[asil] (1865–1944).
Prussian-born poet, Presbyterian minister, and amateur journalist. HPL edited Kuntz’s slim collection of poems,
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Kuranes.
In “Celephaïs,” the dream identity of an unidentified but once-wealthy person in the waking world. His “real” self, through dreams and drugs, escapes his mundane existence as a writer in London to find the city of Celephaïs, of which he had dreamt as a child. When he awakens, he cannot return to Celephaïs, although he dreams of other wondrous realms; but finally he is able to return forever as its king, although his body is later found washed up on the shore. In
Kuttner, Henry (1915–1958).
Science fiction writer from Los Angeles and correspondent of HPL. Early in his career Kuttner wrote in various genres of pulp fiction, including horror; see “The Graveyard Rats” (
See Shawn Ramsey, “Henry Kuttner’s Cthulhu Mythos Tales: An Overview,” Crypt No. 51 (Hallowmas 1987): 21–23, 14; Gordon R.Benson, Jr., and Virgil S.Utter,
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L
Lake,———.
In
“Last Test, The.”
Novelette (19,330 words); ghostwritten for Adolphe de Castro, in October–November 1927. First published in
Dr. Alfred Clarendon, a renowned physician and medical researcher, is appointed to the post of medical director of the California State Penitentiary at San Quentin by his old friend, Governor James Dalton. (Dalton’s father had been ruined on Wall Street by Clarendon’s father, but the younger Dalton held no grudge.) Clarendon’s home in San Francisco is run by his sister Georgina, with whom Dalton has long been in love. Clarendon is working on an antitoxin for black fever. In the course of his work he has had to travel to exotic places, and he has brought back a band of Tibetan servants, over whom Clarendon has placed an enigmatic figure named Surama.
Shortly after Clarendon’s arrival at San Quentin, one of the inmates comes down with black fever; Clarendon places the man in a separate ward so that he can study the case himself, thereby enraging his assistant, Dr. Jones, who wishes to assist. The inmate dies, and later several other prisoners contract the disease. News of the epidemic spreads throughout San Francisco, causing a panic that drives many citizens from the city. Eventually the panic subsides, but Clarendon is criticized for his handling of the matter; he pays no attention, however, to the bad press he receives. Governor Dalton continues to defend Clarendon, in spite of the latter’s curt refusal to allow him to marry Georgina.
Dr. Jones then contrives to change the manner of institutional appointments, with the result that Clarendon is fired from his position and Jones installed in his
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place. Clarendon lapses into depression and rarely stirs from his home. With Surama, he continues experiments of various sorts in his own laboratory, but Georgina is horrified when she overhears a conversation between the two men that suggests their intention to use human patients for their experiments. She asks Dalton’s help in a situation that seems to be growing increasingly tense, especially after she overhears further bizarre conversations that cause her to fall in a faint. Clarendon revives her, and in the process contemplates using her in some nameless experiment. But before he can do so, Dalton arrives and demands an explanation. Clarendon collapses, injecting himself with the serum he was planning to give his sister. He then confesses the truth: he was not even on the track of an antitoxin for black fever but was under the spell of Surama, an evil Atlantean mage who has developed a disease that “isn’t of this earth” to overwhelm mankind. Clarendon urges Dalton to burn the clinic and everything in it, including Surama. Presently Dalton sees the clinic going up in flames: apparently Clarendon had set the fire himself, destroying Surama before he himself succumbed to his self-inflicted disease.
The story is a radical revision of a tale entitled “A Sacrifice to Science” in de Castro’s book,
Lawton, Captain George E.
In “The Mound,” a pioneer who had come to the Oklahoma Territory in 1889 and in 1916 investigates the mound region; he comes back a week later with his feet neatly cut off at the ankles and strangely
Lazare, Edward (1904–1991)
Brief associate of HPL. The two first met in Cleveland in August 1922, when Lazare was a member of Hart Crane’s literary circle. They met again in September 1924, at Samuel Loveman’s apartment in
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Columbia Heights; at that time HPL thought that Lazare would become a “fitting accession to our select circle of The Boys [i.e., the Kalem Club]” (HPL to Lillian D.Clark, September 29–30, 1924; ms., JHL), but Lazare dropped out shortly thereafter. He later became the editor of
Leavitt, Robert.
In “Herbert West—Reanimator,” a traveling salesman from St. Louis whom Herbert West kills in order to test a revivifying solution he has invented.
Leeds, Arthur (1882–1952?).
Friend of HPL in New York. Leeds was something of a rolling stone, having been with a traveling circus as a boy and performing odd jobs throughout his career; during the time HPL knew him in New York (1924–26) he was a columnist for
Legrasse, John Raymond.
In “The Call of Cthulhu,” Inspector of Police for the city of New Orleans. In 1908, he visits with George Gammell Angell at the annual meeting of the American Archaeological Society, in St. Louis, to discuss his findings concerning the Cthulhu cult.
Leiber, Fritz [Reuter] (1910–1992).
Writer, editor, actor, and teacher. He first discovered HPL when he read “The Colour out of Space” in
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homage to HPL. Leiber was the author of many articles on HPL, including “A Literary Copernicus” (in
See Stefan Dziemianowicz, “Dead Ringers: The Leiber-Lovecraft Connection,”
Letters, Lovecraft’s.
Shortly after his death, HPL’s longtime friend Maurice W. Moe wrote: “If there is ever a survey to determine the greatest letter-writer in history, the claims of Lovecraft deserve close investigation” (“Howard Phillips Lovecraft: The Sage of Providence,”
HPL remarked that “Not until I was twenty years old did I write any letters worthy of the name.” He attributed his enthusiasm for letter-writing at this time to his cousin Phillips Gamwell, who, although only twelve, “blossomed out as a piquant letter-writer eager to discuss the various literary and scientific topics broached during our occasional personal conversations” (
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regularly and voluminously. No doubt many of these letters concerned routine matters of amateur business and were correspondingly short; few of these have survived. The letters that do survive are those to his earliest colleagues in amateur journalism—Maurice W.Moe (1914f), Edward H.Cole (1914f), Rheinhart Kleiner (1915f), and Alfred Galpin (1918f). No letters to W.Paul Cook, who was instrumental in HPL’s resumption of fiction-writing in 1917, survive. HPL came in touch with Samuel Loveman in 1917, but very few letters to him are extant, most of them being of much later date. There is a small batch of letters to John T.Dunn (a member of the Providence Amateur Press Club) of 1915–17, mingling amateur affairs and controversial political topics (especially the Irish question); they have been published in
Two distinctive groups of letters are the round-robin cycles, the Kleicomolo and the Gallomo. In these cycles, the various members (Kleiner, Ira A.Cole, Moe, and HPL in the first; Galpin, HPL, and Moe in the second) would sequentially write letters discussing one or more controversial topics; as the batches of letters circulated to each member, he would remove his previous contribution and write a fresh letter, commenting on the letters of the others. In an unsigned article (probably by Kleiner), “The Kleicomolo” (
HPL’s involvement with his future wife, Sonia H.Greene, could presumably be traced in the many letters he wrote to her from 1921 to their marriage in 1924; Sonia herself reports that for two years HPL wrote letters to her almost daily, “sometimes filling 30, 40 and even 50 pages of finely written script” (
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HPL’s solitary letter to the first editor of
HPL’s two years in New York (1924–26) are exhaustively chronicled in letters to his aunts Lillian Clark and Annie Gamwell; the letters to Lillian alone for this period total about 200,000 words. They allow nearly a day-to-day record of HPL’s activities and fluctuating temperament during this critical period in his life. Few letters to members of the “Kalem Club” (James F.Morton, Everett McNeil, Arthur Leeds, Long, George Kirk, Wilfred B.Talman, and others) survive for this period, since HPL saw them frequently in person. Letters to Talman are abundant for a later period. Upon his return to Providence, HPL came into contact with August Derleth and Donald Wandrei; his correspondence with these two writers survives almost intact. His letters to Derleth—more than 380—may represent the greatest number of letters to any of his correspondents. In 1930 HPL received a letter from pulp writer Robert E.Howard, and there began a sporadic but extremely voluminous correspondence that lasted until Howard’s suicide in 1936; the letters total roughly 200,000 words by HPL and 300,000 by Howard. HPL’s single longest surviving letter—70 handwritten pages (35 pages written on both sides) and totaling 33,500 words—was written to the little-known Vermonter Woodburn Harris in 1929. HPL’s work as revisionist caused him to come into contact with would-be writers, but only letters to Zealia Bishop (1928–30) and Richard F.Searight (1933–37) survive in any quantity. The letters to Adolphe de Castro (1928–36) are very scattered, and there are none to David Van Bush or Hazel Heald.
By the 1930s HPL had become a fixture in the worlds of pulp fiction and fantasy fandom, and he accordingly began corresponding with a great many fellow writers (notably E.Hoffmann Price [1932– 37] and Henry S.Whitehead [1931–32]) and disciples (R.H.Barlow [1931–37], Robert Bloch [1933– 37], Duane W.Rimel [1934–37], F.Lee Baldwin [1934–35], Donald A.Wollheim [1936–37], Wilson Shepherd [1936–37], C.L.Moore [1936–37], Fritz Leiber [1936–37], and Willis Conover [1936–37]). The letters to Whitehead were, however, evidently destroyed.
HPL preserved relatively few letters he received over a lifetime of correspondence; not only because of restricted space in his usually cramped quarters, but because most of these letters probably did not seem to him of enduring interest. Exceptions are the early letters of Donald Wandrei (later ones were kept only sporadically) and the letters from Robert E.Howard, E.Hoffmann Price, C.L.Moore, and the amateur writer Ernest A.Edkins (1932–37). None of HPL’s letters to Edkins survive. Frank Belknap Long’s and James F.Morton’s letters survive in fair numbers but with many gaps and omissions; there are few letters by August Derleth. A fair number of Clark Ashton Smith’s letters are extant; substantial extracts have been published as
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row and provincial. Later on, when literary activities brought me into touch with widely diverse types by mail—Texans like Robert E.Howard, men in Australia, New Zealand, &c., Westerners, Southerners, Canadians, people in old England, and assorted kinds of folk nearer at hand—I found myself opened up to dozens of points of view which would otherwise never have occurred to me. My understanding and sympathies were enlarged, and many of my social, political, and economic views were modified as a consequence of increased knowledge. Only correspondence could have effected this broadening; for it would have been impossible to have visited all the regions and met all the various types involved, while books can never talk back or discuss” (
The publication of HPL’s letters was a high priority with Derleth and Wandrei as they were founding Arkham House to preserve HPL’s work in book form. Wandrei in particular was determined to preserve HPL’s correspondence, and Derleth wasted little time in contacting HPL’s colleagues and urging them either to transcribe the letters themselves or to send the letters to him so that his secretary, Alice Conger, could transcribe them. In this way Derleth and Wandrei produced the socalled Arkham House Transcripts—nearly 50 volumes of single-spaced typescripts of letters (each volume averaging about 100 pages) upon which the long-delayed
See S.T.Joshi, “A Look at Lovecraft’s Letters,” in
Libo, P[ublius] Scribonius.
In “The Very Old Folk,” the proconsul of the Roman province of Hispania Citerior (Spain) who orders a cohort to investigate reports of peculiar events in the hills above Tarraco.
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Liddeason, Eli.
In “The Shunned House,” a man who is hired by William Harris to be a servant at the house, but who dies about a year later, after marrying another servant, Mehitabel Pierce.
“Life and Death.”
Short story or prose poem; evidently published in an amateur journal (c. 1920), but text not currently available.
This is one of the few authentically “lost” stories by HPL, but its existence and whereabouts remain in doubt. In his commonplace book (entry #27) HPL records the title and plot germ of the story: “Death—its desolation & horror—bleak spaces—sea-bottom—dead cities. But Life—the greater horror! Vast unheard-of reptiles & leviathans—hideous beasts of prehistoric jungle—rank slimy vegetation—evil instincts of primal man—Life is more horrible than death.” The entry probably dates to early 1920; in contrast to other used entries, HPL has not crossed out this entry or otherwise indicated that it was used. He never mentions or alludes to the story in any extant correspondence. After HPL’s death, R.H.Barlow wrote to August Derleth that he thought he once saw “Life and Death” (Barlow to Derleth, June 14, 1944; ms., SHSW). Around this time W.Paul Cook told Derleth that he thought the story had appeared in the
One wonders, then, whether HPL actually wrote and published “Life and Death.” The plot germ above could in fact refer to the prose poem “Ex Oblivione” (
“Life for Humanity’s Sake.”
Essay (710 words); probably written in the summer of 1920. First published in
The essay is a plea to reject both hedonism and theism in the face of the probable meaninglessness and inconsequence of the human race within the boundless cosmos. HPL asserts that a “real ethical philosophy can be founded only on practicalities” and urges that “the goal of mental evolution and the subordination of pain stands so conspicuously before us.”
Lillibridge, Edwin M.
In “The Haunter of the Dark,” the inquisitive reporter for the
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Little, Myrta Alice
(1888–1967), friend and correspondent of HPL (1921) residing in Hampstead, N.H.Little joined the UAPA in the spring of 1921, and HPL planned to visit her in late May, but the death of HPL’s mother postponed the plans, and he visited her only on June 8–9; the two of them also went to see “Tryout” Smith in Haverhill. HPL returned to New Hampshire in August 25–26, exploring the Haverhill Historical Society with Little. HPL describes her as a former college professor who was attempting to become a professional writer, but her only known published work is a Christmas pageant for children,
“Little Glass Bottle, The.”
Juvenile story (460 words); written c. 1898–99. First published in
A ship commanded by a Captain William Jones comes upon a bottle with a message in it (probably suggested by Poe’s “MS. Found in a Bottle”). This note—written in a very wild and hasty hand on HPL’s autograph manuscript—announces the writer as John Jones (no relation to the captain, one imagines) and says that there is a treasure to be found on the spot marked with an asterisk on the reverse of the note (here we find a crude map of the Indian Ocean, with a nebulous land mass labeled “Austrailia”
Captain Jones decides that “it would pay to go” to the spot, and the crew do so. There they find another note from John Jones: “Dear Searcher excuse me for the practical joke I have played on you but it serves you right to find nothing for your foolish act…” But John kindly defrays their expenses with an iron box containing “$25.0.00,” whatever that is. After reading this note (inexplicably dated December 3, 1880) Captain Jones delivers the one funny line in the entire story: “I’d like to kick his head off.”
The story is an early attempt at humor. For later tales of this sort, see “Ibid,” “A Reminiscence of Dr. Samuel Johnson,” and “Sweet Ermengarde.”
“Living Heritage: Roman Architecture in Today’s America, A.”
Essay (12,760 words); written in December 1934; unpublished in this form.
The essay was written at the request of Maurice W.Moe, who asked HPL to write an essay of his choice for an amateur magazine being produced by his students. HPL wrote a rather routine account of traces of Roman architectural principles in American cities (much of it based upon first-hand observation of sites in New York City and elsewhere). HPL sent Moe the essay without typing it; he later thought Moe had lost the manuscript (the student magazine never materialized). The essay, however, survives in AHT. HPL apparently retained the prefatory section of the essay, which appeared as “Heritage or Modernism: Common Sense in Art Forms” in the
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Lockhart, Andrew F[rancis] (1890–1964),
amateur journalist from Milbank, South Dakota, and author of the first article on HPL, “Little Journeys to the Homes of Prominent Amateurs” (
American short story writer, novelist, and poet, and one of HPL’s closest friends. Long, a lifelong New Yorker, was not quite nineteen when he first came in touch with HPL in early 1920; he was about to enter New York University to study journalism but would later transfer to Columbia, leaving without a degree. His father was a prosperous dentist, and the family resided at 823 West End Avenue in Manhattan. Long developed an interest in the weird by reading the Oz books, Jules Verne, and H.G.Wells in youth, and he exercised his talents both in prose and in poetry. He discovered amateur journalism when he won a prize from
Perceiving the depression and despair HPL was feeling in New York, Long apparently wrote to HPL’s aunts in Providence in early 1926, recommending that they invite HPL to return home. (Long has supplied varying accounts of this
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incident; in one version he states that he himself wrote the letter, in another he claims that his mother did so.) In 1926 W.Paul Cook published Long’s first book of poetry,
In 1929 Long wrote the short novel,
By the early 1930s Long had turned to science fiction or science fantasy, writing voluminously for
Long learned of HPL’s death when he read the brief obituary in the
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Long wrote prolifically in the fields of horror and science fiction. His best tales are collected in two Arkham House volumes,
See Tom Collins, “Frank Belknap Long on Literature, Lovecraft, and the Golden Age of ‘Weird Tales,’”
“Looking Backward.”
Essay (7,680 words); probably written in late 1919 or early 1920. First published in the
“Lord Dunsany and His Work.”
Essay (3,910 words); delivered as lecture to an amateur journalists’ group in Boston, December 1922. First published in
This somewhat superficial survey of Dunsany’s work concludes with HPL’s declaration that modern science has destroyed traditional moral and aesthetic responses and that the “Dresden-china Arcadia” of Dunsany, and the creation of a deliberately artificial world of the imagination, may be a solution to the problem of art in the modern world. As such, the essay represents a significant stage in HPL’s evolution from classicism through Decadence to his final stage of cosmic regionalism.
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Lovecraft Family.
HPL records an elaborate family history for his paternal ancestors, most of it deriving from records copied from his great-aunt Sarah Allgood (d. 1908) in 1905. The Lovecraft family line in England as given by HPL in his letter to Frank Belknap Long (
See R.Alain Everts, “The Lovecraft Family in America,”
Lovecraft, Sarah Susan Phillips (1857–1921).
Mother of HPL; second daughter of Whipple V.Phillips and Robie A.Place Phillips, born in the PlaceBattey house on Moosup Valley Road in Foster, R.I. She spent one academic year at the Wheaton Seminary (Norton, Mass.) in 1871–72; she was otherwise educated in Providence, where she presumably met her friend, the poet Louise Imogen Guiney. It is not known how she met her future husband, Winfield Scott Lovecraft. They married on June 12, 1889, at St. Paul’s Church (Episcopal) in Boston. The couple resided initially in Dorchester, Mass., but Sarah returned to her father’s home in Providence to give birth to HPL on August 20, 1890. According to Sonia H.Davis (“Memories of Lovecraft: I” [1971]; in
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ous Boston suburbs, renting quarters in the Auburndale home of Louise Imogen Guiney and her mother during the winter of 1892–93 (according to HPL’s testimony); they also spent a vacation in Dudley, Mass., in the summer of 1892. They purchased a home lot in Auburndale, but Winfield’s illness in 1893 forced the sale of the lot and the return of Sarah and her son to her father’s home in Providence. She indulged HPL in many of his youthful interests, purchasing books and toys for him (she gave him Andrew Lang’s translation of the
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See Kenneth W.Faig, Jr,
Father of HPL; the only son to survive to adulthood of George Lovecraft (c. 1818–1895) and Helen Allgood (1821–1881), of Rochester, N.Y. HPL states that his father attended a military school and made modern languages his specialty, but the identity of the school is unknown. Richard D.Squires has discovered that Winfield worked as a blacksmith from 1871 to 1873; thereafter he disappears from the record for more than fifteen years. He married Sarah Susan Phillips in Boston on June 12, 1889. He was apparently employed (as was his father for a time) as a “commercial traveler” (i.e., selling to the trade, not door-to-door), probably for Gorham & Co. (Silversmiths) of Providence. The only testimony for this employment comes from Sonia H.Davis’s 1948 memoir (in
See Kenneth W.Faig, Jr,
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“Loved Dead, The.”
Short story (4,000 words); written in collaboration with C.M.Eddy, Jr., probably in October 1923. First published in
A man living in the rural village of Fenham becomes, as a result of a repressive upbringing, a necrophile; accordingly, he works for one undertaking establishment after another so as to achieve the desired intimacy with corpses. He then begins to commit murders, after which he secures “an ecstatic hour of pleasure, pernicious and unalloyed.” On one occasion, however, an employer catches him embracing a corpse and dismisses him. He then enlists in the army during World War I as an opportunity to be near corpses. Returning to Fenham, now a city of some size, he again works for an undertaker and again begins committing murders. At length he arouses the suspicions of the police, and they begin tracking him down as he flees from one hiding place to another. Ending up in a cemetery, he writes an account of his crimes before committing suicide.
The story reads as if HPL had written it from beginning to end, although it clearly was based on a draft by Eddy. The tale is manifestly a self-parody and in its florid language brings to mind “The Hound.” Some passages are remarkably explicit for their day: “One morning Mr. Gresham came much earlier than usual—came to find me stretched out upon a cold slab deep in ghoulish slumber, my arms wrapped about the stark, stiff, naked body of a foetid corpse! He roused me from my salacious dreams, his eyes filled with mingled detestation and pity.”
When the tale was published in
See David E.Schultz, “On ‘The Loved Dead,’”
poet, playwright, and longtime friend of HPL. Loveman, a native of Cleveland, joined amateur journalism around 1905 and published much of his verse—most of it of a classicist,
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as his translations from Heine, Baudelaire, and Verlaine. In December 1919 HPL had a dream involving himself and Loveman, which he wrote almost verbatim into the story “The Statement of Randolph Carter” (1919). About a year later Loveman figured in another dream, which HPL wrote as the prose poem “Nyarlathotep” (1920). HPL first met Loveman in April 1922 in New York. In August 1922 HPL visited him and Alfred Galpin in Cleveland; by this time Loveman had become a close friend of the young Hart Crane, and he introduced HPL to Crane’s friends, including William Sommer, William Lescaze, Edward Lazare, and Gordon Hatfield, whose homosexuality offended HPL. The manuscript of HPL’s “Hypnos” (1922) bears a dedication “To S.L.” In 1922–23 Loveman assisted HPL in editing
In September 1924 Loveman came to New York, following Hart Crane and settling at 78 Columbia Heights in Brooklyn Heights. For the next year and a half he and HPL were closely in touch as members of the Kalem Club. They met Hart Crane on several occasions in late 1924. By September 1925 Loveman had secured a job at Dauber & Pine bookshop (Fifth Avenue and 12th Street) and worked there for the next several years. In March 1926 he arranged for HPL to be paid to address envelopes for three weeks, one of the few remunerative positions HPL secured during his New York stay. Loveman later made the spectacular claim (unsupported by documentary evidence) that HPL was so depressed during the latter stages of his New York stay that he carried poison on his person so that he could commit suicide if he felt unduly depressed (see Joshi,
After HPL returned to Providence, he and Loveman communicated chiefly by correspondence; but Loveman did come to Providence in January 1929, after which the two of them visited Boston, Salem, and Marblehead for a few days. Loveman advised Adolphe de Castro and Zealia Bishop to approach HPL for revision work. On December 31, 1933, HPL attended a New Year’s Eve party at Loveman’s apartment in Brooklyn Heights, at which time he met Hart Crane’s mother. On this occasion Loveman alleges that his friend Patrick McGrath spiked HPL’s punch, so that HPL began speaking very volubly (see “Lovecraft as a Conversationalist”). HPL gives no indication of such a thing and probably would have detected alcohol in his drink. Loveman and HPL spent two days in
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Boston in October 1935. In 1936 the Caxton Press issued Loveman’s
After HPL’s death Loveman wrote two memoirs, “Howard Phillips Lovecraft” (in
Lowndes, Robert A[ugustine] W[ard] (1916–1998).
Author, editor, and late correspondent of HPL. HPL wrote Lowndes two letters, dated January 20 and February 20, 1937 (published in
“Lucubrations Lovecraftian.”
Essay (4,570 words); probably written in early 1921. First published in the
The essay is divided into four parts. “The Loyal Coalition” concerns an organization in Boston designed to counteract anti-English propaganda sponsored by Irish-Americans; “Criticism Again!” deals with criticisms directed toward him by John Clinton Pryor and W.Paul Cook about HPL’s opinionated reviews of amateur journals in the Department of Public Criticism; “Lest We Forget” is a brief diatribe on the need for military preparedness against foreign aggression; and “A Conjecture” is a very short but pungent attack on Elsa Gidlow, who had written derisively of HPL in an unspecified amateur journal. The essay as a whole contains some of HPL’s most forceful—and, on occasion, unrestrained—polemical writing.
Lumley, William (1880–1960).
Eccentric friend of HPL, born in New York City but residing most of his life in Buffalo, N.Y. In late 1935 HPL revised his
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“The Diary of Alonzo Typer” from a draft prepared by Lumley (the original draft was published in
“Lurking Fear, The.”
Short story (8,170 words); written in mid- to late November 1922. First published in
In the first episode, the narrator is searching for the unknown entity that had wreaked havoc among the squatters of the Catskills near the Martense mansion. He is convinced that the haunted mansion must be the locus of the horror, and he takes two colleagues, George Bennett and William Tobey, with him to the place one night. They all sleep in the same bed in one room of the mansion, having provided exits either through the door of the room or the window. Although one of the three is to stay awake while the others rest, a strange drowsiness affects all three. The narrator wakes and finds that the thing has snatched both Bennett and Tobey, who were sleeping on either side of him. Why was he spared?
The second episode finds the narrator coming upon another associate, Arthur Munroe, to assist him in his endeavors. They know that the lurking fear customarily roams abroad during thunderstorms, and during one such storm they stop in a hamlet to wait it out. Munroe, who has been looking out the window, seems anomalously fascinated by something outside and does not respond to a summons. When the narrator shakes his shoulder, he finds that “Arthur Munroe was dead. And on what remained of his chewed and gouged head there was no longer a face.”
In the third episode the narrator realizes that he must explore the history of the mansion to come to terms with its lurking horror. The mansion had been built in 1670 by Gerrit Martense, a wealthy Dutchman who hated the English; his descendants similarly shunned the people around them and took to intermarrying with the “numerous menial class about the estate.” One descendant, Jan Martense, seeks to escape this unhealthy reclusiveness and is killed for his pains. The episode ends with a cataclysmic sight of a “nameless thing” in a subterranean tunnel he stumbles upon as he digs in Jan Martense’s grave.
In the final episode the truth is finally learned: there is not one monster but a whole legion of them. The entire mountain is honeycombed with underground passageways housing loathsome creatures, half apes and half moles. They are the “ultimate product of mammalian degeneration; the frightful outcome of isolated spawning, multiplication, and cannibal nutrition above and below the ground; the embodiment of all the snarling chaos and grinning fear that lurk
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behind life.” In other words, they are the degenerate descendants of the house of Martense. The story was, like “Herbert West—Reanimator,” commissioned for
The tale continues the theme of hereditary degeneration found in “Facts Concerning the Late Arthur Jermyn and His Family” and continuing through “The Rats in the Walls” and “The Shadow over Innsmouth”; indeed, “The Lurking Fear” could be thought of as a trial run for “The Shadow over Innsmouth.”
There are some minor autobiographical touches in the story. Arthur Munroe’s name is probably borrowed from HPL’s boyhood friends, the Munroe brothers. The name Jan Martense may have been taken from the Jan Martense Schenck house (1656) in Flatbush, the oldest existing house in New York City. HPL did not see this house during either of his 1922 New York visits and may not, in fact, have learned of it until after writing “The Lurking Fear”; there is, however, a Martense Street very near Sonia Greene’s apartment at 259 Parkside Avenue in Brooklyn, and this may be the origin of the name.
See Bennett Lovett-Graff, “Lovecraft: Reproduction and Its Discontents,”
Lyman, Dr.
In
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M
Macauley, George W[illiam] (1885–1969).
Amateur journalist and colleague of HPL. Macauley coedited
Machen, Arthur [Llewellyn Jones] (1863–1947).
Welsh author of horror stories, journalist, autobiographer. Machen gained early notoriety for “The Great God Pan” (1890; collected in
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ticulous accumulation of physical evidence. HPL also appreciated the sensitive aesthetic novel
See Wesley D.Sweetser,
Mackenzie, Robert B.F.
In “The Shadow out of Time,” the mining engineer who points out to Nathaniel Wingate Peaslee that the scenes Peaslee describes from his disturbing dreams match exactly those found in the Great Sandy Desert in Australia. Mackenzie meets Peaslee in Arkham to plan an expedition to explore the Australian ruins.
Malkowski, Dr.
In “The Dreams in the Witch House,” a physician in Arkham who attends to Walter Gilman during the latter’s final days.
Malone, Thomas F.
In “The Horror at Red Hook,” a New York police detective who follows the case of Robert Suydam. The case proves so unsettling that he must take a leave of absence in Pascoag, R.I. “Man of Stone, The.”
Short story (6,460 words); ghostwritten for Hazel Heald, probably in summer 1932. First published in
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graphs. He would criticize paragraph after paragraph and pencil remarks beside them, and then make me write them until they pleased him” (note in
Manly, Jack.
In “Sweet Ermengarde,” a handsome but impoverished young man who hopes to marry Ermengarde Stubbs. He seeks a fortune in the city, but in the end his quest for Ermengarde’s hand is unsuccessful.
Manton, Joel.
In “The Unnamable,” the principal of East High School and a believer in “old wives’ superstitions” although skeptical of the existence of anything so horrible as to be “unnamable.” At the end of the tale he learns differently. Manton is based on HPL’s colleague, the high school teacher and amateur journalist Maurice W.Moe.
Marcia.
In “Poetry and the Gods,” a dreamy young woman who writes free verse and later encounters the Greek gods and the shades of several of the great poets of the world.
Marigny, Etienne-Laurent de.
In “Through the Gates of the Silver Key,” the “distinguished Creole student” of Eastern antiquities, who served with Randolph Carter in the French Foreign Legion and is one of the four individuals who attempt to settle Carter’s estate. Carter had named de Marigny his executor. De Marigny is also mentioned as the author of a scholarly article published in
Marsh, Barnabas (Old Man) (b. 1862).
In “The Shadow over Innsmouth,” the owner of the Marsh refinery in Innsmouth. He is grandson of Capt. Obed Marsh (1790–1878), who, in the 1840s, brought back to Innsmouth from his travels in the South Seas a wife who was in fact a monstrous amphibian hybrid, in exchange for treasure. Onesiphorus Marsh was Old Man Marsh’s father; his wife was a woman (actually a hybrid monster) never seen in public.
Marsh, Frank.
In “Medusa’s Coil,” a painter and friend of Denis de Russy, who tries to warn de Russy of the true background of his wife. Marsh begins to paint Marceline’s portrait, but de Russy suspects them of having an affair. (Marceline does, in fact, attempt to seduce Marsh, but he resists.) When Antoine de Russy finds Marceline slain, he suspects Marsh. However, Denis de Russy has killed her and cut off her sinister hair.
Martense, Jan.
In “The Lurking Fear,” a member of a Dutch family that built the Martense mansion atop Tempest Mountain. The mansion was built in 1670 by Gerrit Martense, a wealthy New Amsterdam merchant. Jan, returning to the
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mansion in 1760 after several years in the army, is later killed, probably by his own family, because he has discovered the family’s horrible secret: their unwholesome inbreeding has caused them to decline on the evolutionary ladder.
Mason, Keziah.
In “The Dreams in the Witch House,” the witch who once lived in the old Witch House in Arkham during the celebrated witch hunts in Essex County, occupying the room now inhabited by the student Walter Gilman. The witch plagues Gilman’s troubled dreams, and her ratlike familiar kills him. “Materialist Today, The.”
Essay (1,210 words); probably written in the summer of 1926. First published in
A brief exposition of materialist metaphysics and ethics, the essay asserts that “
“Matter of Uniteds, A.”
Essay (1,720 words); probably written in the spring of 1927. First published in
This substantial essay discusses the split in the UAPA following the disputed election of 1912, leading to the formation of the United Amateur Press Association of America, a group based in Seattle and led by F.Roy Erford, and the UAPA. HPL also wrote of this matter in an unsigned editorial, “The Pseudo-United” (
Mauvais, Michel.
In “The Alchemist,” a wizard who is killed by Henri, comte de C———, who suspects him of making away with his son Godfrey. Michel’s son, Charles le Sorcier, exacts vengeance on the subsequent comtes de C———for the next 600 years.
Mazurewicz, Joe.
In “The Dreams in the Witch House,” a loomfixer who resides in the Witch House in Arkham and attempts to help Walter Gilman cope with his bizarre dreams and sleepwalking. At one point he gives Gilman a crucifix, which assists in temporarily warding off the witch Keziah Mason during one of Gilman’s dreams.
McNeil, [Henry] Everett (1862–1929).
Author of sixteen boys’ books and friend of HPL. He first met HPL in New York in September 1922; he was a member of the Kalem Club during 1924–26. McNeil was one of the first to urge HPL to contribute to the newly founded
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McNeill, Dr.
In “The Curse of Yig,” the curator of an insane asylum in Guthrie, Oklahoma. He informs the narrator of the story of the legend of Yig, the snake-god. His asylum houses the half-human, half-snake offspring of Audrey Davis and Yig.
McTighe,———.
In
“Medusa’s Coil.”
Novelette (16,950 words); ghostwritten for Zealia Brown Reed Bishop, May–August 1930. First published in
His son, Denis de Russy, had gone to Paris and had fallen in love with a mysterious Frenchwoman, Marceline Bedard. Without his father’s permission or knowledge, Denis marries Marceline and brings her back to Missouri to live. In Paris, Marceline had practiced what seemed to be relatively innocuous occultist rituals for the apparent purpose of increasing her tantalizing allure, but when she comes to Missouri she is looked upon with awe and terror by the black servants, especially one “very old Zulu woman” named Sophonisba.
Then, in the summer of 1916, Denis’s longtime friend Frank Marsh, a painter, comes to visit the de Russys. He wishes to paint Marceline, thinking that her exoticism will revive him from the aesthetic rut in which he finds himself.
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He begins the portrait, but tensions rise as Denis believes that Marsh and Marceline are having an affair behind his back. To relieve the situation, Antoine contrives to send Denis to New York to attend his business affairs; but he is disturbed when he overhears Marceline clearly trying to seduce Marsh, who resists her advances.
At last Marsh’s painting is done, but horror is in the offing. Antoine awakes one day to find Marceline in a pool of her own blood, her long, luxurious hair hacked off. Marsh must be the culprit; but when Antoine follows a bloody trail to an upstairs room, he finds Marsh dead, with his son Denis crouching next to him, “a tousled, wild-eyed thing.” Denis maintains that he killed Marceline because “she was the devil—the summit and high-priestess of all evil.” He had come back home because he continued to suspect that Marsh and Marceline were lovers; but as he saw Frank’s painting, he realized that Marsh was trying to warn him about his wife, conveying by means of his painting that she was a “leopardess, or gorgon, or lamia.” After he had killed Marceline, her hair continued to exhibit signs of animation, and as he hacked off her hair it wrapped itself around Marsh and choked him to death. After telling his tale to his father, Denis dies.
Antoine buries the bodies of Marsh (with Marceline’s coils still around him), Marceline, and his son in the cellar. He has, however, preserved Marsh’s painting, and reluctantly he takes the traveler up to the room where it is kept. As the two are looking at it, the strands of hair begin to lift themselves from the painting and seem about to strike Antoine. The traveler draws out his automatic and shoots the painting, but Antoine curses at the traveler: the painting has to be kept intact, otherwise Marceline and her coils will revive and come out of their grave. Sounds from the basement seem to confirm that this is happening, so the two men flee; the house in any event is ablaze from a candle that Antoine had dropped in the studio. The traveler makes it to his car, but he sees Antoine overtaken by a “bald, naked figure,” and also dimly perceives some large snake-like form among the tall weeds and bushes. As he drives to the nearest town, he learns that the de Russy mansion had in fact burned down five or six years ago. The traveler then informs us of the ultimate horror of the matter: Marceline was, “though in deceitfully slight proportion,” a negress.
Notes for the story survive (in AHT), including both a plot outline and a “Manner of Narration” (a synopsis of events in order of narration); here too it is made clear that the final racist revelation —“woman revealed as vampire, lamia, &c. &c.—& unmistakably (surprise to reader as in original tale) a negress”—is meant to be the culminating horror of the tale. The mention here of an “original tale” may suggest that there was a draft of some kind by Bishop, but if so, it does not survive.
See Marc A.Cerasini, “Dark Passion: ‘Medusa’s Coil’ and ‘Black Canaan,’”
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“Memory.”
Prose poem (350 words); probably written in the spring of 1919. First published in the
A Daemon of the Valley holds a colloquy with “the Genie that haunts the moonbeams” about the previous inhabitants of the valley of Nis, through which the river Than flows. The Genie has forgotten these creatures, but the Daemon declares: “I am Memory, and am wise in lore of the past, but I too am old. These beings were like the waters of the river Than, not to be understood. Their deeds I recall not, for they were but of the moment. Their aspect I recall dimly, for it was like to that of the little apes in the trees. Their name I recall clearly, for it rhymed with that of the river. These beings of yesterday were called Man.”
Poe’s influence dominates this very short work: there is a Demon in Poe’s “Silence—a Fable”; “the valley Nis” is mentioned in Poe’s “The Valley of Unrest” (whose original title was “The Valley Nis,” although HPL may not have been aware of the fact); and “The Conversation of Eiros and Charmion,” which features a dialogue like that of HPL’s tale, speaks of the destruction of all earth life by means of a fire caused by a comet passing near the earth.
See Lance Arney, “The Extinction of Mankind in the Prose Poem ‘Memory,’”
Menes.
In “The Cats of Ulthar,” the little boy whose kitten disappears following the arrival of “dark wanderers” in Ulthar. He elicits supernatural intervention in exacting vengeance for the loss of his kitten.
Merritt, A[braham] (1884–1943).
American author and longtime editor of
See T.G.L.Cockcroft, “Random Notes on Merritt and Lovecraft,”
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“Messenger, The.”
Poem (sonnet); written at 3:07 A.M., November 30, 1929. First published in the
Hart had read “The Call of Cthulhu” and expressed mock outrage at the fact that HPL had set the tale in part in a boarding-house at 7 Thomas Street in Providence, where Hart himself had once lived. He threatened (in a “Sideshow” column of November 30, 1929) to send a “large and abiding ghost” to HPL’s residence at 3 A.M. HPL accordingly wrote the poem shortly after the designated time of the ghost’s arrival. Winfield Townley Scott (“A Parenthesis on Lovecraft as Poet” [1945]; rpt.
In “Winged Death,” an African from Uganda who, when he develops an unusual illness after being bitten by an insect, is brought to Dr. Thomas Slauenwite to be healed. Slauenwite cures him with antitoxin, whereupon Mevana leads Slauenwite to the lake where he was bitten so that the latter can capture the insects that caused the strange malady.
Miller, Wesley P.
In “In the Walls of Eryx,” the superintendent of Group A of the Venus Crystal Company. He writes the report about the discovery of the body of Kenton J.Stanfield in the invisible maze. Miniter, Edith [May Dowe] (1869–1934).
Novelist, poet, and amateur journalist residing in central Massachusetts. She was the daughter of amateur writer Jennie E.T.Dowe (about whom HPL wrote an elegy, “In Memoriam: J.E.T.D.,”
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amateur press has now been collected in
In “‘Till A’ the Seas,’” an old woman who, in the distant future, is (along with a young man named Ull) the last surviving member of the human race. When she dies, Ull is left alone. Moe, Maurice W[inter] (1882–1940).
Teacher, amateur journalist, and longtime friend and correspondent of HPL. Moe taught English at Appleton High School (Appleton, Wis.) and later at West Division High School in Milwaukee. He came in touch with HPL no later than the end of 1914 and maintained a substantial correspondence from that time until HPL’s death; it was at Moe’s suggestion, in the summer of 1916, that he, HPL, Rheinhart Kleiner, and Ira A.Cole begin a round-robin correspondence cycle, the Kleicomolo. Later, in 1919–21, Moe, HPL, and Alfred Galpin formed the Gallomo correspondence group. For a time Moe made copies of all the correspondents’ contributions, but these copies do not appear to survive. A devout theist, Moe argued repeatedly with HPL on religion, but their discussions—at times heated but never acrimonious—appear not to have altered either individual’s viewpoints significantly. In one of these argumentative letters (May 15, 1918;
For the next thirteen years their relations consisted solely of correspondence. HPL got into the habit of typing long letters to Moe recounting his various travels (the essays “Observations on Several Parts of America” [1928] and “Travels in the Provinces of America” [1929] are two such items), which Moe was to read and then pass on to other colleagues. In 1927 or 1928 HPL wrote a satirical biography of Ibid, which Moe thought of submitting to the
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but it was later decided that the piece was too specialized for a general readership, so it remained unpublished until it appeared in the
Moe visited HPL for the second and final time on July 18–19, 1936, as he and his son Robert (who was working in Bridgeport, Conn.) came to Providence. HPL had been corresponding regularly with Robert since 1934. Since they had a car, they managed to visit several of the surrounding towns— Pawtuxet, Warren, and Bristol. At that time Moe and HPL participated in a final correspondence group, the Coryciani, although only two letters by HPL survive. After HPL, R.H.Barlow, and Adolphe de Castro wrote their acrostic poems on Poe on August 8, 1936, Moe himself wrote one of his own and then hectographed all four as
“Moon-Bog, The.”
Short story (3,430 words); written shortly before March 10, 1921. First published in
Denys Barry, who comes from America to reclaim an ancestral estate in Kilderry, Ireland, decides to empty the bog on his land: “For all his love of Ireland, America had not left him untouched, and he hated the beautiful wasted space where peat might be cut and land opened up.” The peasants refuse to assist him for fear of disturbing the spirits of the bog. Barry calls in outside workers and the project continues apace, even though the workers confess suffering from strange and troublesome dreams. One night the narrator, Barry’s friend, awakes and hears a piping in the distance: “wild, weird airs that made me think of some dance of fauns on distant Maenalus” (a curious nod to “The Tree”). Then he sees the laborers dancing as if under some form of hypnosis, along with “strange airy beings in white, half indeterminate in nature, but suggesting pale wistful naiads from the haunted fountains of the bog.” But the next morning the workers seem to remember nothing of the night’s events. The next night things reach a climax: the piping is heard again, and the narrator again sees the “white-clad bog-wraiths” drifting toward the deeper waters of the bog, followed by the mesmer
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ised laborers. Then a shaft of moonlight appears, and “upward along that pallid path my fevered fancy pictured a thin shadow slowly writhing; a vague contorted shadow struggling as if drawn by unseen daemons.” It is Denys Barry, who is spirited off and never seen again.
The story was written for a St. Patrick’s Day gathering of amateurs in Boston (although the meeting took place on March 10, a week before St. Patrick’s Day). The tale is one of the most conventionally supernatural in HPL’s oeuvre. It bears an accidental similarity of plot to Lord Dunsany’s novel
Moore, C[atherine] L[ucile] (1911–1987).
Author of weird and science fiction tales, living in Indianapolis, Indiana, and late correspondent of HPL (1934–37). HPL enjoyed her early tales, especially “Shambleau” (
See Susan Gubar, “C.L.Moore and the Conventions of Women’s Science Fiction,”
Moore, Dr. Henry Sargent.
In “Winged Death,” a Professor of Invertebrate Biology at Columbia University, author of
Morehouse, Dr. Arlo.
In “Deaf, Dumb, and Blind,” a physician who finds the body of the author Richard Blake in a country cottage, along with the strange message that he (or some other entity) had left in Blake’s typewriter. Morgan, Dr. Francis.
In “The Dunwich Horror,” a man (whether a medical doctor or a professor is unclear) who, with Henry Armitage and Warren Rice, leads the party that exterminates Wilbur Whateley’s monstrous twin brother.
Morris, Daniel (“Mad Dan”).
In “The Man of Stone,” the occupant of a cabin in the town of Mountain Top (in upstate New York) whose diary constitutes the bulk of the narrative. He learns of a technique perfected by his ancestor, Bareut Picterse Van Kauran, for turning living creatures into stone, and he uses it on a man whom he suspects of having designs on his wife, Rose. He also attempts to use it on her, but she thwarts him and successfully turns the tables on him.
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Morse, Richard Ely (1909–1986).
Poet and correspondent of HPL. Morse, a graduate of Amherst College and residing in Princeton, N.J., was introduced to HPL by Samuel Loveman in May 1932 when HPL was passing through New York; a brisk correspondence thereupon ensued. At the time Morse was a librarian at Princeton University, but in 1933 he moved to Washington, D.C., to do research for his uncle at the Library of Congress. He published one book of poetry,
Morton, James Ferdinand, Jr. (1870–1941),
pamphleteer, amateur journalist, and friend of HPL. Morton received a simultaneous B.A. and M.A. from Harvard in 1892. In 1896–97 he was president of the NAPA; in later years he would become president of the Thomas Paine Natural History Association and vice president of the Esperanto Association of North America. He wrote numerous pamphlets supporting free speech, free love, and the single tax and attacking religion and race prejudice; among his publications are
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On July 19, 1927, Morton visited HPL (now back in Providence) along with Frank Belknap Long and Donald Wandrei; on the 23rd he, HPL, and Wandrei staged their ice cream eating contest at Maxfield’s in Warren, R.I., each of them sampling twenty-eight different flavors of ice cream. HPL also assisted Morton in securing rock specimens for his museum. On May 12, 1928, HPL visited Morton in Paterson; Morton repaid the favor by passing through Providence in June 1929 and again on July 31–August 2, 1933. Morton came to Rhode Island again on August 4–7, 1934, visiting the town of Buttonwoods in quest of genealogical data. Otherwise HPL’s and Morton’s friendship was conducted by correspondence, and HPL’s side of it is among the most scintillating and wide ranging of any of his letters. The whereabouts of most of these letters are, however, unknown, and to current knowledge they survive only in extensive extracts in AHT. After HPL’s death Morton wrote a brief memoir, “A Few Memories” (
Moulton,———.
In
“Mound, The.”
Novelette (29,560 words); ghostwritten for Zealia Brown Reed Bishop, December 1929–January 1930. First published (abridged) in
A member of Coronado’s expedition of 1541, Panfilo de Zamacona y Nuñez, leaves the main group and conducts a solitary expedition to the mound region of what is now Oklahoma. There he hears tales of an underground realm of fabulous antiquity and (more to his interest) great wealth and finds an Indian who will lead him to one of the few remaining entrances to this realm, although the Indian refuses to accompany him on the actual journey. Zamacona comes upon the civilization of Xinaian (which he pronounces “K’n-yan”), established by quasi-human creatures who came from outer space. These inhabitants have developed remarkable mental abilities, including telepathy and the power of dematerialization—the process of dissolving themselves and selected objects around them into their component atoms and recombining them at some other location. Zamacona initially expresses wonder at this civilization but gradually finds that it has declined both intellectually and morally from a much higher level and has now become corrupt and decadent. He attempts to escape but suffers a horrible fate. His written record of his adventures is unearthed in modern times by an archeologist, who paraphrases his incredible tale.
Bishop’s original plot-germ for the story (as recorded by R.H.Barlow on the surviving typescript) was of the most skeletal sort: “There is an Indian mound near here, which is haunted by a headless ghost. Sometimes it is a woman.” HPL found this idea “insufferably tame & flat” (
The story is the first of HPL’s tales to utilize an alien civilization as a transparent metaphor for certain phases of human (and, more specifically, Western) civilization. Initially, K’n-yan seems a Lovecraftian Utopia: the people have
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conquered old age, have no poverty because of their relatively few numbers and their thorough mastery of technology, use religion only as an aesthetic ornament, practice selective breeding to ensure the vigor of the “ruling type,” and pass the day largely in aesthetic and intellectual activity. But as Zamacona continues to observe the people, he begins to notice disturbing signs of decadence. Science is “falling into decay”; history is “more and more neglected”; and gradually religion is becoming less an aesthetic ritual and more a degraded superstition. The narrator concludes: “It is evident that K’n-yan was far along in its decadence—reacting with mixed apathy and hysteria against the standardised and time-tabled life of stultifying regularity which machinery had brought it during its middle period.” This comment mirrors HPL’s ruminations regarding the current state of Western civilization (see, e.g.,
The story was far longer a work than HPL needed to write for this purpose, and its length bode ill for prospects of publication.
The belief that Frank Belknap Long had some hand in the writing of the story—derived from Zealia Bishop’s declaration that “Long…advised and worked with me on that short novel” (“H.P.Lovecraft: A Pupil’s View” [1953]; in
See W.E.Beardson, “The Mound of Yig?”
“Mrs. Miniter—Estimates and Recollections.”
Essay (5,210 words); written on October 16, 1934. First published in the
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This poignant essay traces the amateur career of the recently deceased Edith Miniter, with a discussion of her household (including her cousin Evanore Beebe and numerous pets) at a rural home, Maplehurst, outside of Wilbraham, Mass., which HPL visited in 1928. The essay was intended for a booklet devoted to Miniter, to be published by W.Paul Cook, for which HPL had gathered numerous other articles, but the project came to naught. HPL also wrote an elegy, “Edith Miniter” (
Müller,———.
In “The Temple,” the boatswain on the German submarine U-29 who apparently commits suicide to escape the horrors he thinks are besetting the vessel.
Munn, H[arold] Warner (1903–1981).
American writer of fantasy and horror tales, and friend of HPL. His first story, “The Werewolf of Ponkert” (
Muñoz, Dr.
In “Cool Air,” the doctor who treats the narrator when he has a heart attack. Since Muñoz had died eighteen years previously, he keeps his apartment refrigerated to increasingly cooler temperatures to maintain his artificially preserved body. He appears to have been based in part on a Dr. Love (see entry on “Cool Air”).
Munroe, Arthur.
In “The Lurking Fear,” he accompanies the narrator to the haunted Martense mansion, after two other searchers disappear, only to meet a loathsome fate.
Munroe, Chester Pierce (1889–1943).
Boyhood friend of HPL, residing at 66 Patterson Avenue in Providence, about four blocks away from HPL’s residence at 454 Angell Street. HPL and Munroe became acquainted around 1902, when they attended the Slater Avenue School. HPL remarks that “Chester Pierce Munroe & I claimed the proud joint distinction of being the worst boys in Slater Ave. School…. We were not so actively destructive as merely antinomian in an ar
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rogant & sardonic way—the protest of individuality against capricious, arbitrary, & excessively detailed authority” (HPL to Helen Sully, December 4, 1935; ms., JHL). At that time they and other friends formed the Providence Detective Agency and the Blackstone Military Band. It is not clear whether Chester attended Hope Street High School with HPL, but Chester did, in 1905, follow HPL’s lead in operating a hectographed paper, the
Munroe, Harold Bateman (1891–1966).
Brother of Chester P.Munroe and boyhood friend of HPL. Like his brother, Harold was a member of the various gangs or boyhood groups in which HPL was involved, such as the Providence Detective Agency and the Blackstone Military Band. HPL reports that he and Harold were “Confederates in sympathy, & used to act out all the battles of the War in Blackstone Park” (HPL to Lillian D.Clark, [May 2, 1929]; ms., JHL). Not much is heard of Harold until August 8, 1921, when Harold, now a businessman as well as a deputy sheriff, peremptorily summoned HPL to revisit the Great Meadow Country Clubhouse, just across the state line in Rehoboth, Mass., which HPL and his friends had built around 1907, with the assistance of a Civil War veteran named James Kay. Harold and HPL resolved to resume holding monthly meetings at the clubhouse, along with other boyhood friends such as Ronald Upham and Stuart Coleman, but the plan was quickly forgotten. Munroe is not to be confused with Harold W.Munro, a classmate of HPL’s at Hope Street High School and author of the memoir “Lovecraft, My Childhood Friend” (1983; in
“Music of Erich Zann, The.”
Short story (3,480 words); probably written in December 1921. First published in the
The narrator has “examined maps of the city with the greatest of care,” but he cannot find the Rue d’Auseil, where he once dwelt as an “impoverished student of metaphysics” and heard the music of Erich Zann. Zann is a mute viol-player who played in a cheap theatre orchestra and dwelt in the garret apartment of a boarding-house run by “the paralytic Blandot”; the narrator, occupying a room on the fifth floor, occasionally hears Zann playing wild tunes featuring harmo
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nies that seem to have no relation to any known style of music. One night he meets Zann in the hallway and asks to listen in while he plays; Zann accedes, but plays only ordinary music, although it is nevertheless affecting and apparently of his own composition. When the narrator asks Zann to play some of his weirder numbers, and even begins to whistle one of them, Zann reacts with horror and covers the narrator’s mouth with his hand. When the narrator attempts to look out the curtained window of the apartment, Zann prevents him from doing so. Later Zann has the narrator move to a lower floor so that he can no longer hear the music. One night, as the narrator comes to Zann’s door, he hears “the shrieking viol swell into a chaotic babel of sound” and later hears an “awful, inarticulate cry which only the mute can utter, and which rises only in moments of the most terrible fear or anguish.” Demanding entry, he is let in by a harried Zann, who manages to calm himself and writes a scribbled note saying that he will prepare “a full account in German of all the marvels and terrors which beset him.” An hour passes while Zann writes; then a strange sound seems to come from the curtained window: “…it was not a horrible sound, but rather an exquisitely low and infinitely distant musical note….” Zann immediately stops writing, picks up his viol, and commences to play with demoniac fury: “He was trying to make a noise; to ward something off or drown something out….” The glass of the window breaks, blowing out the candle and plunging the room into darkness; a sudden gust of wind catches up the manuscript and bears it out the window. As the narrator attempts to save it, he gains his first and last look out that lofty window, but sees “only the blackness of space illimitable; unimagined space alive with motion and music, and having no semblance to anything on earth.” The narrator runs into Zann in an effort to flee, encountering the mad player still playing mechanically even though he seems to be dead. Rushing from the building, he finds the outside world seemingly normal. But he has, from that time, been unable to find the Rue d’Auseil.
HPL always considered the tale among his best, although in later years noted that it had a sort of negative value: it lacked the flaws—notably overexplicitness and overwriting—that marred some of his other works, both before and after. It might, however, be said that HPL erred on the side of
The story appears to be set in Paris. The French critic Jacques Bergier claimed to have corresponded with HPL late in the latter’s life and purportedly asked him how and when he had ever seen Paris in order to derive so convincing an atmosphere for the tale; HPL is said to have replied, “In a dream, with Poe” (Jacques Bergier, “Lovecraft, ce grand génie venu d’ailleurs,”
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1922;
The story was among the most frequently reprinted in HPL’s lifetime. Aside from the appearances listed above, it was included in Dashiell Hammett’s celebrated anthology,
See John Strysik, “The Movie of Erich Zann and Others,”
In “The Tree,” the sculptor who poisons his friend Kalos in order that he might win the competition they are engaged in to create a statue of Tyché for the Tyrant of Syracuse. He is killed and his sculpture destroyed by a limb from the tree at Kalos’ tomb that breaks off in a storm. The name means “son of the Muses” in Greek.
Mwanu.
In “Facts Concerning the Late Arthur Jermyn and His Family,” he is the chief of the Kaliri tribe in the Congo. It is he who confirms to Arthur Jermyn the legends that Arthur has heard about his ancestry. “My Favourite Character.”
Poem (36 lines in 6 stanzas); written on January 31, 1925. First published in the
This comic poem—in which HPL examines numerous characters in classic and contemporary works of literature, but then decides that, in regard to determining his favorite, “I’ll frankly give myself the nomination”—was written for a Blue Pencil Club meeting, in which amateurs were asked to prepare literary contributions on a stated topic.
“Mysteries of the Heavens Revealed by Astronomy.”
Series of astronomy columns for the
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tions” (April 27 and May 1); XIII. “Telescopes and Observatories” (May 11 and 17). However, the first installment announced the series as consisting of fourteen sections, so it appears that section XIV and, probably, the final segment of XIII are lost. Librarians at the Asheville Public Library report that several issues following May 17 are missing, and it is likely that the missing segments appeared here. In the first installment HPL describes the series as “designed for persons having no previous knowledge of astronomy. Only the simplest and most interesting parts of the subject have here been included.” HPL’s boyhood friend Chester P.Munroe (at this time working in Asheville) probably arranged to have HPL write the articles for the local paper, although there is no documentary evidence to support this assertion. Late in life HPL unearthed the articles and remarked: “…their obsoleteness completely bowled me over. The progress of the science in the last twenty or thirty years had left me utterly behind…” (
“Mysterious Ship, The.”
Juvenile story (460 words); written 1902. First published in
A “strange brig” docks at various ports, with the result that various individuals are found to have disappeared. The ship goes all over the world and deposits its kidnapped individuals at the North Pole. At this point HPL relates a “geographical fact” that “At the N. Pole there exists a vast continent composed of volcanic soil, a portion of which is open to explorers. It is called ‘No-Mans Land.’” Some unnamed individuals find the kidnapped individuals, who then go to their respective homes and are showered with honors.
HPL has prepared this story as a twelve-page booklet, with the imprint: “The Royal Press. 1902.” He is clearly aiming for dramatic concision: some of the nine chapters of the story are no more than twenty-five words in length. A revised or elaborated version of the story has recently been found in the HPL materials collected by August Derleth at Arkham House. This version (still unpublished) fleshes out each chapter to about seventy-five to one hundred words each, so that the total comes to 780 words, almost twice the length of the original.
“Mystery of Murdon Grange, The.”
Round-robin serial tale; apparently “published” in a typewritten manuscript magazine,
HPL first describes the item in a letter dated June 27, 1918: “My
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What this suggests is that the story was a round-robin serial, with several different amateurs writing various segments; at best, HPL wrote one or more subsequent chapters in
“Mystery of the Grave-yard; or, ‘A Dead Man’s Revenge’: A Detective Story, The.” Juvenile story (1,310 words); written c. 1898–99. First published in
Joseph Burns has died. Burns’s will instructs the rector, Mr. Dobson, to drop a ball in his tomb at a spot marked “A.” He does so and disappears. A man named Bell announces himself at the residence of Dobson’s daughter, saying that he will restore her father for the sum of £10,000. The daughter, thinking fast, calls the police and cries, “Send King John!” King John, arriving in a flash, finds that Bell has jumped out the window. He chases Bell to the train station, but Bell gets on a train as it is pulling out of the station. There is no telegraph service between the town of Mainville, where the action is taking place, and the “large city” of Kent, where the train is headed. King John rushes to a hackney cab office and says to a black hackman that he will give him two dollars (even though pounds were mentioned before) if he can get him to Kent in fifteen minutes. Bell arrives in Kent, meets with his band of desperadoes (which includes a woman named Lindy), and is about to depart with them on a ship when King John dramatically arrives, declaring: “John Bell, I arrest you in the Queen’s name!” At the trial, it is revealed that Dobson had fallen down a trapdoor at the spot marked “A” and had been kept in a “brilliantly lighted, and palatial apartment” until he rescues himself by making a wax impression of the key to the door and makes a dramatic entrance at the trial. Bell is sent to prison for life; Miss Dobson has become Mrs. King John.
The story is clearly influenced by the dime novel, a form of popular fiction widely read by unsophisticated readers from 1860 to the early twentieth century. HPL himself admitted reading several series of adventure stories in dime-novel format, including those focusing on such “heroes” as Nick Carter, Old King Brady, and Prince John. Possibly HPL’s King John is a fusion (at least in name) of Old King Brady and Prince John. (King John is presumably the hero of another lost HPL story written around this time, “John, the Detective.”) Many dime novels suggested the supernatural but explained it away at the end, as HPL’s story does, and many had frenetic, action-packed plots. HPL also attempts a rudimentary form of dialect in the speech of the hackman.
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N
“Nameless City, The.”
Short story (5,070 words); probably written in mid- to late January 1921. First published in the
An archaeologist seeks to explore the nameless city, which lies “remote in the desert of Araby.” It was of this place that Abdul Alhazred “the mad poet” dreamed the night before he wrote his “unexplainable couplet”:
That is not dead which can eternal lie,
And with strange aeons even death may die.
The narrator burrows into the sand-choked apertures that lead into some of the larger structures of the city. He is disturbed by the odd proportions of a temple into which he crawls, for the ceiling is very low to the ground and he can scarcely kneel upright in it. He descends an immense staircase that leads down into the bowels of the earth, where he finds a large but still very low-built hall with odd cases lining the walls and frescoes covering the walls and ceiling. The creatures in the cases are very peculiar—apparently reptilian, but in size approximating a small man. Even though it is these anomalous entities who are portrayed in the frescoes, the narrator convinces himself that they are mere totem-animals for the human beings who must have built the city and that the historical tableaux depicted in the frescoes are metaphors for the actual (human) history of the place. But this delusion is shattered when the narrator perceives a gust of cold wind emerging from the end of the hallway, where a great bronze gate lies open and from which a strange phosphorescence emerges. He then sees in the luminous abyss the entities themselves rushing in a stream before him. Somehow he manages to escape and tell his story.
HPL admits (
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reverberate blackness of the abyss” (the last line of “The Probable Adventure of the Three Literary Men”). A more concrete source is the entry on “Arabia” in the 9th edition of the
Although the tale remained among HPL’s favorites, he said it was “rejected by all the paying editors” (HPL to Duane W.Rimel, February 14, 1934; ms, JHL).
Abdul Alhazred makes his first appearance in HPL’s work in this story, although he is not yet declared to be the author of the
See Dan Clore, “Overdetermination and Enigma in Alhazred’s Cryptic Couplet,”
Narrators, Unidentified.
Many of HPL’s tales are narrated by individuals who, although not identified by name, either play an integral part in the story or serve merely as the conduit through which the events of the story are conveyed. They are described briefly below:
“The Beast in the Cave”: The narrator becomes lost exploring the Mammoth Cave. In trying to escape, he encounters and kills a denizen of the cave, who turns out to be not a beast but a man. “Beyond the Wall of Sleep”: The narrator is an intern at the state (New York) psychopathic institution. It is he who cares for Joe Slater and who devises a “cosmic radio” to communicate with the “dream-soul” (actually an extraterrestrial entity) who temporarily inhabits Slater’s body. “The Book”: The narrator of the fragment obtains an ancient handwritten volume—presumably from a book dealer. He perceives that he is followed home, “for he who passes the gateways [to which the book is a “key”] always wins a shadow, and never again can he be alone.” Upon reading the book, he finds he can no longer “see the world as I had known it.”
“The Colour out of Space”: The narrator is a surveyor, working on the outskirts of Arkham where a new reservoir is to be built. He finds that those living there consider the area of the former Nahum Gardner farm to be “evil,” but no
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one will divulge any information as to why, except the aged Ammi Pierce. The narrator serves as a mouthpiece for Pierce’s story.
“The Crawling Chaos”: The narrator, who is accidentally administered an overdose of opium, tells the ensuing drug-induced vision, ending in his witnessing the destruction of the world. “The Curse of Yig”: The narrator is researching snake lore in Oklahoma, investigating the legend of Yig. The curator of an insane asylum reveals to him the only surviving half-human, half-snake offspring of Yig and a human female.
“Dagon”: The narrator, a supercargo on an unspecified sailing vessel, is captured in the Pacific Ocean by a German man-of-war. He escapes in a small boat and, after several days of drifting, finds himself run aground. He encounters first a Cyclopean monolith bearing strange marine carvings, then a hideous monster of the kind depicted on the monolith. He escapes and ultimately finds himself confined in a hospital in San Francisco. He later comes to believe that he is still pursued by the creature.
“The Disinterment”: The narrator awakens in a hospital bed to find that he was stricken with leprosy and treated for it by his friend Marshall Andrews. He learns that Andrews has unorthodoxly “cured” him of the disease by transplanting his head to the body of an African American.
“The Electric Executioner”: The narrator is an auditor with the Tlaxcala Mining Company of San Francisco. He is tasked with finding one Arthur Feldon, who disappeared in Mexico with important company papers. He finds himself on a train in the company of a dangerous maniac, who claims to have devised a hoodlike instrument for performing executions. The narrator tricks the madman into donning the device, and the man is accidentally killed by it. The narrator faints, but is later informed that he was alone in the train car.
“The Evil Clergyman”: The narrator investigates the attic chamber of an absent clergyman, whose library contains not only theological and classical books, but also treatises on magic. Somehow, the narrator invokes the clergyman, who alters the appearance of the narrator to resemble his own. Since this is not a story, but an account of an actual dream from a letter to Bernard Austin Dwyer, the “narrator” is HPL himself.
“Ex Oblivione”: The narrator, weary with the “ugly trifles of existence,” begins dreaming of a gate in a “golden valley,” later discovering that the gate leads to oblivion.
“The Festival”: The narrator visits his ancestral (seventeenth century) home in Kingsport because his ancestors are bidden to “keep festival…once every century, that the memory of primal secrets not be forgotten.” When the identity of the old man he encounters there—“the true deputy of my fathers”— is accidentally revealed to him, he leaps into the underground river beneath the house and is found the next day half frozen in the harbor. Those who tend to him at the hospital dismiss his account of his experiences as a “psychosis,” although he is convinced his experience was real. “From Beyond”: The narrator is the “best friend” of the crazed inventor and philosopher Crawford Tillinghast. Tillinghast demonstrates for him a weird device that reveals the existence of creatures that cannot be perceived by the five
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senses. In terror, the narrator fires his revolver at Tillinghast’s machine and destroys it, and thus is unable to prove what Tillinghast has shown him.
“The Ghost-Eater”: Traveling on foot, the narrator encounters a house in a deserted wood, where he stays for the evening, to encounter what he later learns may have been a werewolf. “The Green Meadow”: The narrator (writing in classical Greek) tells of how he finds himself near a stream on a peninsula that breaks off and floats away. He approaches an island and experiences a revelation, which is not revealed, as the concluding text of his narrative is illegible. “The Haunter of the Dark”: The narrator, perhaps a detective, is probably the most distant observer of any story by HPL—his presence hinted at only by the invitation, “let us summarise the dark chain of events from the expressed point of view of [Robert Blake,] their chief actor.”
“He”: Increasingly disillusioned by his residence in New York City, the narrator seeks out the few remaining havens of antiquity in the city. He encounters an elderly man—a kindred spirit—who leads him to an out-of-the-way place where he is shown pandemoniac visions of a New York of both the past and the future. The narrator is found on the street, badly battered and unable to retrace his way back to the old man’s place. He ultimately returns “home to the pure New England lanes.” Though developed only rudimentarily, the narrator is perhaps the most autobiographical of HPL’s characters in spirit.
“Herbert West—Reanimator”: The narrator is a friend and colleague of Herbert West, first as fellow medical student, then later a partner in practice. He observes the outcome of all West’s experiments and witnesses West’s demise at the hands of West’s partially successful experiments in reanimation— a fate he himself escapes because he was merely West’s assistant.
“The Hound”: The narrator and his colleague, St. John, are graverobbers and “neurotic virtuosi,” who amass a museum of charnel trophies. After St. John is destroyed by the creature from whom they steal an ancient amulet, the narrator vows to take his own life to escape the fate that befell his friend.
“Hypnos”: The narrator, a sculptor, claims to have had a friend who led him on various dream voyages, and who perished after offending Hypnos, “lord of sleep,” leaving him a perfectly sculptured bust of marble. Quite naturally, the narrator is considered mad, the bust being thought to be his own handiwork.
“In the Vault”: The narrator is the personal physician and confidant of George Birch, the careless undertaker to whom the events of the story are told.
“The Loved Dead”: The reclusive narrator tells of the onset and progression of his necrophilia, before taking his own life as he is about to be apprehended by the police.
“The Lurking Fear”: Accompanied by two friends, the narrator seeks “the lurking fear” in the deserted Martense mansion on Tempest Mountain. His investigation reveals the presence of a race of apelike entities—the degenerate offspring of the Martense family—living in a network of tunnels beneath the house.
“Medusa’s Coil”: The narrator is a traveler in Missouri who seeks lodging as night approaches. He comes to the dilapidated home of Antoine de Russy, who reluctantly allows him to spend the night. The narrator hears from de Russy the tale of his son, Denis, and his strange wife, Marceline, both dead now and both
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buried in the cellar by de Russy. Later, as the two observe the painting of the wife, the narrator senses that the painting is animated, and in terror he shoots it with his pistol, thereby revivifying her corpse in the cellar. As de Russy and the narrator flee, the house is accidentally set afire. In town, the narrator is informed that the house had burned down some years ago.
“The Moon-Bog”: Denys Barry invites his friend, the narrator, to visit him at his new home—his ancestral estate—in Kilderry, Ireland. The narrator witnesses Barry’s demise at the hands of the vengeful spirits that inhabit the bog that Barry drains.
“The Mound”: The narrator goes to Oklahoma to investigate and corroborate a ghost-tale he had heard among the white settlers and Indians. He discovers the magnetic cylinder containing the narrative of Panfilo de Zamacona y Nuñez, concerning the subterranean realm of K’n-yan. “The Music of Erich Zann”: The narrator, a student of metaphysics, takes up residence in an ancient building on the Rue d’Auseil. There he hears the unearthly music of Erich Zann, whom he tries to meet so that he may hear more of Zann’s music. One night he visits Zann, when he hears Zann call out as if in terror. Zann begins playing maniacally, and when they hear strange rattlings at Zann’s garret window, the narrator looks through it, but sees only “the blackness of space illimitable.” He flees the house, and when he tries to find it again he cannot.
“The Nameless City”: In the desert of Araby, the narrator discovers an ancient “nameless city,” which he explores only to find that it was not fashioned by men but by strange, reptilian creatures. “The Night Ocean”: The narrator, an artist, tells of the nebulous, unseen presences he senses on the beach or in the ocean during his vacation to a tourist area during the off season.
“Nyarlathotep”: The narrator confusedly recalls the coming of a mysterious Pharaoh-like individual named Nyarlathotep, who appears to be the harbinger of the collapse of the universe. “The Outsider”: The narrator knows nothing of his ancestry or origins—indeed, little at all about himself. He thinks that he lives in a castle, but when he ascends to its tower to look at the surrounding landscape, he emerges at ground level—suggesting that his dwelling had been far underground. He goes exploring and finds a home in which much revelry is taking place. Just as he attempts to meet the inhabitants, they flee in terror from a hideous creature that has entered the home simultaneously with the narrator. The narrator is shocked to learn that the creature is merely his reflection in a mirror.
“The Picture in the House”: The narrator, who is bicycling through the Miskatonic Valley seeking genealogical data, is caught in a rainstorm and seeks shelter in a ramshackle house, where he encounters a preternaturally old man who turns out to be a cannibal.
“Polaris”: In dream, the narrator is tasked with manning the watch-tower of Thapnen, to warn against a siege by the city’s foes, the Inutos. Unfortunately, the Pole Star casts a spell on him, and he falls asleep at his post. He awakens to real life, but believes he still dreams and vainly tries to “awaken” so that he can warn his fellow Lomarians of imminent attack by the Inutos.
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“The Shadow over Innsmouth”: See Olmstead, Robert (whose name is provided only in HPL’s notes for that story).
“The Shunned House”: The narrator is the nephew of Dr. Elihu Whipple; his own profession is not specified. As a youth, the narrator heard much about the mysterious “shunned house,” about which Whipple had conducted considerable research. His interest piqued by his uncle’s findings, he visits the house with increasing frequency, until he stays there overnight and observes “the thin, yellowish, shimmering exhalation” that he had seen there in his youth. He and Whipple attempt to eradicate the entity, but during their vigil the entity overtakes Whipple and the narrator is compelled to kill his uncle to release the old man from the grip of the entity. Finally, he pours carboys of acid into the earth to destroy the thing.
“The Silver Key”: See Phillips, Ward (who is identified as the narrator only in “Through the Gates of the Silver Key”).
“The Transition of Juan Romero”: The narrator is a laborer in the Norton Mine, in the American Southwest. He and Romero investigate a strange throbbing sound emanating from the mine. Romero becomes separated from the narrator and disappears into the cave. The narrator sees something he cannot describe, nor can he be certain whether he has seen anything or merely dreamt it, but somehow he escapes the mysterious fate that befalls Romero.
“What the Moon Brings”: The narrator admits to being terrified of the moon and moonlight, because they seem to transform the known landscape into something unfamiliar and hideous. “Nathicana.”
Poem (99 lines); probably written no later than 1920, apparently in conjunction with Alfred Galpin. First published in the
A poem speaking in Poe-like accents of the mysterious woman Nathicana. It was meant as “a parody on those stylistic excesses which really have no basic meaning” (HPL to Donald Wandrei, [August 2, 1927]; ms., JHL). Apparently Galpin was somehow involved in the composition, as the pseudonym under which the poem was published (“Albert Frederick Willie”) alludes in its first two names to Galpin and in its last name to his mother’s maiden name, Willy.
Mythical book of occult lore invented by HPL.
The work is first cited by name in “The Hound” (1922), although its purported author, Abdul Alhazred, was cited as the author of an “unexplainable couplet” in “The Nameless City” (1921). HPL states that the name Abdul Alhazred was supplied to him at the age of five by “a family elder—the family lawyer [Albert A. Baker], as it happens—but I can’t remember whether I asked him to make up an Arabic name for me, or whether I merely asked him to criticise a choice I had otherwise made” (HPL to Robert E.Howard, January 16, 1932; AHT). The coinage was somewhat unfortunate, as it contains a reduplicated article (Abd
HPL cited his book so frequently in his tales that by late 1927 he felt the need to write a “History of the
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liam Beckford’s
How HPL came up with the idea of the
HPL’s longest quotations from the
When asked late in life by James Blish why he did not write the
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See August Derleth, “The Making of a Hoax” (in
“Nemesis.”
Poem (55 lines in 11 stanzas); written on November 1, 1917. First published in
Using the meter of Swinburne’s
See Donald R.Burleson, “On Lovecraft’s ‘Nemesis,’”
Column in the
In “Collapsing Cosmoses,” a military commander in the “intradimensional city of Kastor-Ya” who takes steps to combat the interstellar menace approaching the planet.
“Nietzscheism and Realism.”
Essay (1,680 words); probably written in the summer of 1921. First published in the
The text is a series of excerpts from two letters written to Sonia H.Greene (HPL to the Gallomo, August 21, 1921; AHT). HPL offers cynical reflections on politics and society, many of them inspired (in spite of the title) not from Nietzsche but from Schopenhauer. In politics, HPL recommends an aristocracy “because I deem it the only agency for the creation of those refinements which make life endurable for the human animal of high organisation.” Democracy and ochlocracy (rule of the mob), on the other hand, merely squanders “the aesthetic and intellectual resources which aristocracy bequeathed them and which they could never have created for themselves.” HPL considerably refined these views in his later political philosophy but never wholly abandoned them.
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“Night Ocean, The.”
Short story (9,840 words); written in collaboration with R.H.Barlow, summer 1936. First published in the
The narrator, a painter, comes to a sea resort named Ellston Beach to rest from the grueling task of completing a painting for a competition. He rents a bungalow far from the town, facing directly onto the beach and the ocean. Initially, as he wanders the beach and swims in the ocean, he appears to derive benefit from the tranquil atmosphere; but gradually he begins to feel uneasy. He hears that a few tourists had drowned inexplicably. Then he comes upon an object on the beach that looks like a rotted hand that may have been gnawed upon by some sea creature. At length, as his loneliness and unease continue, he seems to see—in the course of a furious rainstorm—a strange figure (“a dog, a human being, or something more strange”) emerging from the water, carrying something across its shoulder. For a moment the narrator thinks this creature is approaching his bungalow, but it veers away at the last minute. The narrator is left pondering the mysteries of the night ocean. The manuscript of this story has recently been discovered (it had been micro-filmed by Barlow’s literary executor, George T.Smisor), and it shows that all the plotting and most of the prose is Barlow’s, with HPL revising the language throughout but contributing perhaps less than 10% to the overall story. HPL himself told Hyman Bradofsky (editor of the
The story is a finely atmospheric weird tale. It comes very close—closer, perhaps, than any of HPL’s own works with the exception of ‘The Colour out of Space”—to capturing the essential spirit of the weird, as HPL wrote of some of Blackwood’s works in “Supernatural Horror in Literature”: “Here art and restraint in narrative reach their very highest development, and an impression of lasting poignancy is produced without a single strained passage or a single false note…. Plot is everywhere negligible, and atmosphere reigns untrammelled.”
See Brian Humphreys, “‘The Night Ocean’ and the Subtleties of Cosmicism,”
“Nightmare Lake, The.”
Poem (66 lines); probably written in the fall of 1919. First published in
Nith.
In “The Cats of Ulthar,” a “lean” notary in Ulthar.
Norrys, Capt. Edward.
In “The Rats in the Walls,” he is a former member of the Royal Flying Corps and friend of Alfred Delapore. Norrys assists Alfred’s father (the narrator of the story) in the restoration of Exham Priory and helps
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him attempt to find the source of the mysterious sound of rats heard throughout the castle. Ultimately the senior Delapore kills and partially devours him.
Northam, Lord.
In “The Descendant,” an eccentric, aged scholar, of a family whose ancestral line reaches back to Roman Britain, who, as a younger man, had explored both formal religions and occult sciences (much like Randolph Carter in “The Silver Key”). When Williams, a young friend, brings him a copy of the
Written c. summer and fall 1933. First published (b, c, and d only) in
In 1933, HPL began to keep notes in a pocket calendar from his concentrated rereading of the classic works of weird fiction, in an attempt to reinvigorate himself for fiction-writing. The notebook contains four items: (a) “Weird Story Plots” (unpublished) consists of brief plot summaries primarily of the works of Poe, Blackwood, Machen, and M.R.James. From those summaries he compiled (b) “A list of certain basic underlying horrors effectively used in weird fiction” and (c) “List of primary ideas motivating possible weird tales,” a further distillation, giving likely motives for weird occurrences. He then composed the rough draft of (d) “Suggestions for writing weird story (the
“Notes on Writing Weird Fiction.”
Essay (1,490 words); probably written in 1933. First published in
Presumably written during HPL’s revaluation of the weird classics in the summer and fall of 1933, the essay propounds HPL’s evolved theory of weird fiction as the attempt to “achieve, momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law.” It also presents a summary of HPL’s own methods for writing stories, in which he advises the creation of two synopses, one listing events in order of absolute occurrence, the other in order of their narration in the story. The first three publications of the essay derive from three slightly differing manuscripts; the first appearance is probably preferable.
Noyes,———.
In “The Whisperer in Darkness,” he is sent to the railroad station to retrieve Albert Wilmarth to the Akeley farmhouse. His is the “cultivated male human voice” heard on the recordings Akeley sent to Wilmarth. Unknown to Wilmarth, he is an agent of the aliens from Yuggoth.
“Nyarlathotep.”
Prose poem (1,150 words); probably written in November or December 1920. First published in the
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but issued at least two months later); rpt.
In a “season of political and social upheaval,” the people “whispered warnings and prophecies which no one dared consciously repeat.” It was then that Nyarlathotep emerged out of Egypt. He begins giving strange exhibitions featuring peculiar instruments of glass and metal and evidently involving anomalous uses of electricity. In one of these exhibitions the narrator sees, on a kind of movie screen, “the world battling against blackness; against the waves of destruction from ultimate space; whirling, churning; struggling around the dimming, cooling sun.” The world seems to be falling apart: buildings are found in ruins, people begin gathering in queues, each of them proceeding in different directions, apparently to their deaths. Finally the universe itself seems to be on the brink of extinction.
HPL notes that the piece not only was based largely on a dream, but also that the first paragraph (presumably following the very brief opening paragraph) was written while he was still half-asleep (
Will Murray has plausibly conjectured that Nyarlathotep (described in the prose poem as an “itinerant showman”) was based upon Nicola Tesla (1856–1943), the eccentric scientist and inventor who created a sensation at the turn of the century for his strange electrical experiments. Nyarlathotep recurs throughout HPL’s later fiction and becomes one of the chief “gods” in his invented pantheon. But he appears in such widely divergent forms that it may not be possible to establish a single or coherent symbolism for him; to say merely, as some critics have done, that he is a “shape-shifter” (something HPL never genuinely suggests) is only to admit that even his physical form is not consistent from story to story, much less his thematic significance.
See Will Murray, “Behind the Mask of Nyarlathotep,”
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O
O’Brien, Edward J[oseph Harrington] (1890–1941).
Anthologist and literary critic. HPL admired his annual series,
In “Herbert West—Reanimator,” a semi-professional boxer (presumably Irish but with “a most unHibernian hooked nose,” suggesting that he may actually be Jewish) who inadvertently kills Buck Robinson, an African American, in an informal bout in Bolton, Mass.
“Observations on Several Parts of America.”
Essay (9,700 words); probably written in the fall of 1928. First published in
The first of HPL’s several travelogues, which cover his annual spring and summer voyages; written in the form of an open letter to Maurice W.Moe and meant to be circulated to HPL’s other colleagues (hence it exists as a typescript rather than as an autograph ms.). It deals with HPL’s arrival in Brooklyn in the spring of 1928, progressing through his travels to the Hudson River region, Tarrytown and Sleepy Hollow, Vt. (Vrest Orton’s home near Brattleboro), Athol (W.
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Paul Cook) and Wilbraham (Edith Miniter), Mass., Baltimore, Annapolis, Alexandria and Mt. Vernon (home of George Washington), Washington, D.C., and the Endless Caverns near New Market, Va. Moe excerpted the section on Sleepy Hollow as “Sleepy Hollow To-day” and published it as a signed article in
“Old Bugs.”
Short story (3,010 words); probably written just prior to July 1919. First published in
“Old Christmas.”
Poem (322 lines); written in late 1917. First published in the
HPL’s single longest poem, telling of the genial pleasures of an old English Christmas. HPL sent the poem through the Transatlantic Circulator, a group of Anglo-American amateur journalists; John Ravenor Bullen spoke highly of it: “…the ever-growing charm of eloquence (to which assonance, alliteration, onomatopoeic sound and rhythm, and tone colour contribute their entrancing effect) displayed in the poem under analysis, proclaims Mr. Lovecraft a genuine poet, and ‘Old Christmas’ an example of poetical architecture well-equipped to stand the test of time.”
“Old England and the ‘Hyphen.’”
Essay (1,140 words); probably written in the fall of 1916. First published in the
England should not be regarded as a foreign country to the “genuine native
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stock” of America, so that it is right that Americans should support the English in the European war. Olmstead, Robert (b. 1906).
In “The Shadow over Innsmouth,” the young man who, on a sight-seeing and genealogical excursion to Newburyport, takes a detour in search of antiquarian sights to the shunned town of Innsmouth. While there, he learns the town’s blighted history, but having learned too much, he barely escapes with his life. In the aftermath of his harrowing experience, he finds through further genealogical study that he shares the ancestry of the hated citizens of Innsmouth; but he decides not to kill himself as others in his family had done when they learned the dreaded secret, but to accept and embrace his fate as one of the hybrid amphibian-people. His great-grandmother is Alice Marsh (not named specifically in the story), daughter of Capt. Obed Marsh and the sea-thing, Pth-thya-l’hi. She married Joshua Orne of Arkham; their daughter Eliza Orne married James Williamson of Cleveland, and their daughter, Mary Williamson, married Henry Olmstead of Akron (neither parent is named specifically in the story). Robert Olmstead is their son. This genealogy is explicitly spelled out only in HPL’s notes to the story (published in
Like Olmstead, HPL was an antiquarian and amateur genealogist, inclined to frugality. HPL well recognized the strong influence of heredity in his own life. Photographs of his family show a striking resemblance between HPL and ancestors of generations past. Olmstead was eight years old when his uncle Douglas Williamson committed suicide upon discovering his tainted ancestry. HPL surely was mindful of the madness of his own parents—he was eight years old when his father died in a madhouse.
Olney, Thomas.
In “The Strange High House in the Mist,” a philosopher who “taught ponderous things in a college by Narragansett Bay” (Brown University?), who comes with his family to Kingsport, ascends to meet an unnamed bearded man at his house perched atop a lofty cliff, and comes down curiously changed. “Omnipresent Philistine, The.”
Essay (890 words); probably written in the spring of 1924. First published in the
Largely a response to fellow amateur Paul Livingston Keil, the essay maintains that art should be judged only by aesthetic, not moral, standards, and that the censorship of art is more dangerous than the potential moral or social problems caused by radical art. HPL declares, rather surprisingly, that James Branch Cabell’s
In “The Horror in the Museum,” the mysterious assistant of George Rogers in Rogers’s Museum in London who helps Rogers capture a god or monster in Alaska and bring it back to the museum. Later it appears that Orabona has allowed the god to feed upon Rogers, with the result that Rogers has been turned into a wax statue.
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Orne, Benjamin.
In “The Shadow over Innsmouth,” the husband of Alice Marsh and the father of Eliza Orne, the maternal grandmother of the narrator, Robert Olmstead.
Orne, Capt James P.
In “The Horror at Martin’s Beach,” the captain of the fishing smack
In
Man of letters and friend of HPL. W.Paul Cook introduced HPL to Orton in late 1925. At this time he worked in the advertising department of the
Osborn, Joe.
In “The Dunwich Horror,” one of the party that exterminates Wilbur Whateley’s twin brother. It is likely that he runs Osborn’s General Store, although HPL does not state this explicitly in the story.
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“Other Gods, The.”
Short story (2,020 words); written on August 14, 1921. First published in the
The “gods of earth” have forsaken their beloved mountain Ngranek and have betaken themselves to “unknown Kadath in the cold waste where no man treads”; they have done this ever since a human being from Ulthar, Barzai the Wise, attempted to scale Mt. Ngranek and catch a glimpse of them. Barzai was much learned in the “seven cryptical books of Hsan” and the “Pnakotic Manuscripts of distant and frozen Lomar,” and knew so much of the gods that he wished to see them dancing on Mt. Ngranek. He undertakes this bold journey with his friend, Atal the priest. For days they climb the rugged mountain, and as they approach the cloud-hung summit Barzai thinks he hears the gods; he redoubles his efforts, leaving Atal far behind. But his eagerness turns to horror. He thinks he actually sees the gods of earth, but instead they are “The
The story is a textbook example of hubris, similar to many written by Dunsany (see, e.g., “The Revolt of the Home Gods,” in
See Robert M.Price, “‘The Other Gods’ and the Four Who Erected Paradise,”
Oukranikov, Vasili.
In “The Ghost-Eater,” a Russian who had built a house in the woods between Mayfair and Glendale who is discovered to be a “werewolf and eater of men.” After a Russian count is found with his body mangled, the townspeople kill the wolf; but his ghost returns every May Eve to reenact the murder. “Out of the
Short story (10,310 words); ghostwritten for Hazel Heald, probably in August 1933. First published in
An ancient mummy is housed in the Cabot Museum of Archaeology in Boston, with an accompanying scroll in indecipherable characters. The mummy and scroll remind the narrator—the curator of the museum—of a wild tale found in the
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mula was written and substituted another one for it. The antediluvian mummy in the museum, therefore, is T’yog, petrified for millennia by Ghatanothoa.
HPL was working on the story in early August 1933 (see
See William Fulwiler, “Mu in ‘Bothon’ and ‘Out of the Eons,’”
Poem (52 lines in quatrains); written on November 26, 1929. First published in
The subject of the poem is a king of Zimbabwe who “fears to dream.”
Short story (2,620 words); probably written in spring or summer 1921. First published in
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uncanny, unwelcome, abnormal, and detestable. It was the ghoulish shade of decay, antiquity, and desolation; the putrid, dripping eidolon of unwholesome revelation; the awful baring of that which the merciful earth should always hide.” He seeks to escape the monster, but inadvertently falls forward instead of retreating; at that instant he touches
On the level of plot, “The Outsider” makes little sense and in fact reads as if a transcription of a dream. It appears, from the Outsider’s various remarks regarding his puzzlement at the present shape of the ivied castle he enters, that he is some long-dead ancestor of the current occupants of the castle. His emergence in the topmost tower of his underground castle places him in a room containing “vast shelves of marble, bearing odious oblong boxes of disturbing size”—clearly the mausoleum of the castle on the surface. Even if the Outsider is some centuried ancestor, there is no explanation for how he has managed to survive—or rise from the dead—after all this time. Whether that castle exists in reality (in which case it is difficult to imagine how it could have an “endless forest” surrounding it) or is merely a product of the Outsider’s imagination is left unclear. Many commentators have attempted to speculate on a literary influence for the concluding image of the Outsider’s touching the mirror and seeing himself. Colin Wilson (
Preeminently, however, the story is a homage to Poe. August Derleth maintained that “The Outsider” could pass as a lost tale of Poe’s; but HPL’s own later judgment, expressed in a 1931 letter to J.Vernon Shea, seems more accurate: “Others…agree with you in liking ‘The Outsider’, but I can’t say that I share this opinion. To my mind this tale—written a decade ago—is too glibly
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of “Berenice,” while the scene in the brilliantly lit castle brings to mind the lavish party scene in “The Masque of the Red Death.”
In 1934 HPL provided an interesting sidelight into the composition of the story. As recollected by R.H.Barlow, HPL stated: “‘The Outsider’ [is] a series of climaxes—originally intended to cease with the graveyard episode; then he wondered what would happen if people would see the ghoul; and so included the second climax; finally he decided to have the Thing see itself!”
The autobiographical implications of the story have perhaps been overstressed by critics. The Outsider’s concluding remark—“I know always that I am an outsider; a stranger in this century and among those who are still men”—has been thought to be prototypical of HPL’s entire life, but this is clearly a considerable exaggeration. The Outsider’s early reflections on his childhood—“Unhappy is he to whom the memories of childhood bring only fear and sadness”—manifestly contradict HPL’s own accounts of his generally happy and carefree childhood. In a very general way “The Outsider” may possibly be indicative of HPL’s own self-image, particularly the image of one who always thought himself ugly and whose mother told at least one individual about her son’s “hideous” face. See David J.Brown, “The Search for Lovecraft’s ‘Outsider,’”
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P
Pabodie, Frank H.
In
Seventeen known articles, published in 1906; rpt.
The articles appeared as follows: “The Heavens for August” (July 27); “The Skies of September” (August 31); “Is Mars an Inhabited World?” (September 7); “Is There Life on the Moon?” (September 14); “An Interesting Phenomenon” (September 21); “October Heavens” (September 28); “Are There Undiscovered Planets?” (October 5); “Can the Moon Be Reached by Man?” (October 12); “The Moon” (October 19); [untitled] (October 26); “The Sun” (November 2); “The Leonids” (November 9); “Comets” (November 16); “December Skies” (November 30); “The Fixed Stars” (December 7); “Clusters-Nebulae” (December 21); “January Heavens” (December 28).
These are—aside from HPL’s letter to the editor of the
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he heaped ridicule upon the idea; he claims that the most plausible way to get to the moon would be to send off a projectile by electrical repulsion. Some of the columns are revised versions of articles first “published” in HPL’s hectographed paper,
Peabody, E. Lapham.
In “The Shadow over Innsmouth,” the curator of the Arkham Historical Society, who assists Robert Olmstead in his genealogical research, pointing out that Olmstead’s uncle Douglas Williamson had preceded him on a similar quest.
Peaslee, Nathaniel Wingate.
He is a professor of political economy at Miskatonic University and the narrator and protagonist of “The Shadow out of Time.” He is married to Alice Keezar and father of Robert K. (b. 1898), Wingate (b. 1900), and Hannah (b. 1903). On May 14, 1908, Peaslee suffers a breakdown while lecturing, appearing to be stricken with amnesia until his memory suddenly returns on September 27, 1913. His restored self has no memory of the five-year period of amnesia. Even as he attempts to determine his activities over that period, he is plagued by dreams (which seem vividly like actual memories) and “pseudo-memories” of bizarre creatures in an equally bizarre setting. He thinks the dreams and pseudo-memories are related to the studies he engaged in during his amnesia, but the accounts he publishes in a psychological journal are corroborated by a mining engineer, who says the scenes he described in fact exist in the Great Sandy Desert of Australia. Peaslee accompanies the engineer to the site to investigate it. The creatures no longer exist, but the ruins there are astonishingly familiar to him. In his dreams, he believed himself to have been the victim of mindexchange with an incredibly alien creature living in the earth’s ancient past; while the alien occupied his own body, he himself had been tasked with writing a history of the era to which he had belonged. Peaslee finally wends his way through the ruins of an ancient library, seeking the evidence that would prove his dreams to be actual memories. He finds, but loses, the proof he desires and fears—a document in his own handwriting that could not be less than 150,000,000 years old. Peaslee may be the most thoroughly developed of HPL’s characters. His demeanor and attitude are much like HPL’s. HPL’s period of reclusiveness in 1908–13, following his abrupt departure from high school without a diploma, coincides with the duration of Peaslee’s amnesia. HPL’s description of Peaslee’s reemergence in the present is remarkably similar to his famous account of his emergence from his “New York exile” of 1924–26. And yet Peaslee himself seems to be modeled somewhat on HPL’s father, Winfield Scott Lovecraft. Peaslee’s eccentric behavior during his amnesia resembles Winfield’s own during the period of his madness, both of which last five years. Of course, Winfield never did recover, but Peaslee did. Eight-year-old Wingate “held fast to a faith that [Peaslee’s] proper self would return,” as one might imagine young HPL felt
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about his father’s condition. The revelation about Peaslee’s past occurs on July 17–18; HPL’s father died July 19.
Peaslee, Wingate (b. 1900).
In “The Shadow out of Time,” the son of the story’s narrator, Nathaniel Wingate Peaslee, and the only one of Peaslee’s children to return to him after his “amnesia” of 1908–13. Wingate becomes a professor of psychology and accompanies his father on his fateful expedition to the Great Sandy Desert in Australia.
Petaja, Emil (1915–2000).
Science fiction fan and writer of Finnish ancestry residing in Montana, and correspondent of HPL. Petaja came in touch with HPL in late 1934. The next year he proposed teaming with Duane W.Rimel to form a fan magazine,
Phillips, Edwin E[verett] (1864–1918).
HPL’s maternal uncle; the only son of Whipple V.Phillips and Robie A.Place Phillips. He was associated with Whipple in the Snake River Co. and the Owyhee Land and Irrigation Co. in the 1890s. He married Martha Helen Mathews on July 30, 1894, divorced her, and remarried her on March 23, 1903. He was variously employed as rent collector, real estate agent, operator of the Edwin E.Phillips Refrigeration Co., etc. According to HPL, he “lost a lot of dough for my mother and me in 1911” (
Phillips Family.
HPL was descended from Asaph Phillips (1764–1829) and his wife Esther Phillips (1767–1842). HPL visited the site of their homestead on Howard Hill in Foster, R.I., in 1929. Asaph’s descent from Michael Phillips (d. 1686), Newport freeman of 1668, is not proven but is given by Henry Byron Phillips in his Phillips genealogy at the California State Genealogical Society. HPL’s late claim that Michael was the youngest son of the Rev. George Phillips (d. 1644), a 1630 emigrant who became minister of Watertown, Mass., is unsupported by any authority and almost certainly specious. Asaph and Esther had eight children, the youngest of whom was Captain Jeremiah Phillips (1800–1848), who married Robie Rathbun (1797–1848) in 1823. During the 1820s Jeremiah served in the militia. His political persuasions can be inferred not only from his profession and background but from the fact that he gave his son Whipple (1833–1904) the middle name Van Buren in honor of Martin Van Buren, who had been inaugurated as Andrew Jackson’s vice president on March 4, 1833. Jeremiah purchased the Isaac Blanchard grist mill on the Moosup River in 1833 and was tragically crushed to death when his long coat accidentally got caught in its gearing. Their mother Robie having died the previous July, the four surviving children (two sons and two daughters) were left as orphans. One of these, Whipple V.Phillips,
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was HPL’s grandfather. HPL also had some contact with his grand-uncle, James Wheaton Phillips (1830–1901).
See Kenneth W.Faig, Jr.,
Phillips, James Wheaton (1830–1901).
HPL’s grand-uncle; elder brother of Whipple V.Phillips. He married Jane Ann Place on November 6, 1853. He owned a farm on Johnson Road in Foster, R.I., where HPL and his mother stayed for two weeks in 1896 and again in 1908. HPL and Annie Gamwell visited the site in October 1926. Phillips, Robie Alzada (1827–1896).
HPL’s maternal grandmother; wife of Whipple V.Phillips, whom she married on January 27, 1856. They had five children (see entry for Whipple Van Buren Phillips below). Her death and subsequent mourning by the family terrified young HPL and inspired dreams of “night-gaunts,” which he would much later use in fiction (e.g.,
Phillips, Ward.
In “Through the Gates of the Silver Key,” an old man from Providence, R.I., and a correspondent of Randolph Carter who argues against the dispersal of Carter’s estate because he believes him to be still alive. Although not so identified in “The Silver Key,” he is the first-person narrator of that story. “Ward Phillips” was a pseudonym that HPL used for various of his poems as published in amateur journals.
Phillips, Whipple Van Buren (1833–1904).
HPL’s maternal grandfather; son of Capt. Jeremiah Phillips (1800–1848) and Robie Rathbun (1797– 1848). He was educated in Foster, R.I., and the East Greenwich Academy. He spent 1852–53 in Delavan, Ill. (a temperance town), on the farm of his uncle, James Phillips (1794–1878). He married Robie Alzada Place on January 27, 1856. They had five children: Lillian Delora (Phillips) Clark, Sarah Susan Phillips Lovecraft, Emeline Estella (1859–1866), Edwin Everett, and Annie Emeline (Phillips) Gamwell. Whipple moved the family to Coffin’s Corner, R.I., around 1859; he quickly made a fortune from real estate and other business and was able to purchase all the land in the town, which he named Greene after the Rhode Island Revolutionary War hero Nathanael Greene. He served as postmaster at Greene (1860–66) and as representative for Coventry in the Rhode Island General Assembly (1870–72). He joined the Masonic order and built a Masonic hall in Greene. Whipple suffered a financial collapse in 1870, but recovered sufficiently to move to Providence in 1874; after residing for some years at 276 Broadway on the West Side, he built a large house at 194 (later numbered 454) Angell Street in 1881. He went to the Paris Exposition in 1878 and traveled widely around the Continent, especially to Italy. In 1884 he
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formed the Snake River Company to pursue land interests in Idaho; he also named the town of Grand View, building a large Grand View hotel there. In 1889 he formed the Owyhee Land and Irrigation Company. Its chief object was the building of a dam over the Bruneau River (not the Snake River, as HPL notes in his letters), but it was washed away in 1890; although later rebuilt, the expense of building and maintaining the dam and other properties contributed to the collapse of the company in 1901. An irrigation ditch was washed out in 1904; a few days later, Whipple suffered a cerebral hemorrhage and died on March 28. Subsequent mismanagement of his estate caused HPL and his mother to move from 454 Angell Street to 598 Angell Street. His estate was valued at $25,000, of which $5,000 went to Sarah Susan and $2,500 to HPL. Whipple Phillips wrote to HPL sporadically from Idaho and told him oral weird tales in the Gothic mode. He proved to be an admirable replacement for HPL’s stricken father. His death, and the removal from 454 Angell Street, impelled HPL to give serious consideration to suicide (see
See Kenneth W.Faig, Jr., “Whipple V.Phillips and the Owyhee Land and Irrigation Company,”
Pickman, Richard Upton.
In “Pickman’s Model,” a painter, of Salem ancestry, whose paintings of outré subjects are assumed to be the fruits of a keen imagination, but are ultimately found to be from real life and from firsthand knowledge of forbidden subjects. He is compared to Gustave Doré, Sidney Sime, and Anthony Angarola. He disappears mysteriously, after emptying his pistol at an unseen monster lurking in the basement of his studio in the North End of Boston during a visit by the narrator of the story. In
HPL describes Pickman not as a fantaisiste, but as a realist—a term HPL came to feel best described himself following his shift toward cosmic fictional themes around 1926.
“Pickman’s Model.”
Short story (5,570 words); probably written in early September 1926. First published in
The narrator, Thurber, tells why he ceased association with the painter Richard Upton Pickman of Boston, who has recently disappeared. He had maintained relations with Pickman long after his other acquaintances had dropped him because of the grotesqueness of his paintings, and so on one occasion he was taken to Pickman’s secret cellar studio in the decaying North End of Boston, near the ancient Copp’s Hill Burying Ground. Here were some of Pickman’s most spectacularly demonic paintings; one in particular depicts a “colossal and nameless blasphemy with glaring red eyes” nibbling at a man’s head as a child chews a stick of candy. When a strange noise is heard, Pickman maintains it must be rats clambering through the underground tunnels honeycombing the area. Pickman, in another room, fires all six chambers of his revolver—a rather odd way to kill rats. After leaving, Thurber finds that he had inadvertently taken a photograph affixed to the canvas; thinking it a mere shot of scenic background, he is horrified to find
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that it is a picture of the monster itself—
HPL portrayed the North End setting quite faithfully, right down to many of the street names; but, less than a year after writing the story, he was disappointed to find that much of the area had been razed to make way for new development. HPL’s comment at the time (when he took Donald Wandrei to the scene) is of interest: “the actual alley & house of the tale [had been] utterly demolished; a whole crooked line of buildings having been torn down” (HPL to Lillian D.Clark, [July 17, 1927]; ms., JHL). This suggests that HPL had an actual house in mind for Pickman’s North End studio. The tunnels mentioned in the story are also real: they probably date from the colonial period and may have been used for smuggling.
The story is noteworthy in that it expresses many of the aesthetic principles on weird fiction that HPL had just outlined in “Supernatural Horror in Literature.” Thurber notes: “…only the real artist knows the actual anatomy of the terrible or the physiology of fear—the exact sort of lines and proportions that connect up with latent instincts or hereditary memories of fright, and the proper colour contrasts and lighting effects to stir the dormant sense of strangeness.” This statement is HPL’s ideal of weird literature as well. And when Thurber confesses that “Pickman was in every sense—in conception and in execution—a thorough, painstaking, and almost scientific
See Will Murray, “In Pickman’s Footsteps,”
“Picture, The.”
Nonextant juvenile story; written in 1907. Described in HPL’s commonplace book as concerning a “painting of ultimate horror.” In a letter to Robert Bloch (June 1, 1933) he says of it: “I had a man in a Paris garret paint a mysterious canvas embodying the quintessential essence of all horror. He is found clawed & mangled one morning before his easel. The picture is destroyed, as in a titanic struggle—but in one corner of the frame a bit of canvas remains …& on it the coroner finds to his horror the painted counterpart of the sort of claw which evidently killed the artist” (
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“Picture in the House, The.”
Short story (3,350 words); written on December 12, 1920. First published in the
The narrator, “in quest of certain genealogical data,” is traveling by bicycle throughout New England. One day a heavy downpour forces him to take shelter at a decrepit farmhouse in the “Miskatonic Valley.” When his knocks fail to summon an occupant, he believes the house to be uninhabited and enters; but shortly the occupant, who had been asleep upstairs, makes an appearance. The man seems very old, but also quite ruddy of face and muscular of build. His clothes are slovenly, and he seems to have just awoken from a nap. The old man, seemingly a harmless backwoods farmer speaking in “an extreme form of Yankee dialect I had thought long extinct” (“‘Ketched in the rain, be ye?’”), notes that his visitor had been examining a very old book on a bookcase, Pigafetta’s
The tale contains the first mention of the term “Miskatonic” and the fictional city of Arkham. The location of Arkham has been the source of considerable debate. Will Murray conjectured that the Arkham of “The Picture in the House” was situated in central Massachusetts, but Robert D.Marten concludes that HPL had always conceived of Arkham (as he did explicitly in later tales) to be an approximate analogue of Salem, hence on the eastern coast of Massachusetts. The name Arkham may (as Marten speculates) have been coined from Arkwright, a former village (now incorporated into the town of Fiskville) in Rhode Island. “Miskatonic” (which Murray, studying its Algonguin roots, translates approximately to “red-mountain-place”) appears to be derived by analogy from Housatonic, a well-known river running from central Massachusetts through Connecticut. HPL makes numerous errors in his description of Pigafetta’s
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clares the dialect to be long extinct in New England; its use by HPL thereby enhances the suggestion of the old man’s preternatural age.
HPL’s brooding opening reflections on the unnatural repressiveness of early New England life and the neuroses it produced are echoed in his analysis of Nathaniel Hawthorne in “Supernatural Horror in Literature” (see also
HPL revised the tale somewhat for later appearances; one alteration was particularly significant. At the conclusion of his initial portrayal of the old man, HPL had written: “On a beard which might have been patriarchal were unsightly stains, some of them disgustingly suggestive of blood.” This catastrophically telegraphs the ending, and he wisely omitted it for subsequent appearances. See Peter Cannon, “Parallel Passages in ‘The Adventure of the Copper Beeches’ and ‘The Picture in the House,’”
Pierce, Ammi
(born c. 1842, as was Ambrose Bierce, whose name his own resembles). In “The Colour out of Space,” he is the only person who will tell the narrator of the events that befell his neighbors, the Nahum Gardner family, which he witnessed largely at first hand.
Poe, Edgar Allan (1809–1849),
American author and predominant literary influence on HPL, who read him beginning at the age of eight. Poe pioneered the short story, the short horror tale, and the detective story; he was also an important poet, critic, and reviewer. In 1916 HPL referred to Poe as “my God of Fiction” (
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“Supernatural Horror in Literature.” HPL also wrote “Homes and Shrines of Poe,” a discursive survey of Poe’s residences in Virginia, Philadelphia, New York, and elsewhere (nearly all of which he had visited in person), for Hyman Bradofsky’s
See T.O.Mabbott, “Lovecraft as a Student of Poe,”
“Poe-et’s Nightmare, The.”
Poem (303 lines); written in 1916 (see
One of HPL’s longest poems, and perhaps his most ambitious single weird poem. It recounts (in rhyming couplets) how Lucullus Languish, a “student of the skies” but also a “connoisseur of rarebits and mince pies,” overate and had the nightmare related in the central section of the poem, written— unusually for HPL—in Miltonic blank verse (whose Greek title, “Aletheia Phrikodes,” means “the frightful truth”). Here Lucullus is taken by a nameless guide on a voyage through the universe and shown the insignificance of humanity within the boundless reaches of space and time. Horrified, Languish wakes up and (in a resumption of the rhyming couplets) resolves never to mix food and poetry again.
The work is perhaps HPL’s first enunciation of cosmicism, predating even his early stories (e.g., “Dagon”). In later years HPL found the rhymed framework dissatisfying, thinking that it detracted from the seriousness of the cosmic message; accordingly, when R.H.Barlow was contemplating issuing HPL’s collected verse, HPL instructed Barlow to omit that part. HPL revised a small part of the blank verse section (“Alone in space, I view’d a feeble fleck…”) and included it in “May Skies” ([Providence]
See R.Boerem, “A Lovecraftian Nightmare” (in
“Poetry and the Gods.”
Short story (2,540 words); written in collaboration with Anna Helen Crofts, probably in the summer of 1920. First published in the
Marcia is a young woman who, though “outwardly a typical product of modern civilisation,” feels strangely out of tune with her time. She picks up a magazine and reads a piece of free verse, finding it so evocative that she lapses into a languid dream in which Hermes comes to her and wafts her to Parnassus where Zeus is holding court. She is shown six individuals sitting before the Corycian cave; they are Homer, Dante, Shakespeare, Milton, Goethe, and Keats. “These were those messengers whom the Gods had sent to tell men that Pan had passed not away, but only slept; for it is in poetry that Gods speak to men.” Zeus tells
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Marcia that she will meet a man who is “our latest-born messenger,” a man whose poetry will somehow bring order to the chaos of the modern age. She later meets this person, “the young poet of poets at whose feet sits all the world,” and he thrills her with his poetry.
Nothing is known about the origin of this story (which HPL never mentions in any extant correspondence) nor about HPL’s coauthor, aside from the fact that she resided at 343 West Main Street in North Adams, Mass., in the far northwestern corner of the state. Probably the impetus for writing the story came from Crofts; she may also have written the tidbits of free verse in the story, since HPL despised free verse (and actually comments in the story that “It was only a bit of
Poetry, Lovecraft’s.
HPL wrote more than 250 poems from 1897 to 1936. The great majority of these were written in imitation of the occasional verse of Dryden and Pope, with extensive use of the heroic couplet. In 1914 HPL, responding to Maurice W.Moe’s urging to vary his metrical style, wrote: “Take the form away, and nothing remains. I have no real poetic ability, and all that saves my verse from utter worthlessness is the care which I bestow on its metrical construction” (
HPL’s surviving juvenile poetry consists largely of imitations or translations of Greek and Latin epics, although one specimen, “H.Lovecraft’s Attempted Journey betwixt Providence & Fall River…” (1901), is a delightful comic poem on a modern theme—his initial ride on an electric trolley. Other early work is marred by racist sentiments (“De Triumpho Naturae” [1905]; “New-England Fallen” [1912]; “On the Creation of Niggers” [1912]). His first published poem, “Providence in 2000 A.D.” ([Providence]
HPL’s entry into amateur journalism in 1914 was triggered by his writing of several pungent satires in the Augustan mode published in the
HPL wrote poetry with great facility. He noted that the ten-line poem “On Receiving a Picture of Swans” took about ten minutes to compose (
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his verse. In 1918, after making an exhaustive list of his published poems, he noted: “What a mess of mediocre & miserable junk. He hath sharp eyes indeed, who can discover any trace of merit in so worthless an array of bad verse” (
HPL’s weird verse does, however, deserve some special attention, if only because it comprises an interesting appendage to his weird fiction. “The Poe-et’s Nightmare” (1916) is one of the earliest expressions of his distinctive brand of cosmicism, speaking apocalyptically in blank verse: “Alone in space, I view’d a feeble fleck/Of silvern light, marking the narrow ken/Which mortals call the boundless universe.” Many other poems are metrical and stylistic imitations of Poe’s verse: “The Rutted Road” (1917); “Nemesis” (1917); “The Eidolon” (1918); “Despair” (1919); “The House” (1919); “The City” (1919). “Psychopompos: A Tale in Rhyme” (1917–18) is a long poem on the werewolf theme; HPL curiously included it in several lists of his prose tales. Later verse begins to show greater distinctiveness and originality, such as the pungent “The Cats” (1925) and the pensive “Primavera” (1925) and “The Wood” (1929). In late 1929, after several years in which he wrote relatively little verse, HPL experienced a remarkable outburst of poetic inspiration, producing “The Outpost,” “The Ancient Track,” the flawless sonnet “The Messenger,” and the sonnet cycle
Of the satires, “Gryphus in Asinum Mutatus” (1915) is an amusing take-off of Ovid’s
Not much can be said of other aspects of HPL’s poetry. T.O.Mabbott remarked that “his poetry seems to me mostly written ‘with his left hand’” (“H.P. Lovecraft: An Appreciation” [1944],
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See Winfield Townley Scott, “Lovecraft as a Poet,” in
“Polaris.”
Short story (1,530 words); probably written in late spring or summer 1918. First published in the
The narrator appears to have a dream in which he is initially a disembodied spirit contemplating some seemingly mythical realm, the land of Lomar, whose principal city Olathoë is threatened with attack from the Inutos, “squat, hellish, yellow fiends.” In a subsequent “dream” the narrator learns that he has a body, and is one of the Lomarians. He is “feeble and given to strange faintings when subjected to stress and hardships,” so is denied a place in the actual army of defenders; but he is given the important task of manning the watch-tower of Thapnen, since “my eyes were the keenest of the city.” Unfortunately, at the critical moment Polaris, the Pole Star, winks down at him and casts a spell so that he falls asleep; he strives to wake up and finds that when he does so he is in a room through whose window he sees “the horrible swaying trees of a dream-swamp” (i.e., his “waking” life). He convinces himself that “I am still dreaming,” and vainly tries to wake up, but is unable to do so.
The story is not a dream-fantasy but rather—like “The Tomb”—a case of psychic possession by a distant ancestor, as indicated by the poem inserted in the tale, which the narrator fancies the Pole Star speaks to him: “Slumber, watcher, till the spheres/Six and twenty thousand years/Have revolv’d, and I return/ To the spot where now I burn.” This alludes to the fact that Polaris’s position is not fixed above the North Pole, and that, as the earth wobbles on its axis, it takes twenty-six thousand years for Polaris to return to its position above the Pole. (When the Pyramids of Egypt were built, Alpha Draconis was the Pole Star; in thirteen thousand years, Vega will be.) In other words, the man’s spirit has gone back twenty-six thousand years and identified with the spirit of his ancestor. “Polaris” was in part the result of a controversy over religion between HPL and Maurice W.Moe. In a long letter to Moe (May 15, 1918;
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See S.T.Joshi, “On ‘Polaris,’”
“Power of Wine: A Satire, The.”
Poem (80 lines); written in late 1914. First published in the [Providence]
HPL satirizes the ill effects of liquor and intoxication. For other poems on this theme, see “Temperance Song” (
In “The Horror in the Burying-Ground,” an old physician who, summoned to the Sprague house after Tom Sprague has suffered some kind of fit, pronounces Sprague dead and hands the body over to Henry Thorndike, the undertaker. Later Pratt is disturbed by suspicions that Sprague is not in fact dead. Shortly thereafter he declares Thorndike dead after the latter suddenly takes ill at Sprague’s funeral.
“President’s Message.”
Published in the
“President’s Message.”
Published in the
Reports on amateur activity issued by HPL upon his taking over the presidency of the NAPA after the resignation of William J.Dowdell.
Price, E[dgar] Hoffmann
(1898–1989), pulp writer and correspondent of HPL (1932–37). HPL may have been influenced by Price’s work years before he ever met him: “The Horror at Red Hook” (1925) makes reference to a devil-worshipping sect, the Yezidis, which was probably borrowed from Price’s “The Stranger from Kurdistan” (
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hackwork. HPL thought enough of Price’s letters to preserve them in full (they are now at JHL). In late August 1932 Price wrote a sequel to “The Silver Key,” entitled “The Lord of Illusion” (first published in
“Primavera.”
Poem (72 lines in 9 stanzas); written on March 27, 1925. First published in the
The springtime causes the narrator to reflect on the mystic realms he has known in the past; he has been “haunted by recollections/Of lands that were not of earth.” As with most of the poems of 1924– 26, “Primavera” was written for a meeting of the Blue Pencil Club, an amateur organization in Brooklyn whose meetings HPL grudgingly attended to please his wife.
“Professional Incubus, The.”
Essay (1,210 words); probably written in early 1924. First published in the
HPL avers that the lack of good fiction in amateurdom is a result of the amateurs’ quest to ape the false standards of professional popular fiction.
“Providence.”
Poem (52 lines in quatrains); written on September 26, 1924. First published in the
The poem was written for a meeting of the Blue Pencil Club on the topic “The Old Home Town”; HPL took occasion to speak longingly, from Brooklyn, of his devotion to the scenic and historic beauties of his hometown. HPL notes (letter to Lillian D.Clark, November 17–18, 1924; ms., JHL) that the poem was also published in the [Providence]
Series of fifty-three astronomy articles (1914–18).
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The articles appeared as follows: “The January Sky” (January 1, 1914); “The February Sky” (January 31, 1914); “The March Sky” (March 2, 1914); “The April Sky” (March 31, 1914); “May Sky” (May 1, 1914); “The June Sky” (May 29, 1914); “The July Sky” (June 30, 1914); “The August Sky” (August 1, 1914); “The September Sky” (September 1, 1914); “The October Sky” (September 30, 1914); “The November Sky” (October 31, 1914); “The December Sky” (November 30, 1914); “The January Sky” (December 31, 1914); “The February Sky” (January 30, 1915); “The March Sky” (February 27, 1915); “April Skies” (April 1, 1915); “The May Sky” (April 30, 1915); “The June Skies” (June 1, 1915); “The July Skies” (June 30, 1915); “The August Skies” (July 31, 1915); “September Skies” (September 1, 1915); “October Skies” (October 1, 1915); “November Skies” (November 1, 1915); “December Skies” (November 30, 1915); “January Skies” (December 31, 1915); “The February Skies” (February 1, 1916); “March Skies” (March 1, 1916); “April Skies” (April 1, 1916); “May Skies” (May 3, 1916); “June Skies” (June 1, 1916); “July Skies” (July 1, 1916); “August Skies” (August 1, 1916); “September Skies” (September 1, 1916); “October Skies” (October 2, 1916); “November Skies” (October 31, 1916); “December Skies” (December 1, 1916); “January Skies” (January 2, 1917); “February Skies” (February 1, 1917); “March Skies” (February 28, 1917); “April Skies” (April 2, 1917); “May Skies” (May 1, 1917); “June Skies” (June 1, 1917); “July Skies” (July 2, 1917); “August Skies” (July 31, 1917); “September Skies” (August 31, 1917); “October Skies” (October 2, 1917); “November Skies” (November 5, 1917); “December Skies” (December 1, 1917); “January Skies” (January 2, 1918); “February Skies” (February 1, 1918); “March Skies” (March 1, 1918); “April Skies” (April 1, 1918); “May Skies” (May 2, 1918).
HPL’s most extensive and detailed astronomy columns, the articles averaged 1,750 words in length. As with his other articles, they somewhat mechanically cover the major celestial phenomena of the coming month, but as time passes they are enlivened with explanations of the classical names for the stars and constellations, original bits of poetry by HPL himself (usually presented anonymously), and other diversions. Their greatest significance, however, may be biographical, indicating that HPL had begun to emerge from his five-year-long hermitry several months before he joined amateur journalism in April 1914. The series came to an end because “the request of [the paper’s] editor for me to make my articles ‘so simple that a child might understand them’ caused me to withdraw from the field” (HPL to Alfred Galpin, May 27, 1918; ms., JHL).
“Providence in 2000 A.D.”
Poem (70 lines); probably written in early 1912. First published in the [Providence]
HPL’s first published poem is a satire in which a man in the future returns to Providence and finds all the place names changed to reflect the foreign immigrants in the city. The poem was inspired by a petition by the Italian residents of the city to rename Atwell’s Avenue (the chief thoroughfare in the Italian district, Federal Hill) to Columbus Avenue.
[Providence]
Series of 20 astronomy articles (August 1, 1906–June 1, 1908).
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The articles appeared variously in the
The articles are somewhat mechanical accounts of celestial phenomena for the coming month, made interesting by the fact that all except those for August and September 1906, June 1907, and June 1908 feature hand-drawn star charts by HPL, the first (and virtually the last) time that any artwork of his was published in his lifetime. (In the article for March 1908, only the illustration appeared in ET, under the title “The Evening Sky in March.”) The articles end abruptly because a nervous breakdown caused HPL to withdraw from high school.
Pseudonyms, Lovecraft’s.
HPL used pseudonyms frequently, but almost exclusively during his years in amateur journalism and mostly for poems. In part, the pseudonyms were a means of disguising the fact that HPL was contributing more than one item to a given issue of a paper; in other cases (e.g., the religious poem “Wisdom”), HPL may have been wishing to conceal his identity in a work whose subject matter would have been considered anomalous for readers who knew his work. Some pseudonyms (e.g., Henry Paget-Lowe, Ward Phillips) did not well conceal his identity. His first pseudonym was “Isaac Bickerstaffe,” used in late 1914; and this Augustan
“Lawrence Appleton” was used for the poems “Hylas and Myrrha: A Tale” (
For the use of Winifred Virginia Jackson’s pseudonym “Elizabeth Berkeley” for HPL’s poems “The Unknown” (
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“Isaac Bickerstaffe, Jr.” was used for HPL’s satirical attacks on the astrologer J.F.Hartmann in the [Providence]
“Jeremy Bishop” was used for the poem “Medusa: A Portrait” (
“John J.Jones” was used for the self-parodic poem “The Dead Bookworm” (
“Humphry Littlewit” was used for the story “A Reminiscence of Dr. Samuel Johnson” (
“Archibald Maynwaring” was used for the poems “The Pensive Swain” (
“Michael Ormonde O’Reilly” was used for the juvenile poem “To Pan” (
“Ward Phillips” was used for the essay “Ward Phillips Replies” (
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Tryout” (
“Richard Raleigh” was used for the poem “To a Youth” (
“Ames Dorrance Rowley” was used for the poems “Laeta; a Lament” (
“Edward Softly” was used for the poems “Damon and Delia, a Pastoral” (
“Lewis Theobald, Jun.,” HPL’s most frequently used pseudonym, was used for the two stories cowritten with Winifred Virginia Jackson, “The Crawling Chaos” (
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peared in “News Notes” (
For “Albert Frederick Willie,” used for the poem “Nathicana” (
For “Zoilus” see “The Vivisector.”
“Augustus T.Swift” was formerly thought to be a pseudonym of HPL’s for two letters (one of which contains lavish praise of the pulp writer Francis Stevens) published in the
“Psychopompos: A Tale in Rhyme.”
Poem (310 lines); begun in late 1917 but not completed until the summer of 1918. First published in
The title means “Conveyer of souls [i.e., to Hades],” a somewhat peculiar title for a poem about werewolves. The story concerns Sieur and Dame de Blois, who seem merely to be reclusive nobles but are in fact werewolves. When a citizen kills Dame de Blois (in the form of a snake), the Sieur besieges the house of his wife’s murderer with a band of other wolves, but he is himself killed. HPL apparently was influenced by Winifred Virginia Jackson’s poem “Insomnia” (
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Pth’thya-l’hi.
In “The Shadow over Innsmouth,” she is the wife of Obed Marsh and great-great-grandmother of Robert Olmstead. According to HPL’s notes, she was born 78,000 B.C. Olmstead meets her in the dream that convinces him to join his forebears and to live forever in Y’ha-nthlei under the ocean. Purdy, Marjorie.
In “Ashes,” the secretary of the scientist Arthur Van Allister. Her lover, Malcolm Bruce, thinks she has been reduced to ashes by a formula invented by Van Allister, but in fact she is merely locked in a closet.
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Q
“Quest of Iranon, The.”
Short story (2,800 words); written on February 28, 1921. First published in the
A youthful singer named Iranon comes to the granite city of Teloth, saying that he is seeking his faroff home of Aira, where he was a prince. The men of Teloth, who have no beauty in their lives, do not look kindly on Iranon and force him to work with a cobbler. He meets a boy named Romnod, who similarly yearns for “the warm groves and the distant lands of beauty and song.” Romnod thinks that nearby Oonai, the city of lutes and dancing, might be Iranon’s Aira. Iranon doubts it, but goes there with Romnod. It is indeed not Aira, but the two of them find welcome there for a time. Iranon wins praises for his singing and lyre-playing, and Romnod learns the coarser pleasures of wine. Years pass; Iranon seems to grow no older, as he continues to hope one day to find Aira. Romnod eventually dies of drink, and Iranon leaves the town and continues his quest. He comes to “the squalid cot of an antique shepherd” and asks him about Aira. The shepherd looks at Iranon curiously and states that he had heard of the name Aira, but that it was merely an imaginary name invented by a beggar’s boy he had known long ago. This boy, “given to strange dreams,” provoked laughter by thinking himself a king’s son. At twilight an old, old man is seen walking calmly into the quicksand. “That night something of youth and beauty died in the elder world.”
“The Quest of Iranon” is among the best of HPL’s Dunsanian imitations, although there is perhaps a hint of social snobbery at the end (Iranon kills himself because he discovers he is of low birth). HPL wished to use it in his own
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using it there. It was rejected by
See Brian Humphreys, “Who or What Was Iranon?”
American writer and editor; prolific author of tales about psychic detective Jules de Grandin in
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R
“Rats in the Walls, The.”
Short story (7,940 words); written late August or early September 1923. First published in
A Virginian of British ancestry, a man named Delapore (his first name is not given), decides to spend his latter years in refurbishing and occupying his ancestral estate in southern England, Exham Priory, whose foundations extend to a period even before the Roman conquest of the first century C.E. Delapore spares no expense in the restoration and proudly moves into his estate on July 16, 1923. He has reverted to the ancestral spelling of his name, de la Poer, despite the fact that the family has a very unsavory reputation with the local population for murder, kidnapping, witchcraft, and other anomalies extending to the time of the first Baron Exham in 1261. Associated with the house or the family is the “dramatic epic of the rats—the lean, filthy, ravenous army which had swept all before it and devoured fowl, cats, dogs, hogs, sheep, and even two hapless human beings before its fury was spent.”
All this seems merely conventional ghostly legendry, and de la Poer pays no attention to it. But shortly after his occupancy of Exham Priory, odd things begin to happen; in particular, he and his several cats seem to detect the scurrying of rats in the walls of the structure, even though such a thing is absurd in light of the centuries-long desertion of the place. The scurrying seems to descend to the basement of the edifice, and one night de la Poer and his friend, Capt. Edward Norrys, spend a night there to see if they can discern the mystery. De la Poer wakes to hear the scurrying of the rats continuing “
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partly articulated as skeletons; these latter invariably in postures of daemoniac frenzy, either fighting off some menace or clutching some other forms with cannibal intent.” When de la Poer finds that some bones have rings bearing his own coat of arms, he realizes the truth—his family has been the leaders of an ancient cannibalistic witch-cult that had its origins in primitive times—and he experiences a spectacular evolutionary reversal: speaking successively in archaic English, Middle English, Latin, Gaelic, and primitive ape-cries, he is found crouching over the half-eaten form of Capt. Norrys.
In a late letter HPL states that the story was “suggested by a very commonplace incident—the cracking of wall-paper late at night, and the chain of imaginings resulting from it” (
The name
Certain surface features of the tale—and perhaps one essential kernel of the plot—were taken from other works. As Steven J.Mariconda has pointed out, HPL’s account of the “epic of the rats” appears to be derived from a chapter in S.Baring-Gould’s
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The idea of atavism or reversion to type seems to have been derived from a story by Irvin S.Cobb, “The Unbroken Chain,” published in
See Barton Levi St. Armand,
Poem (68 lines in 7 stanzas); written in late 1914. First published in the
See S.T.Joshi, “Lovecraft, Regner Lodbrog, and Olaus Wormius,”
Reid, Dr.
In “Pickman’s Model,” a physician who, as a student of comparative pathology, ceased his acquaintance with the artist Richard Upton Pickman,
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claiming (in Pickman’s indignant words) that the artist was “a sort of monster bound down the toboggan of reverse evolution.”
“Reminiscence of Dr. Samuel Johnson, A.”
Short story (2,060 words); probably written in the summer or fall of 1917. First published in the
The narrator, Littlewit, is entering his 228th year, having been born on August 20, 1690. He provides some familiar and not-so-familiar “reminiscences” of Johnson and of his literary circle—Boswell, Goldsmith, Gibbon, and others—all written in a meticulous re-creation of eighteenth-century English. Littlewit is the author of a periodical paper,
Renshaw, Anne (Vyne) Tillery,
amateur journalist from Mississippi, instructor, and associate of HPL. Renshaw was a well-known figure in amateur journalism in the 1910s, publishing many poems (whose radicalism HPL chided in “Metrical Regularity” [
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[i.e., clichés] Must Go,” and a substantial concluding chapter, “What Shall I Read?”). Because HPL was so slow in getting the book to her (partly because of increasingly bad health, partly because of R.H.Barlow’s month-long stay with him that summer), Renshaw had to rush the book into print and omit much of HPL’s work. The volume appeared late in the year as
Poem (56 lines in 7 stanzas); probably written in early 1919. First published in
The narrator finds himself in a pleasant valley, but as he looks upward to the skies, he finds himself “Ever wiser, ever sadder”; looking back downward, he finds only “terror in the brooklet’s ride” as his realm has become a “lost, accursed land.”
Juvenile periodical written by HPL, 1903–9. Copies at JHL.
The hectographed paper survives in 69 issues: 1, No. 1 (August 2, 1903); 1, No. 2 (August 9, 1903); 1, No. 3 (August 16, 1903); 1, No. 4 (August 23, 1903); 1, No. 5 (August 30, 1903); 1, No. 6 (September 6, 1903); 1, No. 7 (September 13, 1903); 1, No. 8 (September 20, 1903); 1, No. 9 (September 27, 1903); 1, No. 10 (October 4, 1903); 1, No. 11 (October 11, 1903); 1, No. 12 (October 18, 1903); 1, No. 13 (October 25, 1903); 1, No. 14 (November 1, 1903); 1, No. 15 (November 8, 1903); 1, No. 16 (November 15, 1903); 1, No. 17 (November 22, 1903); 1, No. 18 (November 29, 1903); 1, No. 19 (December 6, 1903); 1, No. 20 (December 13, 1903); 1, No. 21 (December 20, 1903); 1, No. 22 (December 27, 1903); 1, No. 23 (January 3, 1904); 1, No. 24 (January 10, 1904); 1, No 25 (January 17, 1904); 1, No. 26 (January 24, 1904); 1, No. 27 (January 31, 1904); 3, No. 1 (April 16, 1905); [Extra] (April 17, 1905); 3, No. 2 (April 23, 1905); 3, No. 3 (April 30, 1905); 3, No. 4 (May 7, 1905); 3, No. 5 (May 14, 1905); 3, No. 6 (May 21, 1905); 3, No. 7 (May 28, 1905); 3, No. 8 (June 4, 1905); 3, No. 9 (June 11, 1905); 3, No. 10 (June 18, 1905); 3, No. 11 (June 25, 1905); 3, No. 12 (July 2, 1905); 3, No. 13 (July 9, 1905); 3, No. 14 (July 16, 1905); 3, No. 15 (July 23, 1905); 4 [sic], No. 1 (new series) (July 30, 1905); 3, No. 2 (August 6, 1905); 3, No. 3 (August 13, 1905); 3, No. 5 (August 27, 1905); 3, No. 6 (September 3, 1905); 3, No. 7 (September 10, 1905); 3, No. 8 (September 17, 1905); 3, No. 9 (October 8, 1905); 3, No. 10 (October 22, 1905); 3, No. 11 (November 12, 1905); 3, No. 6 [sic] (January 1906); 3, No. 7 (February 1906); 3, No. 8 (March 1906); 3, No. 9 (April 1906); 3, No. 10 (May 1906); 3, No. 11 (June 1906); 4, No. 1 (Special Anniversary Number) (August 1906); 4, No. 2 (September 1906); 4, No. 3 (October 1906); 4, No. 4
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(November 1906); 4, No. 5 (December 1906); 4, No. 6 (January 1907); 4, No. 9 (April 1907); 6, No. 6 (January 1909); 6, No. 7 (February 1909).
The paper was HPL’s most ambitious and longest-running juvenile periodical. An average issue would contain several different columns, features, and charts, along with news notes, advertisements (for works by HPL, for items from his collection, and for outside merchants or friends), and fillers. Numerous serials appeared in the paper; the issue for September 20, 1903 lists the “original & complete MS.” of these: “The Telescope” (12 pp.); “The Moon” (12 pp.); “On Venus” (10 pp.); “Atlas Wld.” (7 maps); “Practical Geom[etry]” (34 pp.); “Astronomy” (60 pp.); “Solar System” (27 pp.). The issue for November 1, 1903 notes that HPL has now begun to use the telescope at Ladd Observatory of Brown University; HPL elsewhere states that Prof. Winslow Upton, professor of astronomy at Brown, was a family friend and allowed HPL access to the obser-vatory (
Ricci, Angelo.
A thief (of Italian ancestry) who meets a bad end when, in “The Terrible Old Man,” he attempts to rob an old sea captain of his reputed hoard of Spanish gold and silver.
Rice, Professor Warren.
In “The Dunwich Horror,” a professor at Miskatonic University who, with Henry Armitage and Francis Morgan, leads the party that exterminates Wilbur Whateley’s monstrous twin brother. Rimel, Duane W[eldon] (1915–1996),
author of weird and fantasy tales and correspondent of HPL (1934–37). In his letters HPL wrote expansively to Rimel about numerous subjects, offering constant assistance in matters of literary technique. In a letter dated June 17, 1934, HPL includes a segment called “Notes on Writing a Story,” one of several different versions of the essay “Notes on Writing Weird Fiction” (1933). HPL read many of his early stories and revised some of them, including “The Tree on the Hill” (1934;
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Robbins, Maria.
In “The Shunned House,” a woman from Newport, R.I., hired by Mercy Dexter in 1769 to be a servant at the house. Although her health declines markedly, she stays until 1783, when the Harris family moved out of the house.
Robinson, Buck.
In “Herbert West—Reanimator,” a semi-professional boxer (nicknamed “The Harlem Smoke”) who is killed by “Kid” O’Brien in an informal bout in Bolton, Mass. He is taken to the office of Dr. Herbert West, who hopes to revive him from the dead, but West believes he has failed, since the solution he injected into Robinson (an African American) was “prepared from experience with white specimens only.” Later West learns otherwise.
Rogers, George.
In “The Horror in the Museum,” the curator and chief artist of a wax museum in London who has a penchant for teratological monstrosities and who goes mad after he captures a strange “deity.” His latest creation in wax—a depiction of himself mutilated by the deity—proves to be no wax effigy at all.
Romero, Juan.
In “Transition of Juan Romero,” a Mexican peon who is actually a descendant of the Aztecs. When he and the narrator explore the vast cavern uncovered in the Norton Mine, where they are employed as miners, he witnesses something frightening in the great abyss, and the next day is found dead in his bunk.
Romnod.
In “The Quest of Iranon,” the boy from Teloth who helps Iranon seek his homeland, Aira. They come to Oonai, “the city of lutes and dancing,” where they stay, and there Romnod indulges in strong drink, from which he eventually dies.
Ropes,———.
In
Roulet, Etienne.
In “The Shunned House,” a Huguenot who flees from France to East Greenwich, R.I., in 1686. Roulet is somehow connected with Jacques Roulet of Caude, who in 1598 is accused of lycanthropy. The land on which the Shunned House was built had been leased to Roulet and his wife in 1697. Rufus, L[ucius] Caelius.
In “The Very Old Folk,” a provincial quaestor in the Roman province of Hispania Citerior (Spain), who accompanies a cohort of the Roman army to investigate reports of peculiar events in the hills above Tarraco. In the dream inspiring this story, HPL himself was Rufus.
Russell, John,
British amateur journalist living in Florida and infrequent associate of HPL. When HPL wrote a letter to the
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did so in an item published as “The Critics’ Farewell” in the October 1914 issue, containing HPL’s poem “The End of the Jackson War” and Russell’s “Our Apology to E.M.W.” HPL must have got in touch with Russell personally around this time; he urged Russell to join amateur journalism, but Russell did not do so immediately. Russell’s poem “Florida” and HPL’s poem “New England” were published together in the Providence
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S
Sandusky, Albert A. (d. 1934?).
Amateur journalist and associate of HPL. Sandusky, a resident of Cambridge, Mass., operated the Lincoln Press, and in this capacity he printed the two issues of the
Sargent, Joe.
In “The Shadow over Innsmouth,” he drives the motor coach that takes Robert Olmstead between Arkham, Newburyport, and Innsmouth.
Sargent, Moses and Abigail.
In “The Thing on the Doorstep,” servants of Edward and Asenath Derby who, after being dismissed by Edward, appear to exact some kind of blackmail from him.
Sawyer, Asaph.
The vindictive scoundrel in “In the Vault” whose corpse was mutilated by George Birch in order to make it fit a coffin originally intended for a shorter man and who exacts vengeance on Birch even in death.
Sawyer, Earl.
In “The Dunwich Horror,” a neighbor of the Whateleys who, when selling cattle to that family, detects a horrible stench in their abandoned toolhouse. Later he tends Wilbur Whateley’s cattle while Wilbur is visiting the
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library of Miskatonic University, and still later he is among the party that exterminates Wilbur’s twin brother. His “common-law wife” is Mamie Bishop. His relationship to Sally Sawyer, housekeeper of Seth Bishop’s farm, and her son Chauncey is unspecified.
Schmidt,———.
In “The Temple,” a seaman on the German submarine U-29 who becomes violently insane and is executed by the commander, Graf von Altberg-Ehrenstein.
Schwartz, Julius (b. 1915),
American agent and editor. As editor of
See Will Murray, “Julius Schwartz on Lovecraft” (interview),
Juvenile periodical written by HPL, 1899–1909. Copies at JHL.
The hectographed paper was HPL’s first venture in scientific writing, initially inspired by his interest in chemistry beginning in 1898 but later expanding to cover a wider range of scientific topics. Thirtytwo issues survive: 1, No. 1 (March 4, 1899); New Issue 1, No. 1 (May 12, 1902); 3, No. 1 (August 16, 1903); 3, No. 2 (August 23, 1903); 3, No. 3 (August 30, 1903); 3, No. 4 (September 6, 1903); 3, No. 5 (September 13, 1903); 3, No. 6 (September 30, 1903); 3, Odd Number 1 (September 22, 1903); 3, Odd Number 2 (September 23, 1903); 3, No. 10 [sic] (September 27, 1903); 3, No. 11 [sic] (October 4, 1903); 3, No. 11 [sic] odd (October 8, 1903); 3, No. 9 (October 11, 1903); 3, No. 10 (October 18, 1903); 3, No. 4 odd (October 20, 1903); 3, No. 11 (October 25, 1903); 3, No. 12 (November 1, 1903); 3, No. 13 (November 8, 1903); 3, No. 14 (November 15, 1903); 3, No. 15 (November 22, 1903); 3, No. 16 (November 29, 1903); 3, No. 17 (December 6, 1903); 3, No. 18 (December 13, 1903); 3, No. 19 (December 20, 1903); 3, No. 20 (December 27, 1903); 3, No. 21 (January 3, 1904); 3, No. 22 (January 10, 1904); 3, No. 23 (January 17, 1904); 3, No. 24 (January 24, 1904); 3, No. 25 (January 31, 1904); 10, No. 11 (January 1909).
The first issue consists of two sentences: “There was a great explosion in the Providence Laboratory this afternoon. While experimenting some potassium blew up causing great damage to everyone.” HPL notes that at this time the magazine was a daily but that it “soon degenerated into a weekly” (
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sumed.” The price is now raised from 1¢ to 2¢. HPL states (
Searight, Richard F[ranklyn] (1902–1975).
Pulp writer from Michigan and correspondent of HPL. With Norman E.Hammerstrom, Searight wrote “The Brain in the Jar” (
Sechrist, Edward Lloyd (1873–1953),
beekeeper, amateur journalist residing in Washington, D.C., and occasional correspondent of HPL. Sechrist, a member of the UAPA, visited HPL in Providence in early 1924 (see
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“Secret Cave, or John Lees Adventure, The.”
Juvenile story (525 words); written c. 1898–99. First published in
Mrs. Lee instructs her ten-year-old son John and two-year-old daughter Alice to be “good children” while both parents are “going off for the day”; but immediately upon their departure John and Alice go down to the cellar and begin “to rummage among the rubbish.” When Alice leans against a wall and it suddenly gives way behind her, a passage is discovered. John and Alice enter the passage, coming successively upon a large empty box; a small, very heavy box that is not opened; and a boat with oars. The passage comes to an abrupt end; John pulls away “the obstacle” and finds a torrent of water rushing in. John is a good swimmer, but little Alice is not, and she drowns. John manages to struggle into the boat, clinging to the body of his sister and the small box. Suddenly he realizes that “he could shut off the water”; he does so, although how he does it—and why he did not think of it earlier—is never explained. Finally he reaches the cellar. Later it is discovered that the box contains a solid gold chunk worth $10,000—“enough to pay for any thing but the death of his sister.” “Shadow out of Time, The.”
Novelette (25,600 words); written November 10, 1934 to February 22, 1935. First published in
Nathaniel Wingate Peaslee, a professor of political economy at Miskatonic University, experiences a sudden nervous breakdown on May 14, 1908, while teaching a class. Awaking in the hospital after a collapse, he appears to have suffered amnesia so severe that it has affected even his vocal and motor faculties. Gradually he relearns the use of his body and, indeed, develops tremendous mental capacity, seemingly far beyond that of a normal human being. His wife, sensing that something is gravely wrong, refuses to have anything to do with him and later obtains a divorce; only one of his three children, Wingate, continues to associate with him. Peaslee spends the next five years conducting prodigious research at various libraries around the world and also undertakes expeditions to various mysterious realms. Finally, on September 27, 1913, he suddenly snaps back into his old life: when he awakes after a spell of unconsciousness, he believes he is still teaching the economics course in 1908.
Peaslee is now plagued with dreams of increasing strangeness. He dreams that his mind has been placed in the body of an entity shaped like a ten-foot-high rugose cone, while that entity’s mind occupies his own body. These creatures are called the Great Race “because [they] alone had conquered the secret of time”: they have perfected a technique of mind-exchange with almost any other life-form throughout the universe and at any point in time—past, present, or future. The Great Race had established a colony on this planet in Australia 150,000,000 years ago. Their minds had previously occupied the bodies of another race but had left them because of some impending cataclysm; later they would migrate to other bodies after the cone-shaped beings were destroyed. They had compiled a voluminous library consisting of the accounts of all the other captive minds throughout the universe. Peaslee writes an account of his time for the Great Race’s archives.
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Peaslee believes that his dreams of the Great Race are merely the product of his esoteric study during his amnesia; but then an Australian explorer, having read some of Peaslee’s articles on his dreams in a psychological journal, writes to him to let him know that some archeological remains very similar to the ones he has described as the city of the Great Race have been recently discovered. Peaslee accompanies the explorer, Robert B.F.Mackenzie, on an expedition to the Great Sandy Desert and is stunned to find that his dreams may have a real source. One night he leaves the camp to conduct a solitary exploration. He winds through the now underground corridors of the Great Race’s city, increasingly unnerved at the familiarity of the sites he is traversing. He knows that the only way to discern whether his dreams are only dreams or some monstrous reality is to find the account he dreamed he had written for the archives of the Great Race. After a laborious descent he comes to the place and does indeed find his own record. Reflecting afterward, he writes: “No eye had seen, no hand had touched that book since the advent of man to this planet. And yet, when I flashed my torch upon it in that frightful megalithic abyss, I saw that the queerly pigmented letters on the brittle, aeon-browned cellulose pages were not indeed any nameless hieroglyphs of earth’s youth. They were, instead, the letters of our familiar alphabet, spelling out the words of the English language in my own handwriting.”
The basic mind-exchange scenario of the tale derives from at least three sources. First is H.B.Drake’s
The third dominant influence is the film
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eighteenth-century Peter’s diary, written in part while the twentieth-century Peter was occupying his body, not take cognizance of the fact (
Other, smaller features in “The Shadow out of Time” may also have literary sources. Peaslee’s alienation from his family may echo Walter de la Mare’s novel
Two other “influences” can be noted if only to be dismissed. It has frequently been assumed that “The Shadow out of Time” is simply an extrapolation upon Wells’s
Perhaps a significant literary influence can be found in HPL’s own works. The story could be thought of as an exhaustive expansion of the notion of “possession” by an extraterrestrial being as found in “Beyond the Wall of Sleep” (1919). Minor allusions to other older stories appear, since many were being published only for the first time at the time HPL was writing “The Shadow out of Time.” The story’s amnesia motif makes for a provocative autobiographical connection. Peaslee’s amnesia dates from 1908 to 1913, the exact time when HPL himself, having had to withdraw from high school, descended into hermitry. The inability of the alien inhabiting Peaslee’s body to control its facial muscles may correlate to the facial tics that HPL suffered at that time.
HPL experienced considerable difficulty in writing the story. The core of the plot had been conceived as early as 1930, emerging from a discussion between HPL and Clark Ashton Smith regarding the plausibility of stories involving time travel. HPL noted: “The weakness of most tales with this theme is that they do not provide for the recording, in history, of those inexplicable events in the past which were caused by the backward time-voyagings of persons of the present & future” (
By March 1932 HPL had devised the basic idea of mind-exchange over time, as outlined in another letter to Smith:
I have a sort of time idea of very simple nature floating around in the back of my head, but don’t know when I shall ever get around to using it. The notion is that of a race in primal Lomar perhaps even before the founding of Olathoë & in the heyday of Hyperborean Commoriom—who gained a knowledge of all arts & sciences by sending thoughtstreams ahead to drain the minds of men in future ages—angling in time, as it were. Now
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& then they get hold of a really competent man of learning, & annex all his thoughts. Usually they only keep their victims tranced for a short time, but once in a while, when they need some special piece of continuous information, one of their number sacrifices himself for the race & actually changes bodies with the first thoroughly satisfactory victim he finds. The victim’s brain then goes back to 100,000 B.C.—into the hypnotist’s body to live in Lomar for the rest of his life, while the hypnotist from dead aeons animates the modern clay of his victims. (
HPL began writing of the story in late 1934. He announces in November: “I developed that story
HPL was highly dissatisfied with the story and was disinclined to type it. In a highly unusual maneuver (HPL never circulated his drafts) he sent the manuscript to August Derleth and then expressed irritation that Derleth apparently made no attempt to read the crabbed text. Then, while visiting R.H.Barlow in Florida in the summer of 1935, HPL asked Derleth to send him the manuscript, as Barlow wished to read it. In fact, Barlow surreptitiously typed the story. When HPL sent the typescript for circulation among his correspondents, the first recipient, Donald Wandrei, instead took the story to F.Orlin Tremaine of
The manuscript of the story—formerly in the possession of Barlow, to whom HPL had given it— surfaced in 1994. Consultation of the text reveals that, in spite of HPL’s assertions to the contrary, the story was significantly adulterated in its appearance in
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“Shadow over Innsmouth, The.”
Novelette (22,150 words); written November-December 3, 1931. First published as a book (Everett, Pa.: Visionary Publishing Co., 1936); rpt. (abridged)
The narrator, Robert Olmstead (never mentioned by name in the story, but identified in the surviving notes), a native of Ohio, celebrates his coming of age in 1927 by undertaking a tour of New England —“sightseeing, antiquarian, and genealogical”—and, finding that the train fare from Newburyport to Arkham (whence his family derives) is higher than he would like, is grudgingly told by a ticket agent of a bus that makes the trip by way of a seedy coastal town called Innsmouth. The place does not appear on most maps, and many odd rumors are whispered about it. Innsmouth was a flourishing seaport until 1846, when an epidemic of some sort killed over half its citizens. People believe it may have had something to do with the voyages of Captain Obed Marsh, who sailed extensively in China and the South Seas and somehow acquired vast sums in gold and jewels. Now the Marsh refinery is just about the only business of importance in Innsmouth aside from fishing off the shore near Devil’s Reef, where fish are always unusually abundant. All the townspeople seem to have repulsive deformities or traits—collectively termed “the Innsmouth look”—and are studiously avoided by the neighboring communities.
This account piques Olmstead’s interest as an antiquarian, and he decides to spend at least a day in Innsmouth, planning to catch a bus in the morning and leaving for Arkham in the evening. He goes to the Newburyport Historical Society and is fascinated by a tiara that came from Innsmouth: “It was as if the workmanship were that of another planet.” Going to Innsmouth on a seedy bus run by Joe Sargent, whose hairlessness, fishy odor, and never-blinking eyes provoke his loathing, Olmstead begins exploration, aided by directions and a map supplied by a normal-looking young man who works in a grocery store. All around he sees signs of both physical and moral decay from a once distinguished level. The atmosphere begins to oppress him, and he thinks about leaving the town early; but then he catches sight of a nonagenarian named Zadok Allen who, he has been told, is a fount of knowledge about the history of Innsmouth. Olmstead has a chat with Zadok, loosening his tongue with bootleg whiskey.
Zadok tells him a wild story about alien creatures, half fish and half frog, whom Obed Marsh had encountered in the South Seas. Zadok maintains that Obed struck up an agreement with these creatures: they would provide him with bountiful gold and fish in exchange for human sacrifices. This arrangement works for a while, until the fish-frogs seek to mate with humans. This provokes a violent uproar in the town in 1846: many citizens die and the remainder are forced to take the Oath of Dagon, professing loyalty to the hybrid entities. There is, however, a compensating benefit of a sort. The offspring of the fish-frogs and humans acquire a kind of immortality: they undergo a physical change (acquiring “the Innsmouth look”), gaining many of the properties of the aliens, and then they take to the sea and live in vast underwater cities for millennia.
Scarcely knowing what to make of this bizarre tale and alarmed at Zadok’s maniacal plea that he leave the town at once because they have been seen talk
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ing, Olmstead attempts to catch the evening bus out of Innsmouth. But the bus has suffered inexplicable engine trouble and cannot be repaired until the next day; he will have to stay at the seedy Gilman House, the only hotel in town. Reluctantly checking in, he feels ever-growing intimations of horror and menace as he hears anomalous voices outside his room and other strange noises. He finally realizes his peril when the doorknob is tried from the outside. He attempts to leave the hotel and escape town but is almost overwhelmed at both the number and the loathsomeness of his hybrid pursuers.
Olmstead does manage to escape, but his tale is not over. After a much-needed rest, he continues to pursue genealogical research and finds appalling evidence that he may be directly related to the Marsh family. He learns of a cousin locked in a madhouse in Canton and an uncle who committed suicide because he learned something nameless about himself. Strange dreams of swimming underwater begin to afflict him, and gradually he breaks down. Then one morning he discerns that he has acquired “the Innsmouth look.” He considers suicide, but “certain dreams deterred me.” Later he comes to his decision: “I shall plan my cousin’s escape from that Canton madhouse, and together we shall go to marvel-shadowed Innsmouth. We shall swim out to that brooding reef in the sea and dive down through black abysses to Cyclopean and many-columned Y’ha-nthlei, and in that lair of the Deep Ones we shall dwell amidst wonder and glory for ever.”
The writing of the story came at a time when HPL’s spirits were at a low ebb because of the nearly simultaneous rejection, in the summer of 1931, of
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Wright to August Derleth, January 17, 1933; ms., SHSW). HPL eventually found out about this surreptitious submission, for by 1934 he is speaking of its rejection by Wright (HPL to F.Lee Baldwin, August 21, 1934; ms., JHL).
At length HPL agreed to let William L.Crawford publish the story as a book (although previously Crawford had conceived of various other plans for the tale—submitting it to
The story proves to be a cautionary tale on the ill effects of miscegenation, or the sexual union of different races, and as such can be considered a vast expansion and subtilization of the plot of “Facts Concerning the Late Arthur Jermyn and His Family” (1920).
The name Innsmouth had been coined for “Celephaïs” (1920), then clearly located in England. HPL revived the name for two sonnets (“The Port” and “The Bells”) of
There seem to be three dominant literary influences on the tale. The use of hybrid fishlike entities derives from at least two works for which HPL always retained a fondness: Irvin S.Cobb’s “Fishhead” (which HPL read in the
Olmstead’s character and mannerisms reveal several autobiographical touches, especially in regard to HPL’s habits as a frugal antiquarian traveler. Olmstead always “seek[s] the cheapest possible route,” and this is usually—for Olmstead as for HPL—by bus. His reading up on Innsmouth in the library, and his systematic exploration of the town by way of the map and instructions given
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to him by the grocery youth, parallel HPL’s own thorough researches into the history and topography of the places he wished to visit and his frequent trips to libraries, chambers of commerce, and elsewhere for maps, guidebooks, and historical background. Even the ascetic meal Olmstead eats at a restaurant—“A bowl of vegetable soup with crackers was enough for me”—echoes HPL’s parsimonious diet both at home and on his travels.
Olmstead’s spectacular conversion at the end—where he not only becomes reconciled to his fate as a nameless hybrid but actually welcomes it—is the most controversial point of the tale. Does this mean that HPL, as in
See William L.Crawford, “Lovecraft’s First Book,” in
Shea, J[oseph] Vernon (1912–1981),
correspondent of HPL (1931–37). Shea, residing in Pittsburgh, engaged HPL in numerous involved (and at times heated) discussions on politics (especially concerning Hitler and the Nazis) and society. Shea’s lifelong interest in films also seemed to rub off a bit on HPL, who discussed with Shea numerous films he saw in the 1930s, including
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May 1966; rpt. Necronomicon Press, 1982). See his collection,
Shepherd, Wilson (b. 1917),
weird fiction editor and publisher in Oakman, Alabama, and associate of HPL (1932–37). HPL first heard of Shepherd indirectly from R.H.Barlow, who protested that Shepherd was trying to bamboozle him in regard to the exchange of some pulp magazines. HPL’s (unintentionally comical) piece, “Correspondence between R.H.Barlow and Wilson Shepherd” (1932; first published in
Sherman,———.
In
Shiel, M[atthew] P[hipps] (1865–1947).
British weird writer. HPL discovered Shiel in 1923, when W.Paul Cook lent him
See A.Reynolds Morse,
“Shunned House, The.”
Novelette (10,840 words); written in mid-October 1924. First published as a booklet (Athol, Mass.: W.Paul Cook, 1928 [printed but not bound or distributed]); rpt.
On Benefit Street in Providence, there is a peculiar house about which rumors have long been whispered. This house, occupied by several generations of the Harris family, is never considered “haunted” by the local citizens but merely
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“unlucky”: people simply seem to have an uncanny habit of dying there, or at least of being afflicted with anemia or consumption. Neighboring houses are free of any such taint. It had lain deserted— because of the impossibility of renting it—since the Civil War. The narrator had known of this house since boyhood, when some of his childhood friends would fearfully explore it, sometimes even boldly entering through the unlocked front door “in quest of shudders.” As he grows older, he discovers that his uncle, Elihu Whipple, had done considerable research on the house and its tenants, and he finds his seemingly dry genealogical record full of sinister suggestion. He comes to suspect that some nameless object or entity is causing the deaths by somehow sucking the vitality out of the house’s occupants; perhaps it has some connection with a strange thing in the cellar, “a vague, shifting deposit of mould or nitre…[that] bore an uncanny resemblance to a doubled-up human figure.” After telling, at some length, the history of the house since 1763, the narrator finds himself puzzled on several fronts; in particular, he cannot account for why some of the occupants, just prior to their deaths, would cry out in a coarse and idiomatic form of French, a language they did not know. As he explores town records, he seems at last to have come upon the “French element.” A sinister figure named Etienne Roulet had come from France to East Greenwich, R.I., in 1686; he was a Huguenot and fled France after the revocation of the Edict of Nantes, moving to Providence ten years later in spite of much opposition from the town fathers. What particularly intrigues the narrator is his possible connection with an even more dubious figure, Jacques Roulet of Caude, who in 1598 was accused of lycanthropy.
Finally the narrator and his uncle decide to “test—and if possible destroy—the horror of the house.” They come one evening in 1919, armed with both a Crookes tube (a device invented by Sir William Crookes that emits electrons between two electrodes) and a flame-thrower. The two men take turns resting; both experience hideous and disturbing dreams. When the narrator wakes up from his dream, he finds that some nameless entity has utterly engulfed his uncle, “who with blackening and decaying features leered and gibbered at me, and reached out dripping claws to rend me in the fury which this horror had brought.” Realizing that his uncle is past help, he aims the Crookes tube at him. A further demoniac sight appears to him: the object seems to liquefy and adopt various temporary forms (“He was at once a devil and a multitude, a charnel-house and a pageant”); then the features of the Harris line seem to mingle with his uncle’s. The narrator flees down College Hill to the modern downtown business district; when he returns, hours later, the nebulous entity is gone. Later that day he brings six carboys of sulfuric acid to the house, digs up the earth where the doubled-up anthropomorphic shape lies, and pours the acid down the hole—realizing only then that the shape was merely the “titan
The story is based upon an actual house in Providence, at 135 Benefit Street; but the writing of the story was triggered by HPL’s seeing a similar house in Elizabeth, N.J., in early October 1924. HPL describes the house as follows (HPL to Lillian D.Clark, November 4–6, 1924; ms., JHL): “…on the northeast corner of Bridge St. & Elizabeth Ave. is a terrible old house—a hellish place where nightblack deeds must have been done in the early seventeen-hundreds—with a
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blackish unpainted surface, unnaturally steep roof, & an outside flight of steps leading to the second story, suffocatingly embowered in a tangle of ivy so dense that one cannot but imagine it accursed or corpse-fed. It reminded me of the Babbitt house in Benefit St., which as you recall made me write those lines entitled ‘The House’ in 1920.” (HPL refers to his poem “The House,“ published in the
Other details of Providence history are also authentic: the straightening of Benefit Street after the removal of the graves of the oldest settlers to the North Burial Ground; the great floods of 1815; even the random mention of the fact that “As lately as 1892 an Exeter community exhumed a dead body and ceremoniously burnt its heart in order to prevent certain alleged visitations injurious to the public health and peace.” This last point has recently been studied by Faye Ringel Hazel, who notes that several articles on this subject appeared in the
The most interesting elaboration upon history in the story is the figure of Etienne Roulet. This figure is mythical, but Jacques Roulet of Caude is real. HPL’s brief mention of him is taken almost verbatim from the account in John Fiske’s
The story shifts from the supernatural to quasi-science-fiction by asserting that the existence of the vampire and its effects may be accounted for by appealing to advanced scientific conceptions: “Such a thing was surely not a physical or biochemical impossibility in the light of a newer science which includes the theories of relativity and intra-atomic action.” HPL refers to Einstein’s theory of relativity (about which, only a year and a half earlier, he had expressed considerable bafflement and perturbation [see
W.Paul Cook wished to print the story as a chapbook (with a preface by Frank Belknap Long), but his financial and physical collapse in 1928 prevented the binding and distribution of the book, although 300 copies had been printed.
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In 1934 R.H.Barlow secured about 265 of those copies and over the next year bound and distributed fewer then ten; he also distributed some copies of the unbound sheets. The remaining copies (about 150) eventually ended up in the hands of August Derleth of Arkham House, who in 1959 distributed 50 unbound copies and in 1961 about 100 copies bound in black cloth. A forgery of this edition, probably emerging in England, was issued in 1965.
See Faye Ringel Hazel, “Some Strange New England Mortuary Practices: Lovecraft Was Right,”
Silva, Manuel.
In “The Terrible Old Man,” a thief (of Portuguese ancestry) who meets a bad end when he attempts to rob an old sea captain of his reputed hoard of Spanish gold and silver.
“Silver Key, The.”
Short story (5,000 words); probably written in early November 1926. First published in
Randolph Carter—revived from “The Unnamable” (1923)—is now thirty; he has “lost the key of the gate of dreams” and therefore seeks to reconcile himself to the real world, which he now finds prosy and aesthetically unrewarding. He tries all manner of literary and physical novelties until one day he finds the key—or, at any rate, a key of silver in his attic. Driving his car along “the old remembered way,” he goes back to the rural New England region of his childhood and, in some magical and wisely unexplained manner, finds himself transformed into a nine-year-old boy. Sitting down to dinner with his aunt Martha, Uncle Chris, and the hired man Benijah Corey, Carter finds perfect content as a boy who has sloughed off the tedious complications of adult life for the eternal wonder of childhood.
The story is a lightly fictionalized exposition of HPL’s own social, ethical, and aesthetic philosophy. It is not even so much a story as a parable or philosophical diatribe. He attacks literary realism (“He did not dissent when they told him that the animal pain of a stuck pig or dyspeptic ploughman in real life is a greater thing than the peerless beauty of Narath with its hundred carven gates and domes of chalcedony”), conventional religion (“It wearied Carter to see how solemnly people tried to make earthly reality out of old myths which every step of their boasted science confuted”), and bohemians (“their lives were dragged malodorously out in pain, ugliness, and disproportion, yet filled with a ludicrous pride at having escaped from something no more unsound than that which still held them”). The structural framework of the story at this point—Carter samples in succession a variety of aesthetic, religious, and personal experiences in an attempt to lend meaning or interest to his life— may have been derived from J.K.Huysmans’
The story is also, as Kenneth W.Faig, Jr. has determined, a fictionalized account of HPL’s visit, in October 1926, to the western Rhode Island town of Foster, the home of his maternal ancestors. Details of topography, character names (Benijah Corey is probably an adaptation of two names: Benejah Place, the owner of the farm across the road from the house where HPL stayed, and Emma [Corey] Phillips, the widow of Walter Herbert Phillips, whose grave HPL probably saw),
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and other similarities make this conclusion unshakable. In some ways, “The Silver Key” is a retelling of “The Tomb,” in which Jervas Dudley discovers in his attic a physical key that allows him to unlock the secrets of the past.
In regard to the other Randolph Carter stories, “The Silver Key” portrays Carter’s life from his childhood to the age of fifty-four, at which point he doubles back on his own timeline and reverts to boyhood.
See Kenneth W.Faig, Jr., “‘The Silver Key’ and Lovecraft’s Childhood,”
Simes.
In “The Disinterment,” the butler of Marshall Andrews who is later killed by the narrator, a patient whom Andrews had been treating.
“Simple Speller’s Tale, The.”
Poem (56 lines); probably written in early 1915. First published in the
Single,———.
The narrator of “The Tree on the Hill” who discovers and photographs a strange tree in a landscape lit by three suns.
Slater (Slaader), Joe.
In “Beyond the Wall of Sleep,” the vagabond hunter from the Catskill Mountain region, who is committed to the state psychopathic institution because of his peculiar behavior and supposed murder of Peter Slader, his neighbor. He is the victim of mind exchange with an unknown “cosmic entity.” In “The Shadow out of Time,” he is alluded to as an amnesia victim, like Nathaniel Wingate Peaslee, who undergoes mind exchange with a member of an alien race.
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Slauenwite, Dr. Thomas (1885–1932).
In “Winged Death,” a physician who discovers an insect whose bite is fatal and that supposedly takes on its victim’s soul or personality. He uses the insect to kill a colleague, Dr. Henry Moore, but later finds that he is pursued by an insect that appears to exhibit Moore’s personality. When he himself dies, his own soul enters the body of the insect, and he tells of his plight by dipping his insect body in ink and writing his message on the ceiling.
Sleght, Adriaen.
In “The Diary of Alonzo Typer,” a man of Dutch ancestry who marries Trintje van der Heyl (daughter of Dirck van der Heyl) and thereby establishes a genealogical link with the narrator of the story. Smith, Charles W. (1852–1948),
amateur journalist and friend of HPL. Smith, residing at 408 Groveland Street in Haverhill, Mass., edited the
poet, fantaisiste, artist, sculptor, and correspondent of HPL (1922–37). Born in Long Valley, Calif., and residing for most of his life in the small town of Auburn in the Sierra foothills, Smith read precociously as a child and began writing fantastic tales and poems at an early age. In 1911 he came in touch with George Sterling, the reigning poet of San Francisco, who found tremendous promise in Smith’s poetry. With Sterling’s aid Smith published
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Possibly from HPL’s example, Smith resumed the writing of fiction in the mid- to late 1920s, first producing “The Abominations of Yondo” (1925) and then, in the fall of 1929, “The Last Incantation,” the first of more than 100 stories he would write in the next six years. HPL was greatly taken with “The Tale of Satampra Zeiros” (written November 16, 1929; published
Smith was frustrated at the lack of recognition of both his scintillating poetry (some of the finest formal poetry written by any American writer of the twentieth century) and his weird fiction. In 1933 he self-published
Upon HPL’s death, Smith wrote the poignant elegy “To Howard Phillips Lovecraft” (
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In
Smith, Preserved.
In “The Shunned House,” a man who is hired by Mercy Dexter to be a servant at the house. He complains that something “sucked his breath” at night and departs abruptly.
“Some Causes of Self-immolation.”
Essay (4,290 words); written on December 13, 1931. First published in
“Some Dutch Footprints in New England.”
Essay (1,420 words); probably written in July 1933. First published in
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Written at the behest of Wilfred B.Talman, editor of
“Some Notes on Interplanetary Fiction.”
Essay (2,360 words); originally written in July 1934 for publication in one of W.L.Crawford’s magazines. First published in the
Incorporating passages from “Notes on Writing Weird Fiction,” the essay laments the generally low quality of pulp science fiction but looks to such writers as H.G.Wells and Olaf Stapledon to raise the aesthetic level of the field. HPL urges writers to regard with great seriousness the colossal emotional impact of being off the earth and in general recommends an approach that eschews conventional characters and settings, the taking for granted of marvels, and a slipshod style. HPL’s tenets surely were unknown by the next generation of “Golden Age” science fiction writers, but their work appears to embody many of his principles.
“Some Repetitions on the Times.”
Essay (6,270 words); written on February 22, 1933. First published in
This is one of HPL’s strongest later essays; it is curious, therefore, that he made no effort to secure its publication, even in an amateur paper, or even to type it to circulate among his colleagues. Many of the central points of the essay are, however, found in HPL’s later letters.
Sophonisba.
In “Medusa’s Coil,” a servant—a “very old Zulu woman”; a “witch-woman”—in the household of Denis de Russy and Marceline Bedard. She recognizes the strange heritage of Marceline and worships her as a goddess.
Sorcier, Charles Le.
In “The Alchemist,” the son of Michel Mauvais and an alchemist who exacts vengeance on the Comtes de C———for six hundred years for the killing of his father at the hands of Henri, Comte de C———, in the thirteenth century.
Sprague, Tom.
In “The Horror in the Burying-Ground,” the enemy of Henry Thorndike, the village undertaker, and brother of Thorndike’s sweetheart, Sophie. Thorndike injects Sprague with a chemical that simulates death, but in
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the course of embalming Sprague, he accidentally injects himself with the chemical. St. John,———.
In “The Hound,” the narrator’s partner in the search for decadent thrills. Like some of HPL’s early characters (e.g., Harley Warren, Herbert West), he is the leader of various occult expeditions or activities, the narrators (typically somewhat autobiographical characters) being passive followers. St. John is killed by the ghoul from whose tomb the two stole an exotic amulet for their charnel museum.
Stanfield, Kenton J.
The narrator of “In the Walls of Eryx,” whose diary of his entrapment in an invisible maze on Venus constitutes most of the story. His initials are those of the story’s coauthor, Kenneth J.Sterling. Starrett, [Charles] Vincent (1886–1974),
American bookman, journalist, and brief correspondent of HPL. Starrett was put in touch with HPL by Frank Belknap Long. Starrett was passing through New York in the spring of 1927, and Long gave him two of HPL’s stories to read. Starrett was a well-known journalist (he wrote a weekly column on books for the
See Peter Ruber,
Short story (2,500 words); written in late December 1919. First published in the
Randolph Carter tells a police investigation what happened one night when he and Harley Warren entered an ancient cemetery and only Carter returned. Warren, a learned mystic, had been intrigued by an ancient book that led him to wonder
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equipped with spades, lanterns, and other paraphernalia—including a portable telephone set with an extremely long cord. After opening the tomb, they see stone steps leading down. Warren refuses to let Carter go down with him because of his “frail nerves,” but promises to stay in touch by means of the telephone set. Carter protests, but Warren is adamant and proceeds down into the crypt. After a time Warren begins making increasingly frantic utterances through the telephone—
HPL stated the story was a nearly literal transcript of a dream he had, probably in early December 1919, in which he and Samuel Loveman make a fateful trip to an ancient cemetery and Loveman suffers some horrible but mysterious fate after he descends alone into a crypt. HPL’s account of the dream, in a letter to the Gallomo (December 11, 1919), is strikingly similar in many points of language and plot to the finished story; he must have kept a copy of the letter and later rewritten it. But there are also some interesting differences between the two accounts. In the dream the setting is clearly in New England; in the story the setting is unspecified, but the mention of Big Cypress Swamp and the Gainesville pike (spelled “Gainsville” in the surviving typescript) leads one to suspect a setting in Florida, near the city of Gainesville. (In later stories Warren is said to be a man from the South.) In the dream, HPL had no true idea of the purpose of the cemetery visit; in the story, HPL must have felt that some hint of motivation had to be provided, so he introduced the point about undecaying corpses. Warren’s exhaustive collection of esoteric books was probably inspired by Loveman’s impressive collection of first editions.
The name Randolph Carter is of some interest. HPL knew that Carter was a Rhode Island family of long standing (John Carter was the founder of Providence’s first newspaper in 1762); but he also knew that this family itself had come to Rhode Island from Virginia. In a 1929 letter HPL remarks: “This transposition of a Virginia line to New England always affected my fancy strongly—hence my frequently recurrent fictional character ‘Randolph Carter’” (
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India. Since, according to HPL’s later testimony, the
See Robert M.Price, “You Fool! Loveman Is Dead!”
science fiction fan and late correspondent of HPL (1935–37). In early 1935 Sterling’s family moved to Providence, where he attended Classical High School. A fan of the science fiction pulps and a member of the Science Fiction League, Sterling boldly called on HPL at 66 College Street in March 1935 and introduced himself. HPL was much impressed with Sterling’s precocity and continued the association. In January 1936, Sterling produced a draft of the story “In the Walls of Eryx” (for details on the composition of what would prove to be HPL’s last acknowledged collaborative tale, see entry on that story). It was rejected by various science fiction and weird magazines but finally landed with
See obituary,
Stof, Oll.
In “Collapsing Cosmoses,” the President of the Great Council Chamber of the “intra-dimensional city of Kastor-Ya,” who urges the commander Hak Ni to take steps to combat the interstellar menace approaching the planet.
“Strange High House in the Mist, The.”
Short story (3,800 words); written on November 9, 1926. First published in
North of Kingsport “the crags climb lofty and curious, terrace on terrace, till the northernmost hangs in the sky like a grey frozen wind-cloud.” On that cliff is an ancient house inhabited by some individual whom none of the townsfolk—not even the Terrible Old Man—has ever seen. One day a tourist, the “philosopher” Thomas Olney, decides to visit that house and its secret inhabitant; for he has always longed for the strange and the wondrous. He arduously scales the cliff, but upon reaching the house finds that there is no door on this side, only “a couple of small lattice windows with dingy bull’s-eye panes leaded in seventeenth-century fashion”; the house’s only door is on the
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wondrous presences—“Trident-bearing Neptune,” “hoary Nodens,” and others—and when Olney returns to Kingsport the next day, the Terrible Old Man vows that the man who went up that cliff is not the same one who came down. No longer does Olney’s soul long for wonder and mystery; instead, he is content to lead his prosy bourgeois life with his wife and children. But people in Kingsport, looking up at the house on the cliff, say that “at evening the little low windows are brighter than formerly.”
HPL admitted that he had no specific locale in mind when writing this tale: he states that memories of the “titan cliffs of Magnolia” (
In regard to the strange transformation of Thomas Olney, which is at the heart of the tale, the Terrible Old Man provides a hint: “somewhere under that grey peaked roof, or amidst inconceivable reaches of that sinister white mist, there lingered still the lost spirit of him who was Thomas Olney.” The body has returned to the normal round of things, but the spirit has remained with the occupant of the strange high house in the mist; the encounter with Neptune and Nodens has been an apotheosis, and Olney realizes that it is in this realm of nebulous wonder that he truly belongs. His body is now an empty shell, without soul and without imagination: “His good wife waxes stouter and his children older and prosier and more useful, and he never fails to smile correctly with pride when the occasion calls for it.” This tale could be read as a sort of mirrorimage of “Celephaïs”: whereas Kuranes had to die in the real world in order for his spirit to attain his fantasy realm, Olney’s body survives intact but his spirit stays behind.
HPL had submitted the story to
See Donald R.Burleson, “Strange High Houses: Lovecraft and Melville,”
(1908–1989), literary scholar and brief correspondent of HPL (1931–33). Strauch received a B.A. from Muhlenberg College in Allentown, Pa., and was put in touch with HPL by his friend Harry K.Brobst, who at the time also lived in Allentown. Strauch visited HPL in Providence in September 1932, not long after he published a book of poetry,
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that Strauch was working on a “realistic novel,” but this evidently came to nothing. Although cordial, the correspondence came to an abrupt end in the summer of 1933: it appears that Strauch was discouraged at the sharp criticism that HPL, Brobst, and E.Hoffmann Price delivered upon a story of Strauch’s during a session in Providence in August 1933. Strauch went on to receive a Ph.D. from Yale (1946) and to become a leading scholar on Ralph Waldo Emerson. He was on the editorial board of the
“Street, The.”
Short story (2,250 words); written in late 1919. First published in the
The narrator wishes to tell of The Street, which was built by “men of strength and honour…good, valiant men of our blood who had come from the Blessed Isles across the sea.” These were grave men in conical hats who had “bonneted wives and sober children” and enough courage to “subdue the forest and till the fields.” Two wars came; after the first, there were no more Indians, and after the second “they furled the Old Flag and put up a new Banner of Stripes and Stars.” After this, however, there are “strange puffings and shrieks” from the river, and “the air was not quite so pure as before”; but “the spirit of the place had not changed.” But now come “days of evil,” a time when “many who had known The Street of old knew it no more; and many knew it, who had not known it before.” The houses fall into decay, the trees are all gone, and “cheap, ugly new buildings” go up. Another war comes, but by this time “only fear and hatred and ignorance” brood over The Street because of all the “swarthy and sinister” people who now dwell in it. There are now such unheard-of places as Petrovitch’s Bakery, the Rifkin School of Modern Economics, and the Liberty Café. There develops a rumour that the houses “contained the leaders of a vast band of terrorists, who on a designated day are to initiate an “orgy of slaughter for the extermination of America and of all the fine old traditions which The Street had loved”; this revolution is to occur, picturesquely, on the fourth of July. But a miracle occurs: without warning, the houses for some reason implode upon themselves, and the threat is gone.
HPL supplies the genesis of this manifestly racist story in a letter: “The Boston police mutiny of last year is what prompted that attempt—the magnitude and significance of such an act appalled me. Last fall it was grimly impressive to see Boston without bluecoats, and to watch the musket-bearing State Guardsmen patrolling the streets as though military occupation were in force. They went in pairs, determined-looking and khaki-clad, as if symbols of the strife that lies ahead in civilisation’s struggle with the monster of unrest and bolshevism” (HPL to Frank Belknap Long, November 11, 1920 [AHT]). The Boston police had gone on strike on September 8, 1919, and remained on strike well into October. The story was probably written shortly after the strike concluded. “The Street” restates the anti-immigrant message of such early poems as “New England Fallen” (1912?) and “On a New-England Village Seen by
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Moonlight” (1913). There may be an influence from Dunsany, as the stories in
Stubbs, Ermengarde.
In “Sweet Ermengarde,” the daughter of Hiram Stubbs, a bootlegger in Hogton, Vt, whose hand in marriage is sought by two swains, ‘Squire Hardman and Jack Manly. After a variety of adventures, she chooses the ’Squire.
Sully, Helen V. (1904–1997),
friend of Clark Ashton Smith (daughter of Genevieve Sully, a married woman with whom Smith carried on a longtime affair) and correspondent of HPL (1933–37). She visited HPL in Providence in early July 1933; HPL also took her to Newport, R.I.; Newburyport, Mass.; and elsewhere. HPL told her an impromptu ghost story one night in the churchyard of St. John’s Episcopal Church, frightening her so badly that she ran from the cemetery (see her memoir, “Memories of Lovecraft: II” [1971; rpt.
“Supernatural Horror in Literature.”
Essay (28,230 words); written November 1925–May 1927 (revised in the fall of 1933, August 1934). First published in
This is HPL’s most significant literary essay and one of the finest historical analyses of horror literature. W.Paul Cook had commissioned HPL to write “an article…on the element of terror & weirdness in literature” (HPL to Lillian D. Clark, November 11–14, 1925; ms., JHL) for his nowlegendary one-shot amateur magazine,
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Almost immediately upon completing his essay, HPL began taking notes for works to mention in a putative revised edition. These notes (largely a list of works), entitled “Books to mention in new edition of weird article,” are found at the back of his commonplace book. The chance to revise the text did not come until the fall of 1933, when Charles D.Hornig offered to serialize the text in the
The value of the essay is manifold. It is one of the first to provide a coherent historical analysis of the entire range of weird fiction from antiquity to HPL’s day. Dorothy Scarborough’s
The work is also of great importance regarding HPL’s own theory and practice of weird fiction. The Introduction enunciates HPL’s mature reflections on the nature and purpose of weird fiction (refined from such earlier texts as
It appears that
See Fred Lewis Pattee, [Review],
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Surama.
In “The Last Test,” the clinical assistant to Dr. Alfred Clarendon, whom Clarendon brought back with him from a trip to North Africa. He is actually an evil Atlantean mage who is developing a powerful disease to overwhelm humankind.
Suydam, Robert.
In “The Horror at Red Hook,” a wealthy man of ancient Dutch ancestry who lives in Flatbush and engages in cabbalistic activities. He is the literary precursor to Joseph Curwen in
Swanson, Carl,
would-be magazine publisher and brief correspondent of HPL. In early 1932 Swanson, residing in Washburn, N.D., conceived the idea of a semi-professional magazine, the
“Sweet Ermengarde; or, The Heart of a Country Girl.”
Short story (2,740 words); date of writing unknown (probably 1919–21); as by “Percy Simple.” First published in
Ermengarde Stubbs is the “beauteous blonde daughter” of Hiram Stubbs, a “poor but honest farmerbootlegger of Hogton, Vt.” She admits to being sixteen years old, and “branded as mendacious all reports to the effect that she was thirty.” She is pursued by two lovers who wish to marry her: ’Squire Hardman, who is “very rich and elderly” and, moreover, has a mortgage on Ermengarde’s home, and Jack Manly, a childhood friend who is too bashful to declare his love and unfortunately has no money. Jack, however, manages to find the gumption to propose, and Ermengarde accepts with alacrity. Hardman in fury demands Ermangarde’s hand from her father lest he foreclose on the mortgage (he has, incidentally, found that the Stubbses’ land has gold buried in it). Jack, learning of the matter, vows to go to the city and make his fortune and save the farm.
Hardman, however, takes no chances and has two disreputable accomplices kidnap Ermengarde and hide her in a hovel under the charge of Mother Maria, “a hideous old hag.” But as Hardman ponders the matter, he wonders why he is even bothering with the girl, when all he really wants is the farm and its buried
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gold. He lets Ermengarde go and continues to threaten to foreclose. Meanwhile a band of hunters strays on the Stubbses’ property and one of them, Algernon Reginald Jones, finds the gold; not revealing it to his companions or to the Stubbses, Algernon feigns snakebite and goes to the farm, where he instantly falls in love with Ermengarde and wins her over with his sophisticated city ways. She elopes with Algernon a week later, but on the train to the city a piece of paper falls from Algernon’s pocket; picking it up, she finds to her horror that it is a love letter from another woman. She pushes Algernon out the window.
Unfortunately, Ermengarde fails to take Algernon’s wallet, so she has no money when she reaches the city. She spends a week on park benches and in bread-lines; she tries to look up Jack Manly, but cannot find him. One day she finds a purse; finding that it has not much money in it, she decides to return it to its owner, a Mrs. Van Itty. This aristocrat, amazed at the honesty of the “forlorn waif,” takes Ermengarde under her wing. Later Mrs. Van Itty hires a new chauffeur, and Ermengarde is startled to find that it is Algernon! “He had survived—this much was almost immediately evident.” It turns out that he had married the woman who wrote the love letter, but that she had deserted him and run off with the milkman. Humbled, Algernon asks Ermengarde’s forgiveness. Ermengarde, now ensconced as a replacement for the daughter Mrs. Van Itty lost many years ago, returns to the old farmstead and is about to buy off the mortgage from Hardman when Jack suddenly returns, bringing a wife, “the fair Bridget Goldstein,” in tow. All this time Mrs. Van Itty, sitting in the car, eyes Ermengarde’s mother Hannah and finally shrieks: “You—you—Hannah Smith— I know you now! Twenty-eight years ago you were my baby Maude’s nurse and stole her from the cradle!!” Then she realizes that Ermengarde is in fact her long-lost daughter. But Ermengarde is now doing some pondering: “How could she get away with the sixteen-year-old stuff if she had been stolen twenty-eight years ago?” She, knowing of the gold on the Stubbses’ farm, repudiates Mrs. Van Itty and compels ‘Squire Hardman to foreclose on the mortgage and marry her lest she prosecute him for last year’s kidnapping. “And the poor dub did.”
This is the only work of fiction by HPL that cannot be dated with precision. The manuscript is written on stationery from the Edwin E.Phillips Refrigeration Company, which was a going concern around 1910 or so, but since the story alludes to the passage of the 18th Amendment it must clearly date to 1919 or later. Since Phillips (HPL’s uncle) died on November 14, 1918, perhaps the stationery came into HPL’s possession shortly thereafter; but it is by no means certain that he wrote the story at that time.
Of possible relevance is a P.S. to HPL’s letter in the
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Sylvester, Margaret (b. 1918),
correspondent of HPL (1934–37). She had written to HPL in care of
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T
Talman, Wilfred Blanch (1904–1986),
friend and correspondent of HPL (1925–37). Talman, while attending Brown University, subsidized the publication of a volume of his poetry,
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ested, but HPL had nothing to offer, and by that time was too ill to write one afresh. Long after HPL’s death Talman wrote a memoir, included in the booklet
In “The Ghost-Eater,” a Russian nobleman who comes to visit Vasili Oukranikov in his house in the woods and is killed by Oukranikov (who has transformed himself into a werewolf). “Temple, The.”
Short story (5,430 words); written sometime after “The Cats of Ulthar” (June 15, 1920) but before “Celephaïs” (early November). First published in
A German submarine commanded by a Prussian nobleman, Karl Heinrich, Graf von AltbergEhrenstein, sinks a British freighter; later a dead seaman from the freighter is found clinging to the railing of the submarine, and in his pocket is found a “very odd bit of ivory carved to represent a youth’s head crowned with laurel.” The German crew sleep poorly, have bad dreams, and some think that dead bodies are drifting past the portholes. Some crewmen actually go mad, claiming that a curse has fallen upon them; Altberg-Ehrenstein executes them to restore discipline. Some days later an explosion in the engine room cripples the submarine, and still later a general mutiny breaks out, with some sailors further damaging the ship; the commander again executes the culprits. Finally only Altberg-Ehrenstein and Lieutenant Klenze are left alive. The ship sinks lower and lower toward the bottom of the ocean. Klenze then goes mad, shouting: “
This is the first of HPL’s stories not to have been first published in an amateur journal; possibly its length was a factor, as most amateur journals could not accommodate so long a tale. Like “Dagon,” it uses World War I as a vivid backdrop, although HPL mars the story by crude satire on the protagonist’s militarist and chauvinist sentiments. There also seems to be an excess of supernaturalism, with many bizarre occurrences that do not seem to unify into a coherent whole. But the story is significant in postulating (like “Dagon”) an entire civilization antedating humanity and possibly responsible for many of the intellectual and aesthetic achievements of humanity. In a letter HPL remarks that “the flame that the Graf von Altberg-Ehrenstein beheld was a witch-fire lit by spirits many mil
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lennia old” (
Terrible Old Man, The.
In “The Terrible Old Man,” the aged and eccentric former sea captain in Kingsport who is rumored by the townsfolk to be fabulously wealthy. A band of robbers who attempt to despoil the feeble old man of his supposed treasure are mysteriously and viciously despatched. He is also briefly mentioned in “The Strange High House in the Mist.”
“Terrible Old Man, The.”
Short story (1,160 words); written on January 28, 1920. First published in the
Three thieves—Angelo Ricci, Joe Czanek, and Manuel Silva—plan to rob the home of the Terrible Old Man, who is said to be both fabulously wealthy and very feeble. The Terrible Old Man dwells in Kingsport, a city somewhere in New England. In the “far-off days of his unremembered youth” he was a sea-captain, and seems to have a vast collection of ancient Spanish gold and silver pieces. He has now become very eccentric, appearing to spend hours speaking to an array of bottles in each of which a small piece of lead is suspended from a string. On the night of the planned robbery, Ricci and Silva enter the Terrible Old Man’s house while Czanek waits outside. Screams are heard from the house, but there is no sign of the two robbers. Czanek wonders whether his colleagues were forced to kill the old man and make a laborious search through his house for the treasure. But then the Terrible Old Man appears at the doorway, “leaning quietly on his knotted cane and smiling hideously.” Later three unidentifiable bodies are found washed in by the tide.
The tale is reminiscent of many stories in Lord Dunsany’s
The location of Kingsport is unspecified; only later, in “The Festival” (1923), did HPL identify it with the town of Marblehead and situate it in Massachusetts.
See Donald R.Burleson, “‘The Terrible Old Man’: A Deconstruction,”
Theunis, Constantin.
In “The Tree on the Hill,” a scholar who suffers a seizure after examining a strange photograph through a special viewing apparatus he has invented.
“Thing on the Doorstep, The.”
Novelette (10,830 words); written August 21–24, 1933. First published in
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The narrator, Daniel Upton, tells of his young friend Edward Derby, who since boyhood has displayed a remarkable aesthetic sensitivity toward the weird, in spite—or perhaps because—of the overprotective coddling of his parents. Derby attends Miskatonic University and becomes a moderately recognized
Some months later Derby visits Upton again. He is in a tremendously excited state, claiming that Asenath has gone away and that he will seek a divorce. Around Christmas of that year Derby breaks down entirely. He cries out: “My brain! My brain! God, Dan—it’s tugging—from beyond—knocking— clawing—that she-devil—even now—Ephraim….” He is placed in a mental hospital and shows no signs of recovery until one day he suddenly seems to be better; but, to Upton’s disappointment and even latent horror, Derby is now in that curiously “energised” state such as he had been during the ride back from Maine. Upton is in an utter turmoil of confusion when one evening he receives a phone call. He cannot make out what the caller is saying—it sounds like “glub…glub”—but a little later someone knocks at his door, using Derby’s familiar three-and-two signal. This creature—a “foul, stunted parody” of a human being—is wearing one of Derby’s old coats, which is clearly too big for it. It hands Upton a sheet of paper that explains the whole story: Derby had killed Asenath to escape her influence and her plans to switch bodies with him permanently; but death did not extinguish Asenath/Ephraim’s mind, for it emerged from the body, thrust itself into the body of Derby, and hurled his mind into Asenath’s corpse, buried in the cellar of their home. Now, with a final burst of determination, Derby (in the body of Asenath) has climbed out of the shallow grave and is now delivering this message to Upton, since he was unable to communicate with him on the phone. Upton
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promptly goes to the madhouse and shoots the thing in Edward Derby’s body; this account is his confession and attempt at exculpation.
The story was written as part of HPL’s campaign, in the summer and fall of 1933, to rejuvenate his writing (and his entire literary outlook) by a renewed reading of the classics of weird fiction. The autograph manuscript was typed by a “delinquent revision client” (
The story appears to have two significant literary influences. One is H.B. Drake’s
Some features of Edward Derby’s life supply a twisted version of HPL’s own childhood. But there are some anomalies in the portrayal of the youthful Edward Derby that need to be addressed. Upton refers to Derby as “the most phenomenal child scholar I have ever known.” It is unlikely, given his characteristic modesty, that HPL would have made such a statement about a character modeled upon himself. Derby may be instead an amalgam of several of HPL’s associates. Consider this remark about Alfred Galpin: “He is intellectually
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But if Derby’s youth and young manhood are an amalgam of HPL and some of his closest friends, his marriage to Asenath Waite clearly brings certain aspects of HPL’s marriage to Sonia Greene to mind. Sonia was clearly the more strong-willed member of the couple; it was certainly from her initiative that the marriage took place at all and that HPL uprooted himself from Providence to come to live in New York. The objections of Derby’s father to Asenath—and specifically to Derby’s wish to marry her —may dimly echo objections of HPL’s aunts to his marriage to Sonia. (Such objections can only be inferred from the tenor of some of HPL’s letters to his aunts.)
In one sense the story is a reprise of
One glancing note in the story that has caused considerable misunderstanding is Upton’s remark about Asenath: “Her crowning rage…was that she was not a man; since she believed a male brain had certain unique and far-reaching cosmic powers.” This sentiment is clearly expressed as Asenath’s (who, let us recall, is only Ephraim in another body), and need not be attributed to HPL. A decade earlier HPL had indeed uttered some silly remarks on women’s intelligence: “Females are in Truth much given to affected Baby Lisping…They are by Nature literal, prosaic, and commonplace, given to dull realistick Details and practical Things, and incapable alike of vigorous artistick Creation and genuine, first-hand appreciation” (
HPL was so dissatisfied with the story upon its completion that he refused to submit it anywhere. At last, in the summer of 1936, when Julius Schwartz proposed to HPL to market some of his tales in England, HPL reluctantly submitted the story, along with “The Haunter of the Dark,” to Farnsworth Wright of
See S.T.Joshi, “Autobiography in Lovecraft,”
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Thorfinnssen, Georg.
In
Thorndike, Henry.
In “The Horror in the Burying-Ground,” the village undertaker who invents a chemical that can simulate death in a person who remains alive and conscious. He accidentally injects himself with his chemical and is buried alive.
Thornton,———.
In “The Rats in the Walls,” a “psychic investigator” brought in by Delapore to investigate the crypt beneath Exham Priory.
“Through the Gates of the Silver Key.”
Novelette (14,550 words); written in collaboration with E.Hoffmann Price, October 1932–April 1933. First published in
Several individuals gather in New Orleans—Etienne Laurent de Marigny, Ward Phillips, the lawyer Ernest B.Aspinwall, and a strange individual named the Swami Chandraputra—to discuss the disposition of the estate of Randolph Carter. The Swami opposes any action, because he maintains that Carter is still alive. He proceeds to tell a fabulous story of what happened to Carter after his return to boyhood (as noted in “The Silver Key”).
Carter passed through a succession of “Gates” into some realm “outside time and the dimensions we know,” led by a “Guide,” ’Umr at-Tawil, the Prolonged of Life. This guide eventually led Carter to the thrones of the Ancient Ones, from whom he learned that there are “archetypes” for every entity in the universe and that each person’s entire ancestry is nothing more than a facet of the single archetype; Carter learned that he himself is a facet of the “SUPREME ARCHETYPE.” Then, somehow, Carter found himself in the body of a fantastically alien being, Zkauba the Wizard, on the planet Yaddith. He managed to return to earth but must go about in concealment because of his alien form. When the hard-nosed lawyer Aspinwall scoffs at the Swami’s story, a final revelation is made: the Swami is Randolph Carter, still in the monstrous shape of Zkauba. Aspinwall, having removed Carter’s mask, dies immediately of apoplexy. Carter then disappears through a large clock in the room. The story is based on a draft, entitled “The Lord of Illusion,” written by Price. Price had become so enamored of “The Silver Key” that, during HPL’s visit with him in New Orleans in June 1932, he “suggested a sequel to account for Randolph Carter’s doings after his disappearance” (Price, “The Man Who Was Lovecraft,” in
“The Lord of Illusion” (first printed in
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duced from the intersection of a cone with a plane, so our three-dimensional world is produced from the intersection of a plane with a figure of a higher dimension; analogously, time is an illusion, being merely the result of this sort of “cutting” of infinity. It transpires that all Carters who have ever lived are part of a single archetype, so that if Carter could manipulate his “section-plane” (the plane that determines his situation in time), he could be any Carter he wished to be, from antiquity to the distant future. In a purported surprise ending, Carter reveals himself as an old man among a group of individuals who had assembled to divide up Carter’s estate.
HPL, upon reading the draft, stated that extensive changes would need to be made in the story to bring it in line with the original tale. In the letter in which he evaluates Price’s work, he specifies several faults that must be rectified: (1) the style must be made more similar to that of “The Silver Key” (Price’s version, devoid of his usual action and swordplay, is generally flat, stilted, and pompous); (2) various points of the plot must be reconciled with that of “The Silver Key”; (3) the transition from the mundane world to the hyperspace realm must be vastly subtilized; and (4) the atmosphere of lecture-room didacticism in the Ancient Ones’ discussions with Carter must be eliminated.
Price has remarked that “I estimated that [HPL] had left unchanged fewer than fifty of my original words” (“The Man Who Was Lovecraft,” p. 282), a comment that has led many to believe that the finished version of “Through the Gates of the Silver Key” is radically different from Price’s original; but, as we have seen, HPL adhered to the basic framework of Price’s tale as best he could. The quotations from the
See Norm Gayford, “Randolph Carter: An Anti-Hero’s Quest,”
Thurber,———.
The narrator of “Pickman’s Model.” At first, he is one of Richard Upton Pickman’s staunchest supporters. Following Pickman’s disappearance, he refuses to venture into the subway system or the cellars of Boston after viewing a photograph of the subject of one of Pickman’s paintings.
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Thurston, Francis Weyland.
“The Call of Cthulhu” is Thurston’s written dissertation of his piecing together various accounts of the Cthulhu cult from the research of his uncle, George Gammell Angell (in “The Horror in Clay”); his uncle’s encounter with police inspector John Raymond Legrasse (“The Tale of Inspector Legrasse”); and the diary of Gustav Johansen, the Norwegian sailor who encounters Cthulhu firsthand (“The Madness from the Sea”). His name is cited in full in the subtitle of the story; in earlier editions, this subtitle was frequently omitted.
“‘Till A’ the Seas.’”
Short story (3,300 words); written in collaboration withR. H.Barlow, January 1935. First published in the
Barlow’s typescript, with HPL’s revisions in pen, survives, so that the exact degree of the latter’s authorship can be ascertained (see the article by Joshi, in which the text is reproduced with HPL’s words placed in brackets). HPL has made no significant structural changes, merely making cosmetic changes in style and diction; but he has written the bulk of the concluding section, especially the purportedly cosmic reflections when the last man on earth finally meets his ironic death. The title is from Robert Burns’s “A Red, Red Rose” (1796): “Till a’ the seas gang dry, my dear….” See S.T.Joshi, “Lovecraft’s Contribution to ‘Till A’ the Seas,’”
In “From Beyond,” the mad scientist who invents a machine that reveals creatures and worlds perceptible to the five senses. He dies, ostensibly of “apoplexy,” after demonstrating his machine to his unnamed colleague. (In HPL’s original draft of the story, the character was named Henry Annesley.)
Tillinghast, Dutee.
In
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Tilton, Anna.
In “The Shadow over Innsmouth,” the curator of the Newburyport Historical Society who shows Robert Olmstead the strange marine-motif jewelry associated with Innsmouth, which he later recognizes among jewelry that belonged to his great-grandmother.
T’la-yub.
In “The Mound,” a noblewoman in Panfilo de Zamacona’s “affection-group” who attempts to escape the underworld realm with Zamacona but fails hideously: captured by the mound denizens, she is tortured in the amphitheatre and becomes a half-dematerialized corpse-slave who is stationed as a guard at the entrance of the mound. It is her occasional appearance aboveground that leads to rumors of a ghost haunting the mound.
“To a Dreamer.”
Poem (24 lines in quatrains); written on April 25, 1920. First published in the
The narrator scans the features of a nameless dreamer and wonders where his “dream-steps” have led him. The poem contains the first mentions of such terms (used later in HPL’s stories) as the “peaks of Thok” and the “vaults of Zin”; the “vale of Pnath” is also mentioned, although Pnath had first been coined in “The Doom That Came to Sarnath” (1919). HPL notes in a letter to Frank Belknap Long (June 4, 1921; AHT) that the poem was founded on an idea occurring among Baudelaire’s notes and jottings (presumably from
Poem (82 lines); written on December 15, 1928. First published in
The poem was written to accompany a copy of Marcel Proust’s
“To Charlie of the Comics.”
Poem (32 lines in 4 stanzas); probably written in late September 1915. First published in the
A poem on Charlie Chaplin. It was written in response to Rheinhart Kleiner’s poem “To Mary of the Movies” (
“To Clark Ashton Smith, Esq., upon His Phantastick Tales, Verses, Pictures, and Sculptures.”
Poem (sonnet); written in December 1936. First published in
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A tribute to HPL’s longtime colleague, the poem bears at least one variant title (“To Klarkash-Ton, Lord of Averoigne”) alluding to the fictitious region in medieval France invented by Smith in some of his tales. In “The Whisperer in Darkness” and other tales, HPL alludes to Smith (as he does repeatedly in his letters to him) as Klarkash-Ton.
“To Mr. Finlay, upon His Drawing for Mr. Bloch’s Tale, ‘The Faceless God.’” Poem (sonnet); written on November 30, 1936. First published in the
HPL composed the poem while writing a letter to Finlay, who had lamented the decline of the tradition of dedicatory poems. “The Faceless God” had appeared in
“To Zara.”
Poem (42 lines); written on August 31, 1922. First published in
The poem is a hoax: it is purportedly written by Poe (in one ms. HPL dates it to 1829) and is an imitation/parody of Poe’s numerous and extravagant poems to women (this one is dedicated to “Miss Sarah Longhurst”). HPL wrote it as a joke on Alfred Galpin, who generally regarded HPL’s poetry with disdain. HPL and Frank Belknap Long claimed that they had found the poem in the possession of an ancient Maine man who had known Poe. Galpin, although not believing this story, thought the poem was copied from the work of some obscure nineteenth-century poet, perhaps Arthur O’Shaughnessy. Tobey, William.
In “The Lurking Fear,” he and George Bennett accompany the narrator to the Martense mansion in search of the entity that haunts it. They spend the night, but Tobey and Bennett mysteriously disappear.
Toldridge, Elizabeth [Anne] (1861–1940),
poet and correspondent of HPL (1928–37). Toldridge published two collections of verse,
“Tomb, The.”
Short story (4,190 words); written in June 1917. First published in the
Jervas Dudley tells of his lonely and secluded life. He discovers, in a wooded hollow near his home, a tomb that houses the remains of a family, the Hydes,
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that dwelt in a mansion nearby. This mansion had been struck by lightning and burned to the ground, although only one member of the family had perished in the flame. The tomb exercises an unholy fascination upon Dudley, and he haunts it for hours at a time. It is locked, but the door is “fastened
Dudley spends much time in the tomb. But now another peculiar change takes place in him: hitherto a sequestered recluse, he begins to show signs of “ribald revelry” as he returns from the tomb. In one instance he declaims a drinking song of Georgian cast. He also develops a fear of thunderstorms. Dudley’s parents, worried about his increasingly odd behavior, now hire a “spy” to follow his actions. On one occasion Dudley thinks that this spy has seen him coming out of the tomb, but the spy tells his parents that Dudley had spent the night on the bower outside the tomb. Dudley, now convinced that he is under some sort of supernatural protection, frequents the tomb without fear or circumspection. One night, as thunder is in the air, he goes to the tomb and sees the mansion as it was in its heyday. A party is under way, and guests in powdered wigs are brought in by carriage. But a peal of thunder interrupts the “swinish revelry” and a fire breaks out. Dudley flees, but finds himself being restrained by two men. They maintain that Dudley had spent the entire night outside the tomb and point to the rusted and unopened lock as evidence. Dudley is put away in a madhouse. A servant, “for whom I bore a fondness in infancy,” goes to the tomb, breaks it open, and finds a porcelain miniature with the initials “J.H.”; the picture could be of Dudley’s twin. “On a slab in an alcove he found an old but empty coffin whose tarnished plate bears the single word
HPL noted that the genesis of the story occurred in June 1917, when he was walking with his aunt Lillian Clark through Swan Point Cemetery and came upon a tombstone dating to 1711. “Why could I not talk with him, and enter more intimately into the life of my chosen age? What had left his body, that it could no longer converse with me? I looked long at that grave, and the night after I returned home I began my first story of the new series—The Tomb’” (HPL to the Gallomo, [January] 1920). The tombstone is evidently one in the Clark plot—one Simon Smith (d. March 4, 1711), apparently a distant ancestor of Mrs. Clark.
William Fulwiler points out that the use of the name Hyde is a nod to Stevenson’s
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The so-called “Drinking Song from ‘The Tomb’” was written separately, perhaps years before the story itself. The manuscript of the poem survives at JHL as part of an unfinished letter to an unknown correspondent. There the song is titled “Gaudeamus,” and HPL evidently wrote it as a response to another poem (apparently by an amateur journalist) of the same title, which HPL considered inferior. Will Murray has conjectured that the song may have been inspired by a similar song contained in Thomas Morton’s
See William Fulwiler, “‘The Tomb’ and ‘Dagon’: A Double Dissection,”
Torres, Dr.
In “Cool Air,” a physician in Valencia, Spain, who was the colleague of Dr. Muñoz in their quest to defeat death.
“Transition of Juan Romero, The.”
Short story (2,710 words); written on September 16, 1919. First published in
The narrator, an Englishman who because of nameless “calamities” has migrated from his native land (after spending many years in India) to work as a common laborer in America, tells the story of an incident occurring in 1894 at the Norton Mine (presumably somewhere in the Southwest). The narrator becomes friendly with a Mexican peon named Juan Romero, who exhibits a strange fascination for the Hindu ring he owns. One day dynamite is used to blast a cavity for further mining; but the result is the opening up of an immeasurable cavern that cannot be sounded. That night a storm gathers, but beyond the roar of the wind and rain there is another sound, which the frightened Romero can only deem “
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script so that he could prepare a typescript of it. Aside from the revisions “The Curse of Yig” and “The Mound,” it is HPL’s only tale set in the Southwest.
“Trap, The.”
Short story (8,570 words); written in collaboration with Henry S. Whitehead, probably in the summer of 1931. First published in
Robert Grandison, one of the pupils at the Connecticut academy where Gerald Canevin teaches, comes upon an anomalous mirror in Canevin’s house that sucks hapless individuals into a strange realm where colors are altered and where objects, both animate and inanimate, have a sort of intangible, dreamlike existence. The mirror had been devised by a seventeenth-century Danish glassblower named Axel Holm who yearned for immortality and found it, after a fashion, in his mirrorworld, since “‘life’ in the sense of form and consciousness would go on virtually forever” so long as the mirror itself was not destroyed. Grandison manages to bring his plight to Canevin’s attention, and Canevin contrives to release Grandison from his “trap.”
HPL and Whitehead probably worked on the tale, or at least discussed it, during HPL’s three-week visit to Whitehead’s home in Dunedin, Fla., in May– June 1931. He says in one letter that he “revised & totally recast” the tale (HPL to August Derleth, December 23, 1931; ms., SHSW) and in another that he “supplied] the central part myself (HPL to R.H.Barlow, February 25, 1932; ms., JHL). Judging purely from the prose style, it can be conjectured that the latter three-fourths of the story is HPL’s. Nevertheless, HPL clearly did not wish to share a byline with Whitehead for the story, maintaining that his help was simply a courtesy. The story appears in the second of Whitehead’s two posthumously published collections of tales,
Trask, Dr.
In “The Rats in the Walls,” the anthropologist who attempts to classify the human and subhuman bones found beneath Exham Priory.
Travels, Lovecraft’s.
In 1915 HPL wrote: “I have never been outside the three states of Rhode Island, Massachusetts, and Connecticut!” (
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But HPL’s hermitry ended in 1919–20, when developing ties to amateur writers impelled him to take trips of increasing breadth; not coincidentally, the illness of his mother and her removal from 454 Angell Street also freed HPL to roam farther than he had done previously. Among his several trips to the Boston area at this time, the most memorable was a trip to the Copley Plaza in Boston in October 1919 to hear Lord Dunsany lecture (
HPL’s most momentous voyage was his two-year stay in Brooklyn (March 1924–April 1926). Initially thrilled at being in the vibrant metropolis, HPL later came to hate the place for its gigantism, its general absence of colonial landmarks, and its legions of “foreignerss of “5P who teemed at every street corner. HPL sought as best he could to explore nearby antiquarian landmarks: Elizabeth, N.J. (October 1924, June and August 1925), Philadelphia (seen briefly during his honeymoon and explored more exhaustively in November 1924), Washington, D.C. (April 1925), Paterson, N.J. (August 1925), Yonkers and Tarrytown, N.Y. (September 1925), Jamaica, Mineola, Hempstead, and Garden City, Long Island (September 1925). These visits provided much-needed respite from the clangor of the metropolis and from his unproductive life of poverty in Brooklyn.
HPL returned ecstatically to Providence in April 1926, but as early as September he was back in New York (evidently at Sonia’s bidding), staying for two weeks and briefly visiting Philadelphia. In October he revisited the ancestral sites in Foster, with Annie E.P.Gamwell. In the summer of 1927, HPL initiated what would become an annual and ever-widening series of jaunts up and down the eastern seaboard in quest of antiquarian havens. In July, he went with Donald Wandrei to Boston, Salem, Marblehead, and Athol, Mass., and Newport, R.I. The next month he visited Worcester, Amherst, and Deerfield, Mass., detouring briefly into Vermont (described in “Vermont—A First Impression” [1927]); Portland, Me; Portsmouth, N.H.; and Newburyport and Haverhill, Mass, (described in a compressed travelogue, “The Trip of Theobald,”
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In 1928 HPL’s travels began unexpectedly early, as in April he was summoned to Brooklyn by Sonia, who was setting up a hat shop and requested HPL’s assistance. He took the occasion to go on an expedition by car with Frank Belknap Long up the Hudson River and (on a later trip with Long) to Stamford and Ridgefield, Conn. In May he visited James F.Morton at his museum in Paterson, N.J., and visited Wilfred B.Talman in Spring Valley (Rockland Co.), N.Y., returning via Tarrytown and Sleepy Hollow. Then Vrest Orton invited HPL to visit him in Brattleboro, Vt, and HPL spent two weeks there in June. Later that month he proceeded to Wilbraham, Mass., where he visited Edith Miniter; the impressions he derived from that visit were incorporated into the topography of “The Dunwich Horror” (1928). In July he headed south, passing through New York and going on to Philadelphia, Baltimore, Washington, D.C., Annapolis, Alexandria, George Washington’s residence at Mt. Vernon, and the Endless Caverns in New Market, Va. This series of travels was described in one of his finest travelogues, “Observations on Several Parts of America” (1928).
HPL’s travels of 1929 began at the very start of the year, as Samuel Loveman came to Providence and went with HPL to Boston, Salem, and Marblehead. In April HPL came to New York and then spent several weeks in Vrest Orton’s home in Yonkers. In May he headed south, visiting Washington and exhaustively exploring Richmond, Williamsburg, Jamestown, Yorktown, Fredericksburg, and Falmouth, Va. Later he spent a few more days in Washington, returned to New York, and was driven by the Longs to West Shokan, N.Y., the residence of Bernard Austin Dwyer. HPL explored the abundant Dutch colonial remains of the nearby towns of Kingston, Hurley, and New Paltz. HPL wrote of these travels in “Travels in the Provinces of America” (1929). In August he took a trip to the Fairbanks house (1636) in Dedham, Mass., writing of the visit in an unpublished essay, “An Account of a Trip to the Fairbanks House” (1929). Later that month the Longs took HPL on a visit to New Bedford and Cape Cod. It was on this occasion that HPL, for the first and last only time, flew in an airplane (a $3 ride over Buzzard’s Bay). Late in August HPL and his aunt Annie Gamwell revisited sites in Foster.
In late April 1930 HPL headed directly from Providence to Charleston , S.C., whose colonial remains entranced him. It came to be his second favorite town, after Providence, and he wrote of it in “An Account of Charleston” (1930). In May HPL returned north through Richmond, New York City, and Kingston, N.Y., returning home in mid-June. The next month he attended the NAPA convention in Boston, and in August the Longs took him again to Cape Cod. Then, in late August, he took a cheap excursion to Quebec, whose colonial relics impelled him to write
HPL’s travels of 1931 reached the widest extent they would ever achieve. In May he left for New York, spent much time in Charleston, visited Savannah, Ga., and spent two weeks in St. Augustine, Fla. He also visited Henry S.White-head in Dunedin, briefly visited Miami, and then spent several days in Key West. He returned north via St. Augustine, Charleston, Richmond, Fredericksburg, Philadelphia, and New York. The Longs took him for a weekend to the beach resort of Asbury Park, N.J., and he spent a week with Talman
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in Brooklyn. He returned home in mid-July. In October he went with W.Paul Cook to Boston, Newburyport, and Haverhill; in November to Boston, Salem, Marblehead, Newburyport (which inspired the writing of “The Shadow over Innsmouth”), and Portsmouth. He wrote no travelogue of these visits, but they are chronicled extensively in his letters.
In May 1932 HPL left Providence for New York, then went south to Knoxville, Chattanooga, and Memphis, Tennessee, and Vicksburg and Natchez, Mississippi. He then proceeded to New Orleans, spending time with E.Hoffmann Price. HPL subsequently explored Mobile and Montgomery, Ala., and Atlanta, returning north via Fredericksburg, Annapolis, Philadelphia, and New York. He was called home abruptly in early July by the illness of his aunt Lillian, who died on July 3. In late August HPL visited Cook in Boston; they went to Newburyport to see a solar eclipse, after which HPL spent several days in Quebec. HPL revisited Salem and Marblehead in October. Toward the end of the year HPL initiated a new tradition of spending New Year’s Day in New York City, visiting his many friends there; on these occasions he usually stayed with the Longs.
HPL visited Hartford, Conn., in March 1933, seeing his ex-wife Sonia for the last time. Following his move to 66 College Street in May, HPL visited sites in Narragansett County, R.I., in a car driven by E.Hoffmann Price. The Longs came through Providence in late July and took HPL to Cape Cod, and he later visited Newport in the company of James F.Morton. HPL’s third trip to Quebec occurred in September; he also spent one day in Montreal. He again visited New York for New Year’s celebrations.
In mid-March 1934 HPL’s young friend R.H.Barlow invited HPL for an extended stay at his home in De Land, Fla. HPL accepted the offer, heading south the next month, spending time in New York and Charleston, and reaching De Land on May 2. He stayed until mid-June, after which he visited St. Augustine, Charleston, Richmond, Fredericksburg, Washington, Philadelphia, and New York; the Longs then took him to Asbury Park and Ocean Grove, N.J. In August HPL went with Cook and Edward H.Cole to Boston, Salem, and Marblehead. Later that month HPL visited Nantucket for the first time, being enchanted by the antiquities there and writing of his visit in “The Unknown City in the Ocean” (
Most of 1936 was full of illness (both for HPL and for his aunt Annie), poverty, and grueling revision work, so HPL did little traveling. In July HPL managed to get to Newport; and when Maurice W.Moe and his son Robert visited later that month, they took HPL to Pawtuxet and other sites in Rhode Island. HPL visited an area called Squantum Woods, on the east shore of Narragansett
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Bay, in October, and later that month visited the Neutaconkanut woods three miles northwest of his home; but thereafter he became too ill to travel.
HPL’s travel writings—whether in letters or in formal travelogues—are some of his most engaging documents. Aside from the meticulousness with which he records the history and topography of his chosen sites, the thrill he experienced at visiting antiquarian havens from Quebec to Key West is infectiously transmitted to the reader. It is possible, with HPL’s travelogues of Charleston, Quebec, and other locales in hand, to follow his footsteps exactly. On one occasion HPL wrote out a detailed itinerary from memory of the antiquarian sites in Newport for his aunt Annie (letter dated September 1927; ms., JHL). The impressions HPL derived from his travels enter extensively into his fiction from as early as “The Festival” to such important tales as “The Silver Key,” “The Colour out of Space,” “The Dunwich Horror,” “The Whisperer in Darkness,” and “The Shadow over Innsmouth”; these tales (as well as those set in his native Providence—“The Shunned House,” “The Call of Cthulhu,”
“Travels in the Provinces of America.”
Essay (19,800 words); probably written in the fall of 1929. First published in
The second of HPL’s great travelogues (after “Observations on Several Parts of America” [1928]), covering his travels of the spring and summer of 1929. It covers HPL’s visits to Yonkers (Vrest Orton) and New Rochelle, N.Y.; Richmond, Williamsburg, Jamestown, Yorktown, and Fredericksburg, Va.; Washington, D.C.; Philadelphia; West Shokan (Bernard Austin Dwyer), Kingston, Hurley, and New Paltz, N.Y.; Athol (W.Paul Cook) and Barre, Mass.
“Tree, The.”
Short story (1,640 words); written in the first half of 1920. First published in
The “Tyrant of Syracuse” proposes a contest between the two great sculptors, Kalos and Musides, to carve a statue of Tyché. The two artists are the closest of friends, but their lives are very different: whereas Musides “revelled by night amidst the urban gaieties of Tegea,” Kalos remains home in quiet contemplation. They begin working on their respective statues, but Kalos gradually takes ill and, despite Musides’ constant nursing, eventually dies. Musides wins the contest by default, but both he and his lovely statue are weirdly destroyed when a strange olive tree growing out of Kalos’ tomb suddenly falls upon Musides’ residence.
It is evident that Musides, for all his supposed devotion to his friend, has poisoned Kalos and suffers supernatural revenge. HPL says as much in a discussion of the story in
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Galpin’s own tale “Marsh-Mad” (
This early plot synopsis did not suggest that the tale was set in ancient Greece, as it manifestly is. HPL’s knowledge of Greek history and literature was put to good use. The names of the artists— Kalos (“handsome” or “fair”) and Musides (“son of the Muse[s]”)—are both apt although not actual Greek names. Tyché means “chance” (or sometimes “fate”), and actual cults of Tyché were established in Greece sometime after 371 B.C.E. Other allusions in the story establish that the events must take place in the period 353–344 B.C.E., when Dionysius II was Tyrant of Syracuse. See S.T.Joshi, “‘The Tree’ and Ancient History,”
Short story (4,280 words); written in collaboration with Duane W.Rimel, May 1934. First published in
Near the town of Hampden, Idaho, the narrator, named Single, stumbles upon a strange landscape whose central feature is a peculiar tree with round leaves. He manages to photograph the site and brings the developed photographs to his friend Constantine Theunis, a writer of esoteric books. Theunis, usually languid and bored, is startled by the photographs, as he realizes that the landscape must be from a planet that has three suns. Theunis then remembers that Rudolf Yergler’s
Clearly HPL revised the tale from a draft by Rimel. HPL says in a letter: “I read your ‘Tree on the Hill’ with great interest, & believe it truly captures the essence of the weird. I like it exceedingly despite a certain cumbrousness & tendency toward anticlimax in the later parts. I’ve made a few emendations which you may find helpful, & have tried a bit of strengthening toward the end. Hope you’ll like what I’ve done” (HPL to Duane W.Rimel, May 13, 1934; ms., JHL). Of the three sections of the story, the final one—as well as the citation from the mythical
See Donald R.Burleson, “Lovecraftian Branches in Rimel’s ‘Tree,’”
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‘The Tree on the Hill,’”
Tremaine, F[rederick] Orlin (1899–1956),
American author and editor. Tremaine was editor of
See Will Murray, “The Man Who Edited Lovecraft,”
In “Old Bugs,” the son of Eleanor (Wing) Trever, who enters a tavern in search of liquor but is repulsed by the actions of a crazed drunkard, Old Bugs, who he realizes is the former lover of his mother.
“Two Black Bottles.”
Short story (4,870 words); written in collaboration with Wilfred Blanch Talman, June–October 1926. First published in
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Judging from HPL’s letters to Talman, it seems clear that HPL has not only written some of the tale— especially the parts in dialect—but also made significant suggestions regarding its structure. Talman had evidently sent HPL both a draft and a synopsis—or, perhaps, a draft of only the beginning and a synopsis of the rest. HPL recommended a simplification of the structure so that all the events are seen through the eyes of Hoffman. In terms of the diction, HPL writes: “As for what I’ve done to the MS.—I am sure you’ll find nothing to interfere with your sense of creation. My changes are in virtually every case merely verbal, and all in the interest of finish and fluency of style” (
Two-Gun Bob.
In “The Battle That Ended the Century,” one of two antagonists who engage in a boxing match in the year 2001. The character (nicknamed “the Terror of the Plains”) is a parody of HPL’s friend Robert E.Howard, of Cross Plains, Tex.
T’yog.
In “Out of the Æons,” the millennia-old petrified mummy housed in the Cabot Museum of Archaeology in Boston. The curator of the museum, Richard H.Johnson, thinks that the mummy is that of a man spoken of in Von Junzt’s
Typer, Alonzo Hasbrouck.
In “The Diary of Alonzo Typer,” an occult explorer from Kingston, N.Y., who investigates the spectral van der Heyl house near Attica. Typer is in fact related to the van der Heyls and has been summoned to the home for some unknown purpose.
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U
Ull.
In “‘Till A’ the Seas,’” a young man who, in the distant future, becomes the last surviving member of the human race. After tending to Mladdna, an old woman, until she dies, he seeks out what he believes to be another colony of human beings beyond the mountains, but finds it full of decaying skeletons. He dies shortly thereafter by falling into a well.
“Under the Pyramids.”
Novelette (10,950 words); ghostwritten for Harry Houdini in February 1924. First published (as “Imprisoned with the Pharaohs”) in
The escape artist Harry Houdini narrates in the first person an account of a peculiar adventure he experienced in Egypt. Some Arabs—led by a man who uses the name Abdul Reis el Drogman—bring Houdini to witness a boxing match on the top of the Great Pyramid; but after the fight is over the Arabs seize him and cast him, bound tightly by rope, down a spectacularly deep chasm in the Temple of the Sphinx. After awaking, he struggles not merely to escape from the temple but to answer an “idle question” that had haunted him throughout his stay in Egypt:
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Houdini is dumbfounded to come upon
HPL recounts at length in letters how he came to write the tale.
The tale is surprisingly effective and suspenseful, with a genuinely surprising ending for those reading it for the first time. HPL’s Egyptian research was probably derived from several volumes in his library, notably
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tart satire in the fact that Houdini—one of the strongest men of his day—faints three times in the course of his adventure.
“Unknown, The.”
Poem (12 lines in quatrains); probably written in the fall of 1916. First published in the
A weird vignette in which the narrator finds something horrifying in the face of the moon. HPL notes in a letter to the Gallomo (September 12, 1923; AHT) that the poem was published under Winifred Virginia Jackson’s pseudonym “in an effort to mystify the [amateur] public by having widely dissimilar work from the same nominal hand.” HPL also published “The Peace Advocate” (
See Donald R.Burleson, “Lovecraft’s ‘The Unknown’: A Sort of Runic Rhyme,”
“Unnamable, The.”
Short story (2,970 words); written September 1923. First published in WT (July 1925); first collected in
In an old burying ground in Arkham, the first-person narrator, “Carter,” and his friend Joel Manton discuss Carter’s horror tales. Manton enunciates his objections to the weird—as contrary to probability, as not based on “realism,” and as extravagant and unrelated to life. In particular, he scoffs at the idea of something being termed “unnamable”; but later that evening the two men encounter just such an entity in the burying ground.
Although Carter’s first name is never mentioned, one assumes that he is Randolph Carter of “The Statement of Randolph Carter” (1919). But because of the uncertainty of his identity, “The Unnamable” has frequently not been considered part of the sequence of stories involving Carter. Only the most glancing reference to the incident related in this story appears in “The Silver Key” (1926): “Then he went back to Arkham,…and had experiences in the dark, amidst the hoary willows, and tottering gambrel roofs, which made him seal forever certain pages in the diary of a wild-minded ancestor.”
In part, the tale is a satire on the stolid bourgeois unresponsiveness to the weird tale. Carter’s observation that “it is the province of the artist…to arouse strong emotion by action, ecstasy, and astonishment” signals HPL’s absorption of the literary theory of Arthur Machen (whom he was first reading at this time), specifically the treatise
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The story also explores the sense of the lurking horror of New England history and topography. It is set in Arkham, but the actual inspiration for the setting—a “dilapidated seventeenth-century tomb” and, nearby, a “giant willow in the centre of the cemetery, whose trunk has nearly engulfed an ancient, illegible slab”—is the Charter Street Burying Ground in Salem, where just such a treeengulfed slab can be found. Later in the story HPL records various “old-wives’ superstitions,” some of which are taken from Cotton Mather’s
Upton, Daniel.
The narrator of “The Thing on the Doorstep” and a close friend of Edward Derby. He shoots Derby to liberate him from the decaying corpse of Asenath Waite, into which Derby’s personality had been cast following his murder of Asenath.
Utpatel, Frank (1905–1980),
artist and late correspondent of HPL (1936–37). Utpatel, a Wisconsinite, was a friend of August Derleth, and in 1932 Derleth asked Utpatel to prepare some illustrations to HPL’s “The Shadow over Innsmouth,” even though that tale had not been accepted for publication. The whereabouts of these illustrations are unknown; but HPL, remembering them, urged William L.Crawford of the Visionary Press to commission Utpatel to make illustrations for the upcoming book publication of
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V
Van Allister, Prof. Arthur.
In “Ashes,” a scientist who discovers a chemical compound that can reduce any substance to mere ashes. He later dies when thrown into a large vat of his own formula by his assistant, Malcolm Bruce. van der Heyl, Claes (d. 1591).
In “The Diary of Alonzo Typer,” a member of a strange Dutch family who lived in Holland in the later sixteenth century and kept a diary between 1560 and 1580 telling of his strange delvings into the supernatural. His descendant, Hendrik, came to New-Netherland (i.e., New York state) in 1638 in search of a nameless “Thing.” Dirck, now settled in Albany, N.Y., built a house near Attica around 1760. He married a woman from Salem, Mass., and was the father of Joris (b. 1773), “that frightful hybrid,” and of Trintje, who would later marry Adriaen Sleght.
Vanderhoof, Johannes.
In “Two Black Bottles,” the recently deceased pastor (“dominie”) and uncle of the narrator, Hoffman. Vanderhoof’s soul is entrapped in a little black bottle by his sexton, Abel Foster.
Van Itty, Mrs.
In “Sweet Ermengarde,” a wealthy society woman who adopts Ermengarde Stubbs and later discovers that she is her long-lost daughter.
Van Keulen, Dr. Cornelius.
In “Winged Death,” a coroner’s physician who discovers the dead body of Dr. Thomas Slauenwite in a hotel room in Bloemfontein, South Africa, as well as Slauenwite’s strange diary. Verhaeren, M.
In “Facts Concerning the Late Arthur Jermyn and His Family,” a Belgian agent at a trading post in the Congo who sends Arthur Jermyn a box containing a curious specimen he has found among the N’bangus—a specimen that impels Jermyn to kill himself.
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“Vermont—A First Impression.”
Essay (1,630 words); probably written in the fall of 1927. First published in
A brief account of HPL’s first visit to New Hampshire in the summer of 1927. It speaks in glowing terms of the beauty of the countryside as well as of the city of Brattleboro, and concludes with a paean to “Vermont’s gentle poet,” Arthur Goodenough. Several paragraphs of the essay were incorporated, with significant revision, into “The Whisperer in Darkness” (1930).
“Very Old Folk, The.”
Short story (2,500 words); written on November 3, 1927. First published (in this form) in
In the Roman province of Hispania Citerior (Spain), the proconsul, P.Scribonius Libo, summons a provincial quaestor named L.Caelius Rufus to the small town of Pompelo because of strange rumors in the hills above the town. There, a shadowy group of hill-dwellers, perhaps not fully human, named the Very Old Folk customarily kidnap a few villagers on the day before the Kalends of Maius (May Eve) and the Kalends of November (Halloween). But this year, it is the day before the Kalends of November and no villager has been taken. This very lack of activity is suspicious, and Rufus is concerned that something far graver is afoot. He argues with the military tribune Sextus Asellius and with the legatus Cn. Balbutius, urging that the Roman army take strong action to suppress the Very Old Folk once and for all; after much debate, Rufus wins Libo to his side and prevails. As a cohort of Roman soldiers ascends the hills, the atmosphere becomes increasingly sinister; then some of the horses
“Vivisector, The.”
Column appearing in five installments in the
Much confusion has existed as to which of the columns—if any—were written by HPL; but examination of correspondence by Horace L.Lawson (editor of the
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1923. Lawson in fact regarded HPL as the “editor” of the column. The column for November 1921 was written by Alfred Galpin and is a review of the previous issues of the
“Volunteer, The.”
Poem (48 lines in 6 stanzas); written in mid- to late January 1918. First published in the [Providence]
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W
Waite, Asenath.
In “The Thing on the Doorstep,” the domineering woman who, at the age of twenty-three, marries the thirty-eight-year-old Edward Derby. Derby’s father does not approve of her because of the crowd to which she belongs, but he is unable to prevent their marriage. Asenath—whose family comes from Innsmouth—exchanges personalities with Derby, at first only intermittently. Derby kills her to thwart her attempt to effect a permanent exchange, but her will is so strong that she still manages to accomplish the exchange even after her death. But the personality that overtakes Derby is actually not Asenath at all, but her father Ephraim, who as his own death was approaching overtook his own weak-willed daughter’s body.
There are very few female characters in HPL’s fiction. None is as fully developed as Asenath, but even she is revealed to be no woman at all, but actually her father Ephraim. Derby’s resistance to Asenath’s strong will may evoke his own feelings to some of the dominating females in his own life, most notably his mother and his wife. The names Asenath and Ephraim are perhaps meant to parody a passage in Genesis, where Asenath is the wife of Joseph (41:45) and gives birth to Ephraim (46:20); HPL reverses the genealogy and makes Ephraim the father of Asenath.
Walakea.
In “The Shadow over Innsmouth,” the chief of a band of Kanakas dwelling on an island in the South Seas, whose inhabitants mate with loathsome sea-creatures and derive great bounties of fish and gold as a result. Walakea has no hybrid blood in him, as he is of a royal line that intermarries only with royal lines on other islands.
Walter, Dorothy C[harlotte] (1889–1967),
friend of HPL. In early 1934, at the urging of her friend W.Paul Cook, Walter wrote to HPL urging him to visit her at her temporary residence in Providence (Walter was a native of Vermont). But
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on the day of the planned visit, HPL found the weather so cold that he could not venture outdoors without risk of serious illness, so he telephoned Walter and apologized effusively. He visited a few days later, an incident recounted in Walter’s “Three Hours with H.P.Lovecraft” (in
Wandrei, Donald [Albert] (1908–1987),
weird poet and short story writer living chiefly in St. Paul, Minn., and correspondent of HPL (1926– 37). Wandrei had been corresponding with Clark Ashton Smith since 1924; in late 1926 Smith asked Wandrei to return some of HPL’s manuscripts directly to HPL after reading them. Wandrei did so, thereby initiating an association that lasted till HPL’s death. The two writers exchanged manuscripts, and HPL offered advice to Wandrei on some of his but did no revision. Wandrei had already written “The Chuckler,” a pseudo-sequel to HPL’s “The Statement of Randolph Carter,” although it remained unpublished until it appeared in
After 1929 the correspondence became more sporadic. For a time Wandrei worked in the advertising department of E.P.Dutton in New York, but he gave up the job and returned to St. Paul to write. Wandrei published numerous horror tales in
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1934) and “Infinity Zero” (
After HPL’s death August Derleth and Donald Wandrei founded Arkham House to publish HPL’s work in hard covers. Wandrei was particularly insistent that HPL’s letters be published, and he spent years editing HPL’s
See
Wandrei, Howard [Elmer] (1909–1956),
artist and late associate of HPL (1933–37). Howard, Donald Wandrei’s younger brother, had a turbulent youth, being arrested for burglary at the age of eighteen and spending three years in a reformatory. By this time, however, he had developed into a brilliant and distinctive pictorial artist, chiefly in pen-and-ink work. He illustrated Donald’s book of poetry,
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from his pictorial genius, getting to be a better
In
In
Warren, Harley.
In “The Statement of Randolph Carter,” the South Carolina mystic (so identified only in “Through the Gates of the Silver Key”) whose studies take him and Carter to an ancient cemetery (apparently in Florida, although this is never explicitly stated in the story). When Warren ventures underground, leaving Carter behind, he dies mysteriously, his death being announced from below ground by the hideous voice of an unknown entity. In the dream that inspired the story, it was HPL’s friend Samuel Loveman who went underground, leaving HPL behind.
“Waste Paper: A Poem of Profound Insignificance.”
Poem (134 lines); probably written in late 1922 or early 1923. First publication unknown; rpt.
A devastating parody of T.S.Eliot’s
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his poems aside from “Plaster-All” [1922] written in free verse) is similarly composed of quotations (from Pope’s
See Barton L. St. Armand and John H.Stanley, “H.P.Lovecraft’s
Webb, William Channing.
In “The Call of Cthulhu,” Professor of Anthropology at Princeton University. In 1860, he encounters the Cthulhu Cult in Greenland.
Weeden, Ezra.
In
Weir, John J. (1922–1977),
late correspondent of HPL (1936–37). Weir came in touch with HPL in December 1936 when he asked him for a contribution for his fan magazine,
Pulp magazine (1923–54) in which many of HPL’s stories appeared.
HPL read and purchased it from its first issue, and was encouraged by numerous colleagues—Everett McNeil, James F.Morton, Clark Ashton Smith—to
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submit to the magazine. He did so in May 1923, sending in five stories (“Dagon,” “The Statement of Randolph Carter,” “The Cats of Ulthar,” “Facts Concerning the Late Arthur Jermyn and His Family,” and “The Hound”). Edwin Baird, the magazine’s first editor, liked them all, but wished them to be double-spaced (the single-spaced typescripts survive at JHL). HPL grudgingly retyped the stories. His first published contribution to the magazine, however, was his snide cover letter accompanying the stories, published in the September 1923 issue. HPL quickly became a fixture in the magazine, appearing in most of the issues edited by Baird. The summit of his early involvement occurred in February 1924, when Henneberger commissioned him to ghostwrite “Under the Pyramids” for Harry Houdini, paying HPL $100 in advance.
Around this time HPL was offered the editorship of the magazine, but he declined. HPL has been criticized for so doing, since it would have given him a stable income at a time when, newly married, he needed one. But the job would have required his moving to Chicago, a prospect HPL did not fancy; moreover, the magazine was deeply in debt, and it might well have folded, leaving HPL stranded in Chicago and far from his wife in New York and family in Providence. In any event, Baird was dismissed in the spring of 1924 and Farnsworth Wright was appointed as interim editor, becoming the permanent editor in the fall. Wright was more idiosyncratic in his editorial criteria than Baird and was careful to offer readers what he thought they wanted; he rejected several tales by HPL (“The Shunned House,”
Toward the end of his life HPL thought that the unconscious desire to write material suitable for
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HPL might have had more leverage with Wright if he could have developed a second pulp market to
offset
had taken “The Colour out of Space” in 1927, but it paid him only
of a
cent per word for the story. (WT generally paid HPL 1 to 1½ cents per word, the latter being its highest rate.) He submitted several stories to
After HPL’s death Wright accepted many HPL stories and poems that he had formerly rejected, when they were submitted by August Derleth. This policy continued with WT’s third and final editor, Dorothy McIlwraith, who took over in 1940. It was, however, her decision to abridge some of HPL’s longer works (“The Mound” [November 1940];
For a complete list of HPL’s contributions to
Weiss, Henry George (1898–1946),
Canadian-born poet and essayist who wrote weird and science fiction tales under the pseudonym Francis Flagg. Weiss corresponded with HPL sporadically during the period 1930–37; at this time he had communist leanings and may have contributed to HPL’s gradual shift toward socialism. He wrote an HPL-influenced story, “The Distortion out of Space” (WT, August 1934); also a poem, “To Howard Phillips Lovecraft” (WT, March 1938; rpt.
West, Herbert.
In “Herbert West—Reanimator,” the medical student who hopes to learn the secret of reanimating the dead. The story follows his exploits through his college days and post-graduate work, to service during World War I and his own medical practice, as he comes closer and closer, but never fully succeeding, in his attempts at reanimation. Ultimately, the specimens he reanimates band together and destroy him.
“What Belongs in Verse.”
Essay (730 words); probably written in early 1935. First published in
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This important essay reflects HPL’s later views on poetry, in which he is shown to have modified his earlier rigidly classicist stance; he now maintains that good poetry must be a matter of images and symbols rather than plain statement.
“What the Moon Brings.”
Prose poem (740 words); written on June 5, 1922. First published in the
The narrator professes at the outset, “I hate the moon—I am afraid of it” because he once saw the moon shining on an old garden near a shallow stream. Various strange sights greet the narrator’s eye, including dead faces in the river. Then the waters ebb, and the narrator sees an appalling sight: the vast basalt crown of a “shocking eikon” whose forehead was beginning to appear from under the waves, and whose feet must be an incalculable distance below. The narrator flees in terror. The vignette suffers from vagueness and from a certain hysterical tone that makes the entire work seem flamboyant and unmotivated.
Whateley, Wilbur (1913–1928).
In “The Dunwich Horror,” the more human of the twin offspring of Lavinia Whateley and YogSothoth. Old Whateley indoctrinates the precocious but abnormally mature boy in esoteric study. He is slain by a watchdog when trying to steal a copy of the
Wheeler, Arthur.
In “The Man of Stone,” a sculptor who is turned to stone by Daniel Morris when Morris suspects him of making designs on his wife.
Wheeler, Henry.
In “The Dunwich Horror,” one of the party that exterminates Wilbur Whateley’s monstrous twin brother.
Whipple, Dr. Elihu.
In “The Shunned House,” a physician, antiquarian, and uncle of the story’s narrator. He shares his research of the history of the Shunned House with his nephew, and the two eventually attempt to determine
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the source of the house’s notoriety. In so doing, they encounter the monstrous entity that inhabits the house and which overwhelms the elderly doctor.
“Whisperer in Darkness, The.”
Novelette (26,700 words); written February 24–September 26, 1930. First published in
The Vermont floods of November 3, 1927, cause great destruction in the rural parts of the state and also engender reports of strange bodies—not recognizably human or animal—floating down the floodchoked rivers. Albert N. Wilmarth, a professor of literature at Miskatonic University with an interest in folklore, dismisses these accounts as standard myth-making; but then he hears from a reclusive but evidently learned individual in Vermont, Henry Wentworth Akeley, who not only confirms the reports but also maintains there is an entire colony of extraterrestrials dwelling in the region, whose purpose is to mine a metal they cannot find on their own planet (which may be the recently discovered ninth planet of the solar system, called Yuggoth in various occult writings) and also, by means of a complicated mechanical device, to remove the brains of human beings from their bodies and to take them on fantastic cosmic voyagings. Wilmarth is skeptical of Akeley’s tale, but the latter sends him photographs of a hideous black stone with inexplicable hieroglyphs on it along with a phonograph recording he made of some sort of ritual in the woods near his home—a ritual in which both humans and (judging from the bizarre buzzing voice) some utterly nonhuman creatures participated. As their correspondence continues, Wilmarth slowly becomes convinced of the truth of Akeley’s claims—and is both wholly convinced and increasingly alarmed as some of their letters go unaccountably astray and Akeley finds himself embroiled in a battle with guns and dogs as the aliens besiege his house. Then, in a startling reversal, Akeley sends him a reassuring letter stating that he has come to terms with the aliens: he had misinterpreted their motives and now believes that they are merely trying to establish a workable rapport with human beings for mutual benefit. He is reconciled to the prospect of his brain being removed and taken to Yuggoth and beyond, for he will thereby acquire cosmic knowledge made available only to a handful of human beings since the beginning of civilization. He urges Wilmarth to visit him to discuss the matter, reminding him to bring all the papers and other materials he had sent so that they can be consulted if necessary. Wilmarth agrees, taking a spectral journey into the heart of the Vermont backwoods and meeting with Akeley, who has suffered some inexplicable malady: he can only speak in a whisper, and he is wrapped from head to foot with a blanket except for his face and hands. He tells Wilmarth wondrous tales of traveling faster than the speed of light and of the strange machines in the room used to transport brains through the cosmos. Numbed with astonishment, Wilmarth retires to bed, but hears a disturbing colloquy in Akeley’s room with several of the buzzing voices and other, human voices. But what makes him flee from the place is a very simple thing he sees as he sneaks down to Akeley’s room late at night: “For the things in the chair, perfect to the last, subtle detail of microscopic resemblance—or identity—were the face and hands of Henry Wentworth Akeley.”
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Without the necessity of stating it, HPL makes clear the true state of affairs: the last, reassuring letter by “Akeley” was in fact a forgery by the alien entities, written as a means of getting Wilmarth to come up to Vermont with all the evidence of his relations with Akeley; the speaker in the chair was not Akeley—whose brain had been removed from his body and placed in one of the machines— but one of the aliens, perhaps Nyarlathotep himself, whom they worship. The attempted “rapport” that the aliens claim to desire with human beings is a sham, and they in fact wish to enslave the human race; hence Wilmarth must write his account to warn the world of this lurking menace. There are numerous autobiographical details in the story. HPL knew of the Vermont floods of 1927, as they were extensively reported in newspapers across the East Coast. More generally, the Vermont background of the tale is clearly derived from HPL’s visits to the state in 1927 and 1928; whole passages of the essay “Vermont—A First Impression” (1927) appear in the text but subtly altered so as to emphasize both the terror and the fascination of the rustic landscape. Wilmarth’s ride into Vermont in a Ford car duplicates the ride HPL took to Vrest Orton’s farm in 1928: “We were met [in Brattleboro] with a Ford, owned by a neighbour, & hurried out of all earthly reality amongst the vivid hills & mystic winding roads of a land unchanged for a century” (HPL to Lillian D.Clark, [June 12, 1928]; ms., JHL). Henry Wentworth Akeley is based in part on the rustic Bert G.Akley whom HPL met on this trip. Akeley’s secluded farmhouse seems to be based on both the Orton residence in Brattleboro and Arthur Goodenough’s home farther north. There is a mention of “The Pendrifter” (the columnist for the
Steven J.Mariconda has discussed in detail the particularly difficult genesis of the tale. As the manuscript states, it was “provisionally finished” in Charleston, South Carolina, on May 7, 1930, but underwent significant revision thereafter. HPL first took it to New York, where he read it to Frank Belknap Long. In his 1944 memoir, Long speaks of the matter; although parts of his account clearly are erroneous, there is perhaps a kernel of truth in his recollection of one point: “Howard’s voice becoming suddenly sepulchral: ‘And from the box a tortured voice spoke: “Go while there is still time —”’” (“Some Random Memories of H.P.L.,”
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not much succeed in this area. Although he apparently inserted random details to heighten Wilmarth’s skepticism, especially in regard to the obviously forged final letter by “Akeley,” Wilmarth still seems very naive in proceeding blithely to Vermont despite all the documentary evidence he has received from Akeley.
It cannot be said that the discovery of Pluto inspired the writing of the tale. C.W.Tombaugh had discovered the planet on February 18, 1930, after ten months of searching, but it was first announced on the front page of the
The story was readily accepted by Farnsworth Wright, who paid HPL $350 for it—the largest amount he ever received for a single work of fiction. Wright planned to run it as a two-part serial, but early in 1931
See Fritz Leiber, “The Whisperer Re-examined,”
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White, Ann.
In “The Shunned House,” a woman from North Kingstown, R.I., who is hired by Mercy Dexter to be a servant at the house around 1770. She begins spreading rumors about the sinister abode and is later dismissed.
White, Lee McBride, Jr. (1915–1989),
correspondent of HPL (1932–37). White spent most of his youth in Birmingham, Ala.; he appears to have contacted HPL through WT. His chief interest was not in the weird but in Metaphysical poetry, specifically John Donne. White attended Howard College (now Samford University) in Birmingham, graduating in 1937; he worked on school publications there, sending some of them to HPL. After HPL’s death White did graduate work at Harvard and Columbia, returned to Alabama and became a journalist, served in the air force during World War II, and later worked for the Communications Workers of America. He edited
“White Ship, The.”
Short story (2,550 words); probably written in October 1919. First published in the
Basil Elton, “keeper of the North Point light,” one day “walk[s] out over the waters…on a bridge of moonbeams” to a White Ship that has come from the South, captained by an aged bearded man. They sail to various fantastic realms: the Land of Zar, “where dwell all the dreams and thoughts of beauty that come to men once and then are forgotten”; the Land of Thalarion, “the City of a Thousand Wonders, wherein reside all those mysteries that man has striven in vain to fathom”; Xura, “the Land of Pleasures Unattained”; and finally Sona-Nyl, in which “there is neither time nor space, neither suffering nor death.” Although Elton spends “many aeons” there in evident contentment, he gradually finds himself yearning for the realm of Cathuria, the Land of Hope, beyond the basalt pillars of the West, which he believes to be an even more wondrous realm than Sona-Nyl. The captain warns him against pursuing Cathuria, but Elton is adamant and compels the captain to launch his ship once more. But they discover that beyond the basalt pillars of the West is only a “monstrous cataract, wherein the oceans of the world drop down to abysmal nothingness.” As their ship is destroyed, Elton finds himself on the platform of his lighthouse. The White Ship comes to him no more.
The plot of the story clearly derives from Dunsany’s “Idle Days on the Yann” (in
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After the story’s first publication, Alfred Galpin, chairman of the Department of Public Criticism of the UAPA, gave it a warm reception (see “Department of Public Criticism,”
Whitehead, Henry S[t. Clair] (1882–1932),
American author of weird tales and friend of HPL (1931–32). HPL reports (“In Memoriam: Henry St. Clair Whitehead”) that Whitehead, a New Jersey native, graduated from Harvard in 1904; this is false, although Whitehead did study at Harvard and Columbia. HPL also notes that he later received a Ph.D.; this also appears to be false, although Whitehead earned an M.A. from Ewing College in Illinois. He also became an Anglican priest. From 1921 to 1929 Whitehead served as Acting Archdeacon in the Virgin Islands, thereby absorbing a fund of native lore (especially regarding zombies, jumbees, and other legendary entities) for his weird tales. Whitehead published voluminously in
HPL visited Whitehead in Dunedin, Fla., from May 21 to June 10, 1931. Among HPL’s activities then was an impromptu narration of the plot of “The Cats of Ulthar” to a boys’ club organized by Whitehead. At this time or a few months later, HPL assisted Whitehead on the revision of his story, “The Trap”; as revised, the story is perhaps one-half to three-fourths by HPL, but it was published only under Whitehead’s byline in
In 1932 R.H.Barlow planned a very limited edition of Whitehead’s letters, to be entitled
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low’s introduction to
See R.Alain Everts,
In “The Call of Cthulhu,” the young artist who fashions, following a dream, a strange bas-relief resembling idols worshipped by members of the Cthulhu Cult.
Willett, Dr. Marinus Bicknell.
In
Williams,———.
In “The Descendant,” a young man who presents to Lord Northam a copy of the
Williamson, James.
In “The Shadow over Innsmouth,” the uncle of Robert Olmstead, brother of Douglas (who commited suicide when he learned the family secret), and father of Lawrence (who is confined to a sanitarium). When he shows Olmstead various family artifacts, Olmstead cannot help but conclude that he, like his cousin Lawrence, is of tainted Innsmouth ancestry.
Willis, John.
In “The Mound,” a government marshal who went into the mound region of Oklahoma in 1892 and came back with bizarre tales of supernatural entities in the area.
Wilmarth, Albert N.
In “The Whisperer in Darkness,” a professor of literature at Miskatonic University whose interest in folklore impels him to investigate reports about alien creatures observed in the Vermont River following the floods of 1927.
Wilson, Dr.
In “The Shadow out of Time,” the doctor who attends Nathaniel Wingate Peaslee following the abrupt cessation of his “amnesia” on September 27, 1913.
“Winged Death.”
Novelette (10,070 words); ghostwritten for Hazel Heald, probably in the summer of 1932. First published in
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A scientist, Thomas Slauenwite, discovers a rare insect in South Africa whose bite is fatal unless treated with a certain drug; the natives call the insect the “devil-fly” because after killing its victim it purportedly takes over the deceased’s soul or personality. Slauenwite kills a rival scientist, Henry Moore, with this insect, but is later haunted by an insect that seems uncannily to bear tokens of Moore’s personality. Slauenwite is killed (by heart failure induced by fright, not by the bite of an insect), his soul enters the body of the insect, and he writes a message on the ceiling of his room by dipping his insect body in ink and walking across the ceiling. His diary is found in his hotel room by puzzled policemen and medical examiners.
HPL discusses the story in a letter that probably dates to summer 1932: “Something odd befell a client of mine the other day—involving a story-element which
“Wisdom.”
Poem (49 lines); probably written in the fall of 1919. First published in the
The poem’s subtitle declares: “The 28th or ‘Gold-Miner’s Chapter of Job, paraphrased from a literal translation of the original Hebrew text, supplied by Dr. S.Hall Young.” If this seems an odd poem for the atheist HPL to write, we should remember that the
In “The Dreams in the Witch House,” a “clod-like laundry worker” in Arkham whose two-year-old child, Ladislas Wolejko, vanishes and is later killed by Brown Jenkin.
Wollheim, Donald A[llen] (1914–1990),
science fiction fan and editor, and correspondent of HPL (1935–37). In 1935 Wollheim took over a magazine previously edited by Wilson Shepherd and renamed it
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1935) appeared anonymously as “What’s the Trouble with Weird Fiction?” (February 1937). Wollheim also coedited, with Shepherd, one issue of
poet and correspondent of HPL (1933–37). Wooley published poetry widely in amateur journals in the 1930s. She was, with Maurice W.Moe, John Adams, and HPL, a member of a round-robin correspondence circle, the Coryciani, mainly devoted to the criticism of poetry.
World War I.
HPL joined amateur journalism in April 1914, just four months before the outbreak of World War I. He wasted little time in writing of the conflict. In the first issue of the
But HPL felt more inclined to express his views of the war in verse. He wrote numerous poems on various aspects of the war, including a condemnation of the sinking of the
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HPL’s most dramatic action during the war was to enlist in the R.I. National Guard in early May 1917, a short time before President Wilson’s signing of the draft bill on May 18, 1917 (see
After the war HPL participated in the “Red Scare” in the brief but intemperate article “Bolshevism” (
World War I enters fleetingly but provocatively into HPL’s fiction. “Dagon” (1917) was written a few months after American entry into the war and is set in the war-torn Pacific. “The Temple” (1920) purports to be the account of a German commander of a U-boat. The fifth segment of “Herbert West —Reanimator” (1921–22) is set in Flanders, as West and the narrator are, in 1915, among “the many Americans to precede the [U.S.] government itself into the gigantic struggle.” Thurber, the narrator of “Pickman’s Model” (1926), adduces his war experience as testimony to his physical and mental toughness; an electrical repairman in “Cool Air” (1926) is terrified at the sight of Dr. Muñoz, even though he “had been through the terrors of the Great War without having incurred any fright so thorough.” In “The Silver Key” (1926) Randolph Carter is said to have “served from the first in the Foreign Legion of France.” Because he has doubled back upon his own time-line, Carter, in 1897, pales at the mention of the French town of Belloyen-Santerre, where he was almost mortally wounded in 1916. (The town is where the poet Alan Seeger was killed.) Most intriguingly, Peaslee in “The Shadow out of Time” (1934–35), after being a captive mind of the Great Race and learning the secrets of the universe both past and future, finds that “The war gave me strange impressions of
Wright, Farnsworth (1888–1940),
editor of
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rie.” Wright published a vast amount of rubbish in
In late 1926 Wright proposed a collection of HPL’s stories, to be part of a series of books issued by
In 1931 Wright gravely offended HPL by rejecting
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Y
“Year Off, A.”
Poem (44 lines in quatrains); written on July 24, 1925. First published in
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Z
Zamacona y Nuñez, Panfilo de.
In “The Mound,” a member of Coronado’s expedition who leaves the party and goes on to explore the mound region of Oklahoma, hoping to find Xinaián, a legendary underground realm of great wealth. An Indian guide leads him there, but he is soon enslaved by the inhabitants; his later attempt to escape from them is unsuccessful. His narrative of his adventures, discovered by the narrator, constitutes the body of the story.
Zann, Erich.
In “The Music of Erich Zann,” the mute, possessed composer and cellist who is the subject of the story. His garret room does not overlook the streets of Paris, but “the blackness of space illimitable,” the apparent inspiration for his weird music.
Zimmer,———.
In “The Temple,” a seaman on the German submarine U-29 who apparently commits suicide to escape the horrors he thinks are besetting his vessel.
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General Bibliography
PRIMARY SOURCES
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SECONDARY SOURCES
Airaksinen, Timo.
Burleson, Donald R.
———. “
———, ed.
Cook, W.Paul.
de Camp, L.Sprague.
Everts, R.Alain.
Faig, Kenneth W., Jr.
———.
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———.
———.
———.
———, ed.
———, ed.
Koki, Arthur S. “H.P.Lovecraft: An Introduction to His Life and Writings.” M.A. thesis: Columbia University, 1962.
Lévy, Maurice.
Long, Frank Belknap.
Mariconda, Steven J.
Migliore, Andrew, and John Strysik.
Mosig, Dirk W.
Price, Robert M.
———.
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Index
Numbers in italics indicate main entries.
“Abominations of Yondo, The” (Smith) 247
Abraham, Margaret 3, 97
“Account of a Trip to the Fairbanks House, An” 275 “Account of Charleston, An”
Ackerman, Forrest J.
“Ad Britannos—1918” 303
“Adept’s Gambit” (Leiber) 143
Adrian, Jack 256
“Aeneid, The” 133
“Æpyornis Island” (Wells) 11
Akeley, George Goodenough 2
Akeley, Henry Wentworth 2, 190, 195, 296–98
Akley, Bert G. 2, 195, 297
“Alchemist, The”
“Aletheia Phrikodes” 208, 292
Alhazred, Abdul 28, 92, 111, 118, 181, 182, 186–87 Allen, Zadok
Allgood, Sarah 153, 155
“Allowable Rhyme, The” 138
Alos
Altberg-Ehrenstein, Karl Heinrich, Graf von
“Amateur Criticism” 124
Amateur Journalism 3–5
“Amateur Journalism: Its Possible Needs and Betterment” 180 “Amateur Journalism and the English Teacher” (Moe) 169 “Amateur Press Club, The” 124
“Amateur Standards” 124
“Ambition” 216
“American to Mother England, An” 70, 303
“American to the British Flag, An” 303
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“Americanism” 5
“Amissa Minerva” 5, 210
“Among the New-Comers” 216
“Ancient Sorceries” (Blackwood) 239
“Ancient Track, The” 5, 78, 210
Anderson, James 118, 205
Anderson, Sherwood 90
Andrews, Marshall
Angarola, Anthony 204
Angell, George Gammell
Angell, Thomas 6
Anger, William Frederick
“Anglo-Saxondom” 124
“Annals of the Jinns” (Barlow) 15
Annesley, Henry 94, 268
Apollonius Rhodius 134
Appleton, Lawrence 215
“Aquarium, The” (Jacobi) 130
“Argonauts, The” 133–34
Arkham
Armitage, Henry 7, 39, 79–80, 171, 227
Arney, Lance 167
Arrada, Capt. Manuel
“Arthur Jermyn.”
Asbury, Herbert
Asellius, Sex[tus]
“Ashes” (Lovecraft-Eddy)
Ashley, Mike 21, 294
“Ask Houdini” (Houdini) 116, 282
Aspinwall, Ernest B. 8, 266
“Astrology and the European War” (Hartmann) 8, 105
“Astrology and the Future” 8, 216
“Astrophobos” 9, 216, 292
“At Providence in 1918” (Kleiner) 138
Atal
Atlantis 261, 262
Atsma, Bert 12, 48, 240
Atwood, Professor
Austin, John Osborne 40
“Automatic Executioner, The” (Danziger) 62, 86
“Ave atque Vale” 112
“Ave atque Vale!” (Cole) 41
Aylesbury
“Azathoth”
Babbit, Mrs. C.H. 243
Babson, Eunice
“Background” 87, 241
Badger 30
Baird, Edwin
Baker, Albert A. 186
Balbutius, Cn[aeus]
Balderston, John L. 234
Baldwin, F[ranklin] Lee 7,
“Ballade of Patrick von Flynn;
or, The Hibernio-German-American England-Hater, Ye”
Baring-Could, S. 223, 243
Barlow, Robert H[ayward] 1, 12,
Barnum & Bailey circus 131
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Page 315
Barry, Denys
Barzai the Wise 13, 17, 71, 196
Bates, Harry [Hiram Gilmore] III
Batta
“Battle That Ended the Century, The” (Lovecraft-Barlow) 1, 15,
Bayboro
Beardson, W.E. 174
“Beast in the Cave, The”
Beaumont, Francis 3
“Beauties of Peace, The” 303
“Beauty in Crystal” 43
Beckford, William 13, 74, 186–87
Bedard, Marceline.
Beebe, Evanore 168, 175
Behrends, Steve 248, 290
Bell, Ian 112
“Bells, The” 127, 216
Bennett, George
Benson, Gordon R., Jr. 140, 171
Béraud, Henri 234
“Berenice” (Poe) 199, 207
Bergier, Jacques 177
Berkeley, Elizabeth.
“Beyond the Wall” (Bierce) 19
“Beyond the Wall of Sleep” 17,
“Beyond Zimbabwe” (Lovecraff-Barlow) 24
Bickerstaffe, Isaac, Jr. 8, 105, 215, 216
Bierce, Ambrose [Gwinnett]
“Biographical Notice” 192
“Bipeds of Bjhulhu, The” (Sterling) 252
Birch, A.G. 305
Birch, George
Birkhead, Edith 256
“Birthday Lines to Margfred Galbraham” 97
“Birthday of the Infanta, The” (Wilde) 198
Bishop, Jeremy 216
Bishop, Mamie
Bishop, Seth 20
Bishop, Silas 20
Bishop, Zealia Brown Reed
“Black, Dead Thing, The.”
“Black Noon” (Eddy) 84
“Black Stone, The” (Howard) 119
“Black Thirst” (Moore) 171
Blackmore, L.D. 75
Blackstone Military Band 176, 292
Blackwood, Algernon [Henry]
Blair, Alexander Ferguson 216
Blair, Hugh 224
Blake, Richard
Blake, Robert
Blanchard, Isaac 202
Blandot
Bleiler, E.F. 256
Blish, James
Bloch, Robert 21,
Blue Pencil Club 5, 35, 178, 213, 306
Boerem, R. 96, 208, 218
“Boiling Point, The” 1, 90
Bolingbroke, Henry St. John, Viscount 118, 138
“Bolshevism” 22, 304
Bolton
Bonner, Marion F.
“Book, The” (sonnet) 91
“Book, The” (story fragment)
“Books to mention in new weird article” 256
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Page 316
“Bookstall, The” 138
Bor, Dam
Borel, Pierre 23, 33
Borelli, Giovanni 23
Borellus
Boswell, James 225
“Bothon” (Whitehead) 300
“Bouts Rimés” (Lovecraft-Barlow) 15,
Bowen, Hannah
Boyle, Dr. E.M.
Bradofsky, Hyman 5,
“Brain in the Jar, The” (Searight-Hammerstrom) 232
Braithwaite, William Stanley 130
Brandon, Ruth 117
Brandt, C.A. 43
Brennan, Joseph Payne 83
Briden, William
“Brief Autobiography of an Inconsequential Scribbler, The” 5
Brinton, William
“Britannia Victura” 303
Brobst, Harry K[ern]
“Brotherhood” 217
Brown, David J. 199
Brown, Luther
Brown, Susan Jenkins 48
Brown, Walter
Brown brothers (John, Joseph, Nicholas, Moses) 32
Brown University 6, 16, 25, 27, 29, 39, 98, 99, 194, 227, 260
Brownlow, J.H. 218
Bruce, Malcolm 8,
“Bruise, The.”
“Brumalian Wish, A” 188
Bryant, Roger 24
Buchanan, Carl 178, 199, 262
Bulfinch, Thomas 133, 134
Bullen, John Ravenor 25, 124, 193, 218
“Bureau of Critics”
“Bureau of Critics Comment on Verse, Typography, Prose” 25
Burleson, Donald R. 5, 13, 43, 55, 80, 81, 96, 107, 168, 178, 187, 221, 253, 262, 265, 278, 283, 298
Burleson, Mollie L. 199, 224
Burns, Robert 268
Bush, David Van
Butman, Robert 139
“By Post from Providence” 138–39
“By the North Sea” (Swinburne) 78
Byfield, Bruce 144
Byrd, Richard E. 9, 10
C———, Antoine, Comte de 2,
Cabell, James Branch 194
Campbell, Ada P. 4, 63
Campbell, George
Campbell, Paul J[onas]
Campbell, Ramsey 54
“Canal, The” 96
Canevin, Gerald
Cannon, Peter 12, 30, 75, 81, 150, 152, 174, 207, 278
Carroll,———
Carter, Christopher
Carter, Lin 22, 53
Carter, Martha 31, 244
Carter, Randolph W. 8, 13,
Casey
“Cassius” (Whitehead) 300
Castro 28, 29,
“Cats, The” 210
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Page 317
“Cats and Dogs”
“Cats of Ulthar, The” 13,
Cave, Hugh B[amett]
“Caverns Measureless to Man” (Sterling) 45, 126, 252
“Celephaïs”
Cerasini, Marc A. 12, 120, 166
“Chairman of the Bureau of Critics Reports on Poetry” 25
“Challenge from Beyond, The” (Moore-Merritt-Lovecraft-Howard-Long) 30,
Chambers, Robert W[illiam]
Chandraputra, Swami 31,
Chaplin, Charlie 138, 269
Charging Buffalo
“Charm of Fine Woodwork, The” 43
Checkley, Dr. 33
“Chloris and Damon” 217
Choynski, Paul
“Christmas” 217
“Chuckler, The” (Wandrei) 289
“Cindy: Scrub Lady in a State Street Skyscraper” 138, 217
Cisco, Michael 23
“City, The”
“City of the Singing Flame, The” (Smith) 247
Clapham-Lee, Major Sir Eric Moreland, D.S.O.
Clarendon, Dr. Alfred Schuyler
Clarendon, Georgina 39, 58, 141–42
“Clarendon’s Last Test.”
Clark, Dr. Franklin Chase, M.D.
Clark, Lillian D[elora Phillips] 33, 39,
Clay, Ed
Clay, Walker 40
Clements, Nicholaus 144, 253
Cline, Leonard 235
Clore, Dan 96, 182, 188
“Clouds” 56
Coates, Walter J[ohn]
Cobb, Irvin S. 58, 224, 239, 256
Cockcroft, T.G. L. 167, 240
Cole, Edward H[arold] 26,
Cole, E[dward] Sherman 41
Cole, Helene Hoffman 41
Cole, Ira A[lbert]
Coleman, Stuart 176
Coleridge, Samuel Taylor 133
“Collapsing Cosmoses” (Lovecraft-Barlow) 15, 23,
Collins, Tom 152
“Colossus” (Wandrei) 289
“Colour out of Space, The” 6, 14, 22,
“Comment” 302
“Commercial Blurbs”
Commonplace Book 11, 28, 33, 36,
“Concerning the Conservative” 127
“Confession of Unfaith, A” 30,
Conger, Alice 147
Connors, Scott 207
Conover, Willis
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Page 318
“Conscript, The” 303
“‘Conservatism’ Gone Mad” (Morton) 172
“Consolidation’s Autopsy” 216
“Continuity” 85, 95
“Convention, The” 217
“Convention Banquet, The” 274
“Conversation of Eiros and Charmion, The” (Poe) 167
Cook, W[illiam] Paul 3, 25, 40, 45,
“Cool Air”
Corey, Benijah
Corey, George 25,
Corey, Wesley 48
Cornelius, B. 109
Coronado, Francisco Vasquez 173, 307
“Coronation of Mr. Thomas Shap, The” (Dunsany) 36
“Correspondence between R.H.Barlow and Wilson Shepherd” 241
Coryciani 170
“Count Magnus” (James) 34, 131, 256
Cox, Michael 131
Crafton Revision Service 172
Crane, Charles 195
Crane, [Harold] Hart
Crawford, F.Marion 289
Crawford, William L.
“Crawling Chaos, The” (Lovecraft-Jackson)
“Crime of the Century, The”
“Critics’ Farewell, The” (Lovecraft-Russell) 229
“Critics Submit First Report” 25
Crofts, Anna Helen
Crookes, Sir William 242
Crossman, Willis Tete.
Crowley, James Laurence 217
Cthulhu 27–30, 116, 131
Cthulhu Mythos xi,
“Cthulhu Mythos: Wondrous and Terrible, The” (Leiber) 144
“Curse of Yig, The” (Lovecraft-Bishop) 20, 44,
Curwen, Joseph 7, 31–32, 34,
Czanek, Joe
Daas, Edward F. 4,
Daemon of the Valley
“Dagon” 29, 46, 50,
“Damned Thing, The” (Bierce) 20, 80
“Damon—a Monody” 97, 217
“Damon and Delia, a Pastoral” 97, 217
Danforth,——— 10,
Danziger, Gustav Adolphe.
Darrow, Jack 126
Davenport, Eli
Davis, Dr. 58, 125
Davis, [Francis] Graeme
Davis, Dr. Nathaniel 61
Davis, Robert H. 223
Davis, Sonia H[aft Greene Lovecraft] 5, 36,
Davis, Walker and Audrey 44, 55,
Day, F.H. 102
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Page 319
“Dead Bookworm, The” 210, 216
“Dead Giveaway” (Shea) 240
“Deaf, Dumb, and Blind” (Lovecraft-Eddy) 18, 21,
“Death” (Hoag) 112
“Death” (Shepherd) 241
[Death Diary]
“Death Waters” (Long) 150
de Camp, Catherine Crook 120
de Camp, L. Sprague 66, 67, 74, 77, 120, 144, 151–52, 255
de Castro, Adolphe 20, 29, 35,
Dee, John 51, 151, 187
“Defense of Astrology, A” (Hartmann) 8, 105
“Defence Remains Open!, The” 123
“Defence Reopens!, The” 123
de la Mare, Walter [John] 33,
de la Poer, Gilbert 63
de la Poer, Walter 63
Delapore,———
Delapore, Alfred 63, 189
Delapore, Randolph 63
de la Ree, Gerry 61, 93
“Delavan’s Comet and Astrology” 8, 105, 216
Delrio, Antoine 115
“Demons of the Upper Air” (Leiber) 143
Dendle, Peter 94
“Department of Public Criticism” 4, 25,
Derby, Asenath (Waite).
Derby, Edward Pickman 14,
Derleth, August [William] 12, 16, 34, 35, 50, 52–54, 55, 61, 62,
d’Erlette, Comte 22
de Russy, Antoine
de Russy, Denis
de Russy, Marceline (Bedard) 65,
Descartes, René 248
“Descendant, The”
“Despair” 67, 207, 210
Desrochers,———
“De Triumpho Naturae” 134, 209
Dexter, Mercy
[Diary: 1925] 28,
“Diary of Alonzo Typer, The”
“Dignity of Journalism, The” 5, 70
DiGregorio, Michael 174
“Dim-Remembered Story, A” (Barlow) 15
“Disinterment, The” (Lovecraft-Rimel) 6,
“Distortion out of Space, The” (Weiss) 294
“Does Vulcan Exist?”
Dombrowski, Mr. and Mrs.
Donne, John 299
“Doom That Came to Sarnath, The” 17, 48,
Doré, Gustave 204
Douglas, Capt. J.B.
Dow, Johnny
Dowdell, William J. 4,
Dowe, Jennie E.T. 168
Doyle, Sir Arthur Conan 118, 132, 256
“Dr. Eugene B.Kunz” 140
“Dr. Whitlock’s Price” (Long) 150
Drake, H.B. 234, 264
“Dream, The” 217
“Dreams in the Witch House, The” 6, 38,
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Page 320
64, 67, 69, 75–77, 87, 101, 107, 127, 128, 140, 143, 162, 164, 264, 298, 302, 305 “Dreams of Yith” (Rimel) 227
Dreiser, Theodore 195
Drewer, Cecelia 253
“Drinking Song from ‘The Tomb’” 272
Drogman, Abdul Reis el
Dryden, John 209
Dudley, Jervas
Dunn, John T[homas] 15,
Dunsany, Lord 35, 52, 66, 60–70, 74, 75, 77–78, 90, 108, 131, 152, 170, 181–82, 191, 196, 197, 205, 207, 211, 220, 253, 255, 256, 262, 274, 277, 299, 304
Dunwich 5,
“Dunwich Horror, The” 5, 6, 7, 13, 20, 25, 39, 44, 46, 48, 50, 62, 78,
“Dweller in Martian Depths, The” (Smith) 1
Dwight, Frederick N.
Dwight, Walter C.
Dwyer, Bernard Austin 47,
Dyer, Faye (Eddy) 84
Dyer, William 9–10, 11, 58,
Dziemianowicz, Stefan 30, 102, 144
“East and West Harvard Conservatism” 26,
“East India Brick Row, The”
East Side Historical Club 176
Eckhardt, Jason C. 10, 12, 35, 206–7
Eddy, Clifford M[artin], Jr. 8, 18, 61–62,
Eddy, Muriel E[lizabeth] (Gammons)
Eddy, Ruth 84
“Edith Miniter” 168, 175
“Editorial”
“Editorial”
Edkins, Ernest A[rthur] 85, 146
“Eidolon, The”
Einstein, Albert 243
“Elder Pharos, The” 91
“Elder Thing, The” (Lumley) 159
“Electric Executioner, The” (Lovecraft-de Castro) 62,
“Elegy on Franklin Chase Clark, M.D.” 39
“Elegy on Phillips Gamwell, Esq.” 99
Eliot,———
Eliot, Matt
Eliot, T.S. 124, 210, 291–92
Elliot, Hugh 94
Elton, Basil
Elwood, Frank 76,
Emerson, Ralph Waldo 254
“End of the Jackson War, The” 229
“Epiphany of Death, The” (Smith) 247
Erford, F.Roy 164
Eshbach, Lloyd Arthur
“Ethel: Cashier in a Broad Street Buffet” (Kleiner) 138
Evans, William H. 16
“Evening Star” 95
Everts, R.Alain 46, 61, 62, 130, 153, 301
“Evil Clergyman, The” 81,
Ewers, Hanns Heinz 106
“Ex Oblivione”
“Expectancy” 96
“Extracts from H.P.Lovecraft’s Letters to G.W.Macauley” 161 “Eye Above the Mantel, The” (Long) 150
“Eye and the Finger, The” (Wandrei) 290
“Eyes of the God” (Barlow) 15
“Eyrie, The” 304
“Ex-Poet’s Reply” 217
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Page 321
“Faceless God, The” (Bloch) 270
“Facts Concerning the Late Arthur Jermyn and His Family”
Faig, Kenneth W., Jr. 15, 16, 91, 99, 108, 153, 155, 203, 204, 244, 245
“Falco Ossifracus: By Mr. Goodguile” (Miniter) 168
“Fall of Astrology, The” 8, 105
“Fall of the House of Usher, The” (Poe) 106, 207
“Falsity of Astrology, The” 8, 105
“Farewell to the Master” (Bates) 17
Farnese, Harold S. 53,
Farr, Fred
“Feast, The” 230
Feldon, Arthur 86,
“Felis: A Prose Poem” (Long) 150
Fenham 21,
Fenner, Matthew
Fenton, Dr.
“Festival”
“Festival, The” 87,
“Few Memories, A” (Morton) 173
“Final Words” 123
“Finale” 30
Finlay, Virgil [Warden] 45,
“Fire of Asshurbanipal, The” (Howard) 119
“Fishhead” (Cobb) 58, 239
Fiske,John 123, 243
Flagg, Francis.
Fletcher, John 3
“Florida” (Russell) 229
“For Official Editor—Anne Tillery Renshaw” 70, 225
“For What Does the United Stand?” 5,
Fort, Charles 289
Foster, Abel
“Four O’clock” (Greene) 59
“‘408 Groveland Street’” 246
Foxfield
“Fragment on Whitman” 123
“Fragments from the Journal of a Solitary Man” (Hawthorne) 107, 198
Fraser, Phyllis 81, 224
Fredlund, Arthur 232
Freeman, Mary E.Wilkins 256
French, Joseph Lewis 223
“From Beyond” 91,
“From the Sea” (Rimel) 227
Frome, Nils [Helmer] 95
Frye family
Fulwiler, William 58, 197, 199, 271, 272, 278
4–5
Gafford, Sam 112, 240
Gallomo 21, 98, 145, 169, 251, 283
Galpin, Alfred 3, 5, 45, 50, 59, 63, 64, 90,
Galpin, Alfred (Old Bugs)
Gamba
Gamwell, Annie E[meline] Phillips 6, 16, 29,
Gamwell, Marion Roby 98,
Gamwell, Phillips 98, 144, 273
Gardner family 99
Gardner, Merwin 42, 99
Gardner, Nabby 42, 99
Gardner, Nahum 41–42, 99, 182
Gardner, Thaddeus 42, 99
Gardner, Zenas 42, 99
Garland, Hamlin 109, 292
Garrett, Michael 30
Garth, Sir Samuel 216
“Gaudeamus” 272
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Page 322
Gautier, Théophile 282
Gayford, Norm 267
Gedney,——— 10,
“Gems from ‘In a Minor Key’” 127
Genie
“Germania—1918” 303
Gernsback, Hugo 43, 126
Gerritsen, Cornelia 34,
“Ghost-Eater, The” (Lovecraft-Eddy) 84,
Gibbon, Edward 225
Gibson, Walter 116
Gidlow, Elsa 124, 158
Gifford, Jonathan
Gilman, Charlotte Perkins 256
Gilman, Walter 38, 67, 75–76, 87,
Glendale 100,
Gll’-Hthaa-Ynn
Goldsmith, Oliver 225
“Gone—but Whither?” 132
Goodenough, Arthur [Henry]
German, Herbert 3, 239
“Grace” 124, 216
Grandison, Robert
“Graveyard Rats, The” (Kuttner) 140
“Great God Pan, The” (Machen) 80, 161
Great Meadow Country Clubhouse 176
“Great Stone Face, The” (Hawthorne) 107
Greene, Nathanael 203
Greene, Sonia H.
Grenander, M.E. 20
Gresham, Mr.
“Grewsome Tales.”
Grey Eagle, Chief
Griffin, Jane Whittington 120
“Gryphus in Asinum Mutatus” 210
Gubar, Susan 171
Guiney, Louise Imogen
“H.Lovecraft’s Attempted Journey…” 133, 209 “H.P.L.” (Smith) 247
“H.P.L.: A Remembrance” (Munn) 175
“H.P.L. in Red Hook” (Long) 151
“H.P.Lovecraft: A Biographical Sketch” (Baldwin) 15 “H.P.Lovecraft: A Pupil’s View” (Bishop) 20
“H.P.Lovecraft as I Knew Him” (Rimel) 227
“H.P.Lovecraft, Outsider” (Derleth) 54, 65
“H.P.Lovecraft: The House and the Shadows” (Shea) 240
“H.P.Lovecraft: The Making of a Literary Reputation, 1937–1971” (Derleth) 65 “H.P.Lovecraft the Man” (Price) 213
Haines, Mark
Hall, Desmond 18
Hall, James B. 178
“Hallowe’en in a Suburb”
Halsey, Allan
Halsey, Thomas Lloyd 33
Hamilton, Edmond 41, 126
Hamlet, Alice 77
Hammerstrom, Norman E. 232
Hammett, [Samuel] Dashiell
“Harbor-Master, The” (Chambers) 38, 239
“Harbour Whistles” 87, 96
Hardman, ’Squire
Harkins, Edwin D. 70
Harré, T[homas] Everett 30,
Harris, Abigail 104
Harris, Archer 104
Harris, Arthur
Harris, Carrington 104
Harris, Dutee 104
Harris, Elkanah 104
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Page 323
Harris, Peleg 104
Harris, Phoebe (Hetfield) 104
Harris, Rathbone 104
Harris, Rhoby (Dexter) 67, 104
Harris, Ruth 104
Harris, Welcome 104
Harris, William 24,
Harris, William, Jr., 104
Harris, Woodburn
Harrison, James A. 40
Hart, Bertrand K[elton] 29,
Hart, Lawrence 16
Hart, Mara Kirk 138
Hart, Philomela 105
Hartmann, J[oachim] F[riedrich] 8,
Hartwell, Dr.
Hasting, Consul.
Hastur 52, 53
Hathaway, Abbie E. 133
Haughton, Ida C. 210
“Haunted House, The” 132, 148
“Haunter of the Dark, The” 21, 22, 44, 93,
“Haverhill Convention, The” 246, 274
Hawthorne, Julian 28
Hawthorne, Nathaniel
Hayden, Ben
Hazel, Faye Ringel 243, 244
“He”
Heald, Hazel 76,
Hearn, Lafcadio 282
Heaton,———
Hecht, Ben 109, 292
“Helene Hoffman Cole: 1893–1919: The Club’s Tribute” 41, 129
“Helene Hoffman Cole—Litterateur” 41
Henley, Samuel 186
Henneberger, J[acob] C[lark] 14,
“Herbert West—Reanimator” 6, 22, 39, 103,
“Hermit, The” 133
Herrero, Esteban 111
Herrero, Mrs. 46,
Herron, Don 120
Hess, Clara 42, 154
Hill, Emma Jane Lovecraft 153
Hiram
“History of the
Hitz, John Kipling 223, 224
Hoadley, Abijah
Hoag, Jonathan E[than] 3,
“Hoard of the Wizard-Beast, The” (Lovecraft-Barlow) 15
Hobbes, Thomas 248
Hodgson, William Hope 21,
Hoffman, Charles 120
Hoffman, Helene E.
Holm, Axel
Holmes, Oliver Wendell 39, 102
Holt, Ebenezer
“Homecoming” 44, 91
“Homes and Shrines of Poe”
Hopkins, Stephen 32
“Horla, The” (Maupassant) 28, 80, 256
Hornig, Charles D[erwin] 90,
“Horror at Martin’s Beach, The” (Lovecraft-Greene) 59,
“Horror at Red Hook, The” 7, 34, 100,
“Horror in the Burying-Ground, The” (Lovecraft-Heald) 70, 109,
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Page 324
“Horseman in the Sky, A” (Bierce) 36
Horton, Thomas 48
Houdini, Harry (pseud, of Ehrich Weiss) 60, 77, 84, 109,
“Hound, The” 114,
“Hounds of Tindalos, The” (Long) 151
“House, The” 97,
“House of Sounds, The” (Shiel) 241
Houtain, George Julian 111,
“How Our State Police Have Spurred Their Way to Fame” (Van de Water) 19 Howard, Dr. I.M. 119
Howard, Robert E[rvin] 38, 52, 90,
“Howard Phillips Lovecraft” (Eddy) 84
“Howard Phillips Lovecraft” (Kleiner) 138
“Howard Phillips Lovecraft” (Loveman) 158
“Howard Phillips Lovecraft: The Sage of Providence” (Moe) 170
“Howard Phillips Lovecraft as His Wife Remembers Him” (Davis) 61
Humphreys, Brian 189, 221
“Hunters from Beyond, The” (Smith) 247
Hutchins family
Hutchinson, Edward
Huxley, Thomas Henry 206
Huysmans, Joris-Karl 118, 244
Hyde
“Hylas and Myrrha: A Tale” 97, 215
“Hypnos”
“Ibid”
“Idealism and Materialism—A Reflection”
“Idiosyncrasies of HPL” (Edkins) 85
“Idle Days on the Yann” (Dunsany) 35, 70, 299
“Iliad, The” 133
Impartial, El 216
“Impartial Spectator, An” 229
“Imprisoned with the Pharaohs.”
“In a Major Key”
“In a Sequester’d Providence Churchyard Where Once Poe Walk’d” 45,
“In Memoriam: Henry St. Clair Whitehead” 300, 301
“In Memoriam: J.E.T.D.” 168, 216
“In Memoriam: Robert Ervin Howard” 120,
“In the Editor’s Study” 45,
“In the Vault” 17, 20, 58, 92, 125, 184, 205, 230, 246, 293, 305 “In the Walls of Eryx” (Lovecraft-Sterling) 1, 81,
Innsmouth 78,
“Insomnia” (Jackson) 130, 218
“Inspiration” 217
“Instructions in Case of Decease” 16, 98
“Interview with E.Hoffman Price, An” (Anger-Smith) 6 “Interview with Harry K.Brobst, An” 25
“Introducing Mr. Chester Pierce Munroe” 176
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Page 325
“Invisible Monster, The.”
Iranon
Isaacson, Charles D[avid] 46, 123,
Iwanicki, Father
Jack
Jackson, Fred 2, 144, 258
Jackson, Henry
Jackson, Horace 130
Jackson, Winifred Virginia 13, 45, 49, 50, 101–2,
James, M[ontague] R[hodes] 34,
“January” 216
Jarocha-Ernst, Chris xi, 55
Jermyn, Arthur 89,
Jermyn, Nevil 131
Jermyn, Sir Philip 131
Jermyn, Sir Robert 89, 131
Jermyn, Sir Wade 89, 90, 131
“Jewels of Charlotte, The” (Rimel) 227
Johansen, Gustav 28,
“John Oldham: 1653–1683” (Kleiner) 138
“John Oldham: A Defence” 138
“John, the Detective” 132, 180
Johnson, Dr. Richard H.
Johnson, Samuel 225
Jones, Algernon Reginald
Jones, Dr.
Jones, John J. 216
Jones, Stephen 116,
Jordan, Steven J. 16
Jordan, Winifred Virginia.
Joshi, S.T. xi, 12, 16, 21, 22, 23, 34, 38, 45, 55, 66, 75, 77, 78, 90, 94, 108, 140, 144, 147, 152, 174, 207, 211, 212, 218, 224, 236, 253, 255, 265, 268, 278, 290, 294
Joyce, James 194
Junzt, Friedrich Wilhelm von 119–20, 280
Juvenile works: Fiction
Juvenile works: Poetry
Juvenile works: Science
KalemClub
Kay, James 176
Keffer, Willametta 218
Keil, Paul Livingston 194
Keller, David H. 154
Ketterer, David 22
Kimball, Gertrude Selwyn 33
Kingsport
Kipling, Rudyard 49, 256
Kirk, George Willard 20, 47, 67, 136,
Kleicomolo 41, 138, 145, 169
“Kleicomolo, The” (Kleiner) 138, 145
Klein, T.E.D. 78, 290
Kleiner, Rheinhart 3, 5, 26, 41, 43, 45, 59, 63, 67, 85, 112, 114, 118, 124, 136, 137,
Klenze, Lieutenant
Knockout Bemie 17, 81,
Koenig, H[erman] C[harles] 1, 112,
Kranon
Kuntz, Eugene B[asil]
Kuranes 36, 71, 72,
Kuttner, Henry 53, 123,
Lactantius 33, 93
Ladd Observatory 227
“Laeta; a Lament” 210, 217
“Lair of the Star-Spawn” (Derleth-Schorer) 64 Lake,——— 9, 10, 31, 99,
“Lament for H.P.L.” (Galpin) 98
Laney, Francis T. 16, 53, 227
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Page 326
Lang, Andrew 154
Langland, Joseph 178
Lansinger, J.M. 109, 292
Larson, Randall 22
“Last Incantation, The” (Smith) 247
“Last Pagan Speaks, The.”
“Last Test, The” (Lovecraft-de Castro) 39, 58, 62, 86, 132,
Lawson, Horace L. 286–87
Lawton, Captain George E.
Lazare, Edward
“League, The” 124, 304
Leavitt, Robert
Leeds, Arthur 43, 136,
Legrasse, John Raymond 6, 27, 28,
Leiber, Fritz [Reuter] 76–77, 139,
Leinster, Murray 37
Lemon, Don Mark 292
Leonard, Sterling 193
Letters, Lovecraft’s
Lewis, Thomas S.W. 48
Libo, P[ublius] Scribonius 14,
Liddeason, Eli
“Life and Death” 88,
“Life for Humanity’s Sake”
“Ligeia” (Poe) 271
Lillibridge, Edwin M.
“Lines on Graudation from the R.I. Hospital’s School of Nurses” 77
“Link, The” 303
Lippi, Giuseppe 75
“List of certain basic underlying horrors effectively used in weird fiction, A” 190
“List of primary ideas motivating possible weird tales” 190
“Listeners, The” (de la Mare) 63
“Literary Copernicus, A” (Leiber) 144
“Literary Persons Meet in Guilford” 101
Little, Myrta Alice
“Little Glass Bottle, The” 132,
“Little Journeys to the Homes of Prominent Amateurs” 150, 216
“Little Journeys to the Homes of Prominent Amateurs” (Lockhart) 150
Littlewit, Humphry 216, 225
“Living Heritage: Roman Architecture in Today’s America, A”
Lloyd, John Uri 74
Lockhart, Andrew F[rancis] 85,
London, Jack 19
[London]
Long, Frank Belknap, Jr. 5, 11, 13, 15, 17, 18, 20, 38, 51, 64, 67, 104, 110, 114, 136, 139, 145, 146, 150–52, 153, 157, 161, 166, 167, 171, 173, 174, 187, 188, 218, 224, 231, 243, 250, 255, 257, 265, 269, 270, 275, 284, 286, 289, 297
“Looking Backward” 4, 85,
Lord, Glenn 120
“Lord Dunsany and His Work” 78,
“Lord of Illusion, The” (Price) 213, 266– 67
Loucks, Donovan K. 93
Love, Dr. 47, 175
Lovecraft family
Lovecraft, George 153, 155
Lovecraft, Joseph S. 153
Lovecraft, Mary Fulford 153
Lovecraft, Sarah Susan Phillips 40, 67, 84, 98, 102, 145, 149,
Lovecraft, Winfield Scott 153–54,
“Lovecraft—an Appreciation” (Goodenough) 101
“Lovecraft and Benefit Street” (Walter) 289
“Lovecraft and Science” (Sterling) 252
“Lovecraft as a Conversationalist” (Loveman) 158
“Lovecraft as an Illustrator” (Baldwin) 15
“Lovecraft as I Knew Him” (Davis) 61
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Page 327
“Lovecraft, My Childhood Friend” (Munro) 176
“Lovecraft Offers Verse Criticism” 25
“Lovecraft’s First Book” (Crawford) 49
“Loved Dead, The” (Lovecraft-Eddy) 18, 47, 84, 91, 102, 125,
Lovett-Graff, Bennett 90, 160, 240
Lowell, James Russell 206–7
Lowell, Percival 200, 298
Lowndes, Robert A[ugustine] W[ard]
Lowrey, Perrin Holmes 218
Lubbock, S.G. 131
“Lucubrations Lovecraftian” 5, 15,
Lumley, Brian 54
Lumley, William 67–68, 126,
“Lurking Fear, The” 19, 100–101, 112, 119,
Luveh-Keraph 22
Lyman, Dr.
Mabbott, T.O. 208, 210
Macauley, George W[illiam]
MacDonald, George 74
Machen, Arthur [Llewellyn Jones] 28– 29, 42, 47, 52, 66, 78, 80, 93, 131, 150,
Mackenzie, Robert B.F. 24,
Macleod, Fiona (pseud, of William Sharp) 223
MacLoughlin, E.Dorothy 119
Mainwaring, Arthur 216
Malkowski, Dr.
Malone, Thomas F. 34, 114–15,
“Man of Stone, The” (Lovecraft-Heald) 107, 109, 129,
“Man Who Came at Midnight, The” (Eddy) 84
“Man Who Was Lovecraft, The” (Price) 213, 266, 267
Manly, Jack
Manning, James 32
Manton,Joel
“Map of the Principal Parts of Arkham, Massachusetts” 6
Marcia
Mariani, Paul 48
Mariconda, Steven J. 5, 12, 30, 43, 48, 55, 107, 118, 121, 223, 224, 279, 297, 298 Marigny, Etienne-Laurent de
Marsh, Barnabas (Old Man) 3,
Marsh, Frank 65–66,
Marsh, Obed 86, 163, 194, 219, 237
Marsh, Onesiphorus 163
“Marsh-Mad: A Nightmare” (Galpin) 97, 278
Marten, Robert D. 6, 7, 22, 111, 206, 207
Martense, Gerrit 159, 163
Martense, Jan 100–101, 159,
Mason, Keziah 75–76, 101, 128,
“Masque of the Red Death, The” (Poe) 199, 207 “Materialist Today, The” 40,
Mather, Cotton 23, 33, 93, 284
Mathews, Martha Helen 202
“Matter of Uniteds, A” 5,
Matthews, Brander 245
Maupassant, Guy de 28, 80
Mauran, William Lippitt 33
Mauvais, Michel 2, 27,
Maxwell, Victoria Clarissa 99
“May Skies” 208
Mayfair 100, 196
Maynwaring, Archibald 216
Mazurewicz, Joe 128,
McColl, Gavin T. 69
McCrosson, Diana Ross 63
McDonald, Philip B. 124
McDougall, William 248
McGavack, Henry Clapham 45
McGeoch, Verna 218
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Page 328
McGrath, Patrick 157
McIlwraith, Dorothy 305
McKeag, Ernest Lionel 179
McNamara, M.Eileen 34, 154
McNeil, [Henry] Everett 136, 143, 146,
McNeill, Dr. 55,
McTighe,———
McWilliams, Carey 20
“Medusa’s Coil” (Lovecraft-Bishop) 20, 65–66, 163,
Mellon, Mary Louise Lovecraft 153
“Memoir of Lovecraft, A” (Kleiner) 138
“Memories of a Friendship” (Galpin) 98
“Memories of Lovecraft: I” (Davis) 61
“Memories of Lovecraft: II” (Sully) 255
“Memory” 57, 99,
Menes 35,
Merritt, A[braham] 16, 29, 37,
Merritt, John 31, 33
“Messenger,
“Metrical Regularity” 225
“Metrical Regularity, or, Broken Metre” (Russell) 229
Mevana
Meyrink, Gustav 256
Michaud, Marc A. 290, 294
Middleton, Lilian 287
Migliore, Andrew xi
Miller, Sgt. Hayes P. 287
Miller, William 21–22, 95
Miller, Wesley P.
“Million Years After, A” (Roof) 11
Mills, Roswell George 124
Miniter, Edith [May Dowe] 78, 80,
“Mirage” 91
“Miscellaneous Impressions of H.P.L.” (Bonner) 23
“Mississippi Autumn, A” 209
“Mive” (Jacobi) 130
Mladdna
“Modern Mythological Fiction” (Butman) 139
Moe, Donald 169
Moe, Maurice W[inter] 3, 5, 41, 97, 98, 122–23, 138, 144, 145, 149, 163,
Moe, Robert 169, 170, 276
Moffett, Harold Y. 193
Moitoret, Anthony F. 70
“Monody on the Late King Alcohol” 212, 217
“Monster-God of Mamurth, The” (Hamilton) 126
Montelone, Paul 88, 199, 224, 236, 300
“Moon-Bog, The” 17,
“Moon Pool, The” (Merritt) 29, 167
Moore, C[atherine] L[ucile] 16, 37, 134, 140, 146, 167,
Moore, Dr. Henry Sargent
Mooser, Clare 16
“More
Morehouse, Dr. Arlo
Morgan, Dr. Francis
Morris, Daniel (“Mad Dan”) 162,
Morris, Rose 162, 171
Morris, Roy, Jr. 20
“Mors Omnibus Communis” (Lovecraft-Greene) 59
Morse, A.Reynolds 241
Morse, Richard Ely
Morton, James Ferdinand, Jr. 5, 29, 46, 50, 59, 112, 114, 127, 128, 136, 145, 146, 165,
Morton, Thomas 272
Mosig, Dirk W. 39, 54, 107, 199, 208, 240, 300
Moskowitz, Sam 43, 95, 112, 167
“Mother Earth” 56
Moulton,———
“Mound, The” (Lovecraft-Bishop) 20, 38, 40, 44, 52, 101, 102, 109, 142, 166,
“Mrs. Miniter—Estimates and Recollections” 68,
“MS. Found in a Bottle” (Poe) 149
Müller,———
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Page 329
Munn, H[arold] Warner 78, 80, 175
Muñoz, Dr. 46–47, 111,
Munro, Harold W. 176
Munroe, Arthur 159, 160,
Munroe, Chester Pierce 160,
Munroe, Harold Bateman 160,
“Murders in the Rue Morgue, The” (Poe) 18
Murray, Margaret A. 93
Murray, Will 6, 7, 12, 13, 17, 43, 48, 54, 55, 58, 69, 77, 81, 94, 191, 205, 206, 236, 238, 240, 272, 279
“Music of Erich Zann, The” 21, 103,
Musides 137, 178, 277, 278
Mwanu
“My Correspondence with Lovecraft” (Leiber) 144
“My Favourite Character”
“Myrrha and Strephon” 97, 215
“Mysteries of the Heavens Revealed by Astronomy” 176,
“Mysterious Ship, The” 132,
“Mystery of Murdon Grange, The”
“Mystery of the Grave-Yard, The” 132,
“Nameless City, The” 17, 181–82, 185, 186, 241, 257, 303
Narrators, Unidentified
“Nathicana” 98,
“Nemesis” 97,
“New Department Proposed: Instruction for the Recruit” 216
“New England” 229
“New-England Fallen” 209, 254
“News Notes” 169,
Ni, Hak 41,
Nietzsche, Friedrich 97, 188, 248
“Nietzsche as a Practical Prophet” (Galpin) 97
“Nietzscheism and Realism” 59,
“Night-Gaunts” 203
“Night Ocean, The” (Lovecraft-Barlow) 16, 185,
“Nightmare Lake, The”
“1914” 104, 303
Nith 189
“Noble Eavesdropper, The” 132
Norrys, Capt. Edward 63,
“North and South Britons” 216
Northam, Lord 66,
“Note on Howard P.Lovecraft’s Verse, A” (Kleiner) 138, 210
Notes on Weird Fiction 44,
“Notes on Writing a Story” 227
“Notes on Writing Weird Fiction”
Nyarlathotep 2, 49, 53, 71, 73, 185, 191, 297, 298 “Nyarlathotep” 49, 95, 157, 185,
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Page 330
“Nymph’s Reply to the Modern Business Man, The” 217
Oakes, David A. 13
O’Brien, Edward J[oseph Harrington]
O’Brien, Fitz-James 80
O’Brien, “Kid”
“Observations on Several Parts of America” 169,
“Ocean Leech, The” (Long) 150
“Oceanus” 56
“October” 216
“Ode for July Fourth, 1917” 303
“Ode to Selene or Diana” 133, 217
“Of Gold and Sawdust” (Loveman) 158
“Ol’ Black Sarah” (Dwyer) 81
Old Bugs.
“Old Bugs” 98,
“Old Christmas”
“Old England and the ‘Hyphen’”
Olmstead, Robert 3, 186,
Olson, D.H. 290
“Omnipresent Philistine, The”
“On a Battlefield in Picardy” 303
“On a Grecian Colonnade in a Park” 216
“On a Modern Lothario” 209
“On a New-England Village Seen by Moonlight” 254–55 “On a Poet’s Ninety-second Birthday” 217
“On Collaboration” (Lovecraft-Kleiner) 138
“On Receiving a Picture of Swans” 209
“On Receiving a Portraiture of Mrs. Berkeley, ye Poetess” 129 “On Religion” 216
“On the Cowboys of the West” 41
“On the Creation of Niggers” 209
“On the Death of a Rhyming Critic” 210
“On the Return of Maurice Winter Moe, Esq….” 169, 217 “On the Ruin of Rome” 133
“On the Vanity of Human Ambition” 133
Onderdonk, Matthew H. 54
“One of Cleopatra’s Nights” (Gautier) 282
O’Neail, N.J. 52
“Only a Volunteer” (Miller) 287
“Ooze” (Rud) 80
Orabona
O’Reilly, Michael Ormonde 216
Orne, Benjamin
Orne, Eliza 195
Orne, Capt. James P.
Orne, Simon/Jedediah
Orton, [Kenneth] Vrest [Teachout] 136, 192,
Osborn, Joe
“Other Gods, The” 17, 75, 77, 91, 121,
Oukranikov, Vasili 100,
“Our Apology to E.M.W.” (Russell) 229
“Our Friend, the Conservative” (Renshaw) 226
“Out of the Æons” (Lovecraft-Heald) 38, 109, 131, 163,
“Outsider, The” 69, 107, 185,
“Oval Portrait, The” (Poe) 205
Ovid 133, 210, 216
“Ovid’s Metamorphoses” 133
Owens, J.C. 207
Owings, Mark 188
Pabodie, Frank H. 9,
“Pacifist War Song” 217, 303
Page, Brett 117
Paget-Lowe, Henry 50, 208, 216
Pain, Barry 264
Parente, Audrey 36
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Page 331
Parker, Rowland 78
Parnell, Frank H. 294
“Pastorale” (Crane) 48
Pattee, Fred Lewis 256
Peabody, E.Lapham
“Peace Advocate, The” 130, 215, 283, 303
Peaslee, Alice (Keezar) 201, 233
Peaslee, Hannah 201
Peaslee, Nathaniel Wingate 24, 39, 82, 162,
Peaslee, Wingate 201, 202, 233
“Pendrifter, The” (Crane) 195, 297
“Pensive Swain, The” 216
“Personality in Clocks” 43
“Perverted Poesie or Modern Metre” 161, 216
Petaja, Emil
Pfaff, Richard William 131
“Phantom Farmhouse, The” (Quinn) 221
Phillips, Asaph 202
Phillips, Edwin E[verett] 154,
Phillips, Emeline Estella 203
Phillips, Emma (Corey) 244
Phillips, Esther 202
Phillips family
Phillips, George 202
Phillips, Henry Byron 202
Phillips, James 203
Phillips, James Wheaton 154,
Phillips, Jeremiah 202, 203
Phillips, Michael 202
Phillips, Robie Alzada 40, 98, 99, 153, 202,
Phillips, Robie (Rathbun) 202, 203
Phillips, Walter Herbert 244
Phillips, Ward 88, 179, 186,
Phillips, Whipple Van Buren 8, 40, 98, 99, 145, 153, 154, 200, 202,
Pickford, Mary 138, 269
Pickman, Richard Upton 71–72,
“Pickman’s Model” 74, 86, 125, 133,
“Picture in the House, The” 6, 107, 111, 113, 123, 185, 192,
Pierce, Mehitabel 148
Pigafetta, Filippo 113
“Pigeon-Flyers, The” 165
Place, Benejah 244
“Plan of Foxfield—for possible fictional use” 94
“Plaster-All” 48, 292
“Plea for Lovecraft, A” (Cook) 46
Poe, Edgar Allan 12, 18, 40, 47, 52, 62, 85, 90, 104, 106, 113, 118, 123, 140, 149, 167, 190, 198– 99, 205,
“Poe-et’s Nightmare, The”
“Poem of Ulysses, The” 133
“Poetry and the Gods” (Lovecraft-Crofts) 50, 163,
Poetry, Lovecraft’s
“Poetry of John Ravenor Bullen, The” 25
“Poets of Amateur Journalism” (White) 157
“Poet’s Rash Excuse, The” 217
“Polaris” 3, 17, 97, 169, 185,
Pope, Alexander 133, 209, 218, 292
Popkins, George 84
Potter, Welcome 268
“Port, The” 127
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Powell, Chris 63
“Power of Wine: A Satire, The”
Pratt, Dr.
Prescott, William H. 272
“President’s Message”
“President’s Message”
Price, E[dgar] Hoffmann 6, 115, 124, 126, 146, 163,
Price, Robert M. 11–12, 22, 24, 30, 43, 54, 55, 65, 78, 81, 115, 120, 140, 178, 187, 188, 196, 199, 208, 236, 245, 252, 266–67, 276, 279, 298, 301
“Primavera” 210,
Prinn, Ludvig 22
“Probable Adventure of the Three Literary Men, The” (Dunsany) 182, 262
“Professional Incubus, The”
“Proposed Author’s Union, The” 124
“Providence”
Providence Amateur Press Club 4, 41, 77, 145
Providence Astronomical Society 176
Providence Detective Agency 176
[Providence]
[Providence]
[Providence]
[Providence]
“Providence in 2000 A.D.” 209,
[Providence]
[Providence]
[Providence]
Pryor, John Clinton 158
Pseudonyms, Lovecraft’s
“Pseudo-United, The” 164
“Psychopompos: A Tale in Rhyme” 130, 210,
Pth’thya-l’hi 194,
Purdy, Marjorie 8,
“Quest of Iranon, The” 77, 87, 127,
228 Quinn, Seabury [Grandin] 212,
260
Ralegh, Sir Walter 217
Raleigh, Richard 217
Ramsey, Shawn 140
“Random Memories of H.P.L.” (Long) 151
“Rats in the Walls, The” 24, 63, 119, 160, 189–90, 207,
“Real Colonial Heritage, A” 43
“Recapture” 16, 95
“Recollections of H.P.Lovecraft” (Orton) 195
“Red Brain, The” (Wandrei) 30, 289
“Regner Lodbrog’s Epicedium” 187,
Reid, Dr.
“Remarkable Document, A” 124
“Reminiscence of Dr. Samuel Johnson, A” 149, 216,
Renshaw, Anne (Vyne) Tillery 26, 45, 137, 145,
“Report of Bureau of Critics” 25
“Return, The” 246
“Return of Hastur, The” (Derleth) 52, 65
“Return of the Undead, The” (Leeds) 143
“Revelation”
“Revolutionary Mythology” 124
Reynolds, B.M. 106
Rhan-Tegoth 116
Rhoades, James 286
Rice, Professor Warren 171,
Richardson, Leon Burr 195
Rickard, Dennis 290
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Rimel, Duane W[eldon] 14, 30, 68–69, 146, 202,
“Robert Ervin Howard: 1906–1936” 120, 124, 302
Robinson, Buck 110, 192,
Roerich, Nicholai 11
Rogers, George 116, 132, 194,
Romero, Juan 186,
Romnod 127, 220,
Ronan, Margaret.
Roof, Katharine Metcalf 11
Roosevelt, Franklin Delano 249
Ropes,———
“Rose of England, The” 303
Roulet, Etienne
Roulet, Jacques 228, 242, 243
Rowley, Ames Dorrance 179, 217
Ruber, Peter 250
Rud, Anthony M. 80
“Rudis Indigestaque Moles” 124, 291
Rufus, L[ucius] Caelius
“Rursus Adsumus” 124
Russell, John
Russell, W.Clark 132
“Rutted Road, The” 210, 217
“Sacrifice to Science, A” (Danziger) 62, 142
“Sage of College Street, The” (Price) 213
“Salem Horror, The” (Kuttner) 140
Samples, John Milton 302
Sampson, Robert 30
Sandusky, Albert A. 45, 169,
Sargent, Joe
Sargent, Moses and Abigail
“Satan’s Servants” (Bloch) 22
Sawyer, Asaph 125,
Sawyer, Chauncey 231
Sawyer, Earl
Sawyer, Sally 231
Scarborough, Dorothy 256
Schmidt,———
Schopenhauer, Arthur 188, 246
Schorer, Mark 64
Schultz, David E. 22, 54, 55, 77, 91, 96, 123, 140, 147, 156, 279 Schwartz, Julius 12, 37, 182,
Schweitzer, Darrell 78, 236, 298
“Science of Astrology, The” (Hartmann) 8, 105
“Science versus Charlatanry” 8, 105
Scott, Winfield Townley 61, 96, 168, 210, 211
Scott-Elliott, W. 29
“Sealed Casket, The” (Searight) 232
Searight, Franklyn 232
Searight, Richard F[ranklyn] 146,
Searles, A.Langley 300, 301
Sechrist, Edward Lloyd 197, 225,
“Second Night Out” (Long) 151
“Secret Cave, or John Lees Adventure, The” 132,
“Secret of the Grave, The” 132
Seeger, Alan 303, 304
“Senenaio-Phantasma” (Galpin) 97, 188
Selley, April 34
Serviss, Garrett P. 19
Setiya, K. 205
“Shadow from the Steeple, The” (Bloch) 22
“Shadow Kingdom, The” (Howard) 119
“Shadow out of Time, The” 6, 9, 15, 24, 38, 39, 44, 48, 64, 82, 106, 112, 119, 162, 168, 201, 202, 232, 233–36, 245, 264, 279, 301, 304
“Shadow over Innsmouth, The” 3, 6, 34, 38, 48, 58, 64, 86, 112, 127, 128, 137, 160, 163, 186, 194, 195, 201, 219, 230, 237–40, 269, 276, 277, 284, 288, 293, 294, 305
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“Shambleau” (Moore) 171
“Shambler from the Stars, The” (Bloch) 22, 106
Shea, J[oseph] Vemon 198,
Shearer, Ronald 77
Shelley, Mary 111, 198
Shepherd, Mrs. 25
Shepherd,Wilson 111, 146, 182,
Sheridan, Richard Brinsley 272
Sherman,———
Shiel, M[atthew] P[hipps] 10,
“Shunned House, The” 14, 24, 39, 40, 46, 67, 104, 107, 115, 119, 148, 186, 228,
“Shuttered Room, The” (Derleth) 54
“Side Glances” (Baldwin) 14
“Sideshow, The” (Hart) 104–5, 168
Sidney-Fryer, Donald 248
“Sign of the Dragon” (Eddy) 83
“Silence—a Fable” (Poe) 167
Silva, Manuel
“Silver Key, The” 8, 31, 48, 77, 137, 186, 190, 192, 203, 213,
Sime, Sidney 204
Simes 68,
Simple, Percy 257
“Simple Speller’s Tale, The”
“Simple Spelling Mania, The” 245
“Sin-Eater, The” (Macleod) 223
Single,———
“Sir Thomas Tryout” 216–17
“Skull-Face” (Howard) 52
Slader, Peter 245
Slater (Slaader), Joe 19, 182,
Slauenwite, Dr. Thomas 17, 98, 168, 171,
“Slaying of the Monster, The” (Lovecraft-Barlow) 15
“Sleepy Hollow To-day” 193
Sleght, Adriaen
“Smile, The” 225
Smisor, George T. 16, 189
Smith, Charles W. 84, 125, 152,
Smith, Clark Ashton 1, 16, 20, 24, 43, 51–52, 64, 87, 90, 91, 95, 98, 118, 137, 145, 146, 156, 160, 188, 210, 227, 232, 235,
Smith, E.E. “Doc” 37, 41
Smith, Eleazar
Smith, Mrs. J.G. 225
Smith, Louis C. 6
Smith, Preserved
Smith, R.Dixon 130
Smith, Simeon 271
Smith, T.R. 269
Smith, William Benjamin 134
Softly, Edward 217
“Some Causes of Self-Immolation” 217,
“Some Current Amateur Verse” 25
“Some Dutch Footprints in New England”
“Some Lovecraft Sidelights” (Baldwin) 15
“Some Notes on a Nonentity” 78
“Some Notes on Interplanetary Fiction” 48,
“Something about Cats.”
“Sonnet Study” 170
Sophonisba 165,
Sorcier, Charles Le 2, 27, 164,
“Space-Eaters, The” (Long) 51, 151, 187 Spengler, Oswald 11
“Spider, The” (Ewers) 106
Spink, Helm C. 26
Sprague, Sophie 115, 249
Sprague, Tom 70, 115, 212,
Squires, John D. 241
Squires, Richard D. 153, 155
St. Armand, Barton L. 24, 34, 224, 292 St. John,——— 117–18, 184,
Stanfield, Kenton, J. 81, 126, 168,
Stapledon, Olaf 235, 249
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Starrett, [Charles] Vincent
“Statement of Randolph Carter, The” 31, 62, 157, 187, 191, 245, 247,
Sterling, George 156, 246, 265
Sterling, Kenneth J. 1, 45, 126–27, 250,
Stevens, Francis 217
Stevenson, Robert Louis 271
Stof, Oll 41,
Stoker, Bram 168
“Strange High House in the Mist, The” 77, 137, 194, 212,
“Stranger from Kurdistan, The” (Price) 115, 212
Strauch, Carl Ferdinand 24,
“Street, The”
Strysik, John xi, 178
Stubbs, Ermengarde 103, 132, 163,
Stubbs, Hiram 103, 255, 257–58
“Suicide, The” (Edkins) 85
“Suggestions for a Reading Guide” 226
“Suggestions for writing weird story…” 190
Sullivan, Jack 131
Sully, Genevieve 255
Sully, Helen V.
“Supernatural Horror in Literature” 20, 21, 28, 33, 38, 45, 46, 63, 64, 70, 78, 91, 106, 107, 113, 131, 156, 187, 189, 202, 205, 207–8, 250,
Surama 39, 141–42,
Suydam, Robert 34, 100, 114, 162,
Swanson, Carl 182,
“Sweet Ermengarde; or, The Heart of a Country Girl” 103, 132, 149, 163, 255,
Swinburne, Algernon Charles 78, 188
Sylvester, Margaret
Symmes, Mrs. William B. 151
“Symphonic Ideal, The” 124
“Symphony and Stress” 225
Symphony Literary Service 26, 145, 225
“Systematic Instruction in the United” 225
‘Tale of Satampra Zeiros, The” (Smith) 51–52, 247
“Tales of the Werewolf Clan” (Munn) 175
Talman, Wilfred Blanch 5, 136, 146, 221, 249,
“Task for Amateur Journalists, A” 161
Tchernevsky, Count Feodor 100,
“Temperance Song” 212
“Temple, The” 3, 139, 175, 231, 240,
Terrible Old Man, The 252, 253,
“Terrible Old Man, The” 56, 137, 227, 244, 246,
“Terror from the Depths, The” (Leiber) 143
Tesla, Nicola 191
“Teuton’s Battle-Song, The” 224
Theobald, Lewis 218
Theobald, Lewis, Jun. 49, 101, 129, 179, 217–18, 248
Theunis, Constantin
“Thing on the Doorstep, The” 6, 14, 44, 64, 88, 93, 127, 137, 154, 230, 234,
Thompson, C.Hall 54, 65
Thomson, Christine Campbell 7, 205, 224
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Page 336
Thorfinnssen, Georg
Thorndike, Henry 115, 212, 249, 266
Thornton,———
“Three Hours with H.P.Lovecraft” (Walter) 289
“Through the Gates of the Silver Key” (Lovecraft-Price) 6, 8, 31, 38, 137, 163, 186, 203, 213, 217, 245, 251,
Thurber,——— 204–5,
Thurston, Francis Wayland 27–28, 29, 131,
Tierney, Richard L. 53, 54
“‘Till A’ the Seas’” (Lovecraft-Barlow) 15,
Tillinghast, Ann 32,
Tillinghast, Crawford 94, 183–84,
Tillinghast, Dutee
Tillinghast, Eliza 32, 56, 268, 292
Tilton, Anna
“Tin Roof, The” (Shea) 240
Tinknor, Caroline 223
T’la-yub
“To a Dreamer”
“To a Movie Star” (Kleiner) 138, 269
“To a Sophisticated Young Gentleman, Presented by His Grandfather with a Volume of Contemporary Literature”
“To a Youth” 97, 217
“To Alan Seeger” 303
“To Alfred Galpin, Esq.” 97, 217
“To Arkham and the Stars” (Leiber) 143–44
“To Arthur Goodenough, Esq.” 101
“To Charlie of the Comics” 138,
“To Clark Ashton Smith, Esq., upon His Phantastick Tales, Verses, Pictures, and Sculptures”
“To Delia, Avoiding Damon” 97, 217
“To Endymion” 150, 217
“To General Villa” 209
“To George Kirk, Esq….” 137
“To George Willard Kirk, Gent….” 137
“To Howard Phillips Lovecraft” (Smith) 247
“To Howard Phillips Lovecraft” (Weiss) 294
“To J.E.Hoag, Esq….” 217
“To Klarkash-Ton, Lord of Averoigne.”
“To M.W.M.” 169
“To Maj.-Gen. Omar Bundy, U.S.A.” 217
“To Mary of the Movies” (Kleiner) 138, 269
“To Mistress Sophia Simple, Queen of the Cinema” 138, 217, 269
“To Mr. Finlay, upon His Drawing for Mr. Bloch’s Tale, ‘The Faceless God’” 93,
“To Mr. Hoag, on His Ninetieth Birthday” 217
“To Mr. Lockhart, on His Poetry” 150
“To Mr. Theobald” (Loveman) 157
“To Pan” 133, 216
“To Phillis” 217
“To Rheinhart Kleiner, Esq., upon His Town Fables and Elegies” 217
“To Samuel Loveman, Esquire…” 70, 156
“To Satan” (Loveman) 157
“To Selene.”
“To the American Flag” (Hoag) 112
“To the Eighth of November” 97, 216
“To the Members of the Pinfeathers…” 225
“To the Old Pagan Religion” 133, 217
“To the United Amateur Press Association from the Providence Amateur Press Club” 77 “To Zara”
Tobey, William 17, 159,
Toldridge, Elizabeth [Anne] 18, 95,
“Tomb, The” 58, 77, 111, 120, 211, 245,
“Tomb from Beyond, The” (Jacobi) 130
Tombaugh, C.W. 298
Torres, Dr.
Transatlantic Circulator 25, 124, 193, 218
“Transition of Juan Romero, The” 186,
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228,
“Trap, The” (Lovecraft-Whitehead) 17, 30–31, 101, 112–13, 273, 300
Trask, Dr.
Travels, Lovecraft’s
“Travels in the Provinces of America” 86, 169, 275,
“Tree, The” 77, 97, 137, 170, 178, 246,
“Tree-Men of M’Bwa, The” (Wandrei) 290
“Tree on the Hill, The” (Lovecraft-Rirnel) 227, 245, 262,
Tremaine, F[rederick] Orlin 12,
Trever, Alfred 98, 193,
Trever, Eleanor (Wing) 193, 279
“Tribute from the Past, A” (Cole) 41
“Trimmings” 129
“Trip of Theobald, The” 246, 274
“True Home of Literature, A” 43
“Tryout’s Lament for the Vanished Spider” 217
Tsathoggua 52, 247
Tucker, Bob 126
Tupper, George Washington 168
Turner, James 152
“20 Webster Street” (Houtain) 119
“Twilight of Time, The.”
“Two Black Bottles” (Lovecraft-Talman) 94, 103, 249, 260,
“Two Comments” 54
Two-Gun Bob 17,
Tylor, Edward Burnett 115
Tymn, Marshall 294
Tyog 196–97,
Typer, Alonzo Hasbrouck 67–68,
Ull 268,
“Unbroken Chain, The” (Cobb) 224
“Unda; or, The Bride of the Sea” 217
“Under the Pyramids” (Lovecraft-Houdini) 60, 77, 109, 116–17, 243,
United Amateur Press Association xi, 4–5, 25, 26, 46, 57, 59, 60, 70, 84, 85, 94, 97, 149, 150, 161, 164, 188, 212, 232
“Unknown, The” 130, 215,
“Unknown City in the Ocean, The” 276
“Unnamable, The” 6, 31, 107, 162, 163, 169, 244, 245, 251,
Unterecker, John 48
Upham, Ronald 176
Upton, Daniel 64, 263–64,
Upton, Winslow 227
Utpatel, Frank 239,
Utter, Virgil S. 140, 171
Van Allister, Prof. Arthur 8, 25, 219,
Van Calenbergh, Hubert 12, 224
Van de Water, F.F. 19
van der Heyl, Claes
van der Heyl, Dirck 246, 285
van der Heyl, Hendrik 285
van der Heyl, Joris 285
van der Heyl, Trintje 246, 285
Vanderhoof, Johannes 94, 103, 279,
Van Itty, Mrs. 258,
Van Keulen, Dr. Cornelius
Van Vechten, Carl 256
Vaughan, Ralph E. 96, 212
“Vaults of Yoh-Vombis, The” (Smith) 247
Verhaeren, M.
“Vermont—A First Impression” 274, 286, 297
Verne, Jules 132, 150
“VersLibre Epidemic, The” 124, 225
“Very Old Folk, The” 7, 14, 147, 228,
Vilaseca, David 34
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Page 338
Vincent, Harl 37
Virgil 286
“Vivisector, The” 218,
“Volunteer, The”
Voss, Richard 20, 62
Waite, Asenath 14, 64, 230, 263–65, 284,
Waite, Ephraim 263, 288
Walakea
“Walks with H.P.Lovecraft” (Eddy) 84
Walter, Dorothy C[harlotte]
“Wanderer’s Return” (Lovecraft-Shepherd) 241
Wandrei, Donald [Albert] 16, 18, 30, 34, 37, 52, 64–65, 99, 146, 147, 173, 205, 247, 255, 279, 286,
Wandrei, Howard [Elmer]
Ward, Charles Dexter 32, 33, 34, 56, 81, 120, 160, 195, 265,
Ward, Harold 292
Ward, Richard 34, 131
Ward, Theodore Howland
“Ward Phillips Replies” 124, 216
Warren, Harley 245, 250–51,
“Waste Paper: A Poem of Profound In-signficance” 210, 216,
Waugh, Robert H. 96, 199, 207
Wayland, Francis 29
Webb, William Charming
Weber, Brom 158
Weeden, Ezra 32, 56, 248,
Weeden, Hazard 292
Weinbaum, Stanley G. 37
Weinberg, Robert 294
Weinstein, Lee 38
Weir, John J.
“Weird Story Plots” 190
“Weird Tale in English Since 1890, The” (Derleth) 64
“Weird Work of William Hope Hodgson, The” 112, 139, 302
“Weird Writer Is In Our Midst, A” (Orton) 195
Weiss, Ehrich.
Weiss, Henry George
Wells, H.G. 11, 150, 235, 249, 256
“Wendigo, The” (Blackwood) 20, 80
“Werewolf of Ponkert, The” (Munn) 175
West, Herbert 39, 103, 110–11, 143, 184, 228, 250,
Wetzel, George T. 16, 54, 130, 148, 198, 218
“What Amateurdom and I Have Done for Each Other” 5, 63
“What Belongs in Verse”
“What Is Amateur Journalism?” 216
“What the Moon Brings” 186,
“What Was It?” (O’Brien) 80
Whateley, Curtis 295
Whateley, Lavinia 79, 295
Whateley, Mrs. 295
Whateley, Old 62, 79, 117, 295
Whateley, Squire Sawyer 295
Whateley, Wilbur 7, 25, 48, 62, 79, 91, 171, 195, 227, 230–31,
Whateley, Zebulon 295
Whateley, Zechariah 295
“What’s the Matter with Weird Fiction?” 303
Wheeler, Arthur 107, 129, 162,
Wheeler, Henry
Wheelock, Alan S. 298
“When Sonia Sizzled” (de la Ree) 61
Whipple, Dr. Elihu 39, 186, 242, 243,
“Whisperer in Darkness, The” x, 2, 25, 52, 53, 58, 81, 96, 101, 116, 161, 190, 195, 247, 270, 277, 286,
“‘Whisperer’ Re-examined, The” (Leiber) 144
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Page 339
White, Ann
White, Lee McBride, Jr.
White, Michael Oscar 157
“White Ape, The.”
“White People, The” (Machen) 42, 162
“White Ship, The” 74, 77, 87,
Whitehead, Henry S[t. Clair] 16, 17, 30–31, 146, 273, 275,
Whitman, Walt 123, 127, 128
Whittier, John Greenleaf 13
“Wicked Clergyman, The.”
Wilcox, Henry Anthony 6, 27, 29, 104,
Wilde, Oscar 124, 198
Willett, Dr. Marinus Bicknell 32, 34, 39, 56, 81, 120, 195, 291,
Williams,——— 66, 190,
Williams, Blanche Colton 192
Williams, Harper 80
Williams, Roger 6
Williamson, Douglas 301
Williamson, James 194,
Williamson, Lawrence 301
Willie, Albert Frederick 98, 218
Willis, John
“Willows, The” (Blackwood) 20, 21, 102
Wilmarth, Albert N. 2, 190, 296–98,
Wilson, Alison Morley 65
Wilson, Colin 198
Wilson, Dr.
Wilson, Woodrow 304
“Wind That Is In the Grass, The” (Barlow) 16
Wing, Eleanor.
“Winged Death” (Lovecraft-Heald) 17, 98, 109, 168, 171, 246, 285,
“Winifred Virginia Jordan: Associate Editor” 129, 216
Winskill, Benjamin 179
Wise, Herbert A. 81, 224
“Wisdom” 215, 216,
“Within the Circle” (Baldwin) 14
“Within the Gates” 5
Wolejko, Anastasia
Wolejko, Ladislas 302
Wolf, Howard 138
Wollheim, Donald A[llen] 146, 182, 241,
“Wood, The” 21, 210, 218
Wooley, Natalie H[artley]
“Work of Frank Belknap Long, Jun., The” 150
World War I
Wormius, Olaus 187, 224
“Worms of the Earth” (Howard) 119
Wright, Farnsworth 12, 24, 30, 46, 51, 54, 76, 92, 109, 119, 123, 125, 126, 146, 174, 212, 223, 238–29, 245, 257, 265, 267, 289, 293, 298, 301,
Xélucha” (Shiel) 241
“Year Off, A”
Yergler, Rudolf 278
Yesley,——— 43, 143
Yog-Sothoth 51, 79, 295
Young, S.Hall 302
Yuggoth 96
Zachrau, Thekla 54
Zamacona y Nuñez, Panfilo de 38, 101, 173–74, 185, 269,
Zann, Erich 176–78, 185,
Zimmer,———
Zoilus 90, 218, 286–8
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Page 340
About the Authors
S.T.JOSHI is the author of
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