This video is an excellent introduction to the life, work, and legacy of H. P. Lovecraft. As much as I’ve read about this tragic, talented man, it managed to surprise me with both biographical and career tidbits.
Here’s something I didn’t know: August Derleth, the editor chiefly responsible for publicizing Lovecraft after the writer’s death, had his stories translated and published overseas. Post-WWI French intellectuals, already admirers of Edgar Allan Poe, practically devoured everything Lovecraft had authored. That, of course, is how Michel Houellebecq “discovered” Lovecraft.
I’m definitely looking forward to future videos from Biographics. Confession: It’s the first YouTube channel I’ve subscribed to.
“The argument that we should judge a work by the sins of its creator reeks of puritanical righteousness and moral certitude. No work of art exists that wasn’t created by some complicated creature. When forming our literary, cinematic, and artistic canons, it’s important to remember that if you want a canon of saints, you’ll end up with a canon of zero.” Tyler Malone
A rogue’s views on a rogue. How fitting.
The edition pictured above (cool cover, huh?) includes a useful and knowledgeable introduction by Stephen King, who regards Lovecraft as both mentor and muse. In this, King is not alone — he notes other accomplished writers who, in King’s words, “have been touched by Lovecraft and his dreams,” such as Harlan Ellison, Kingsley Amis, Neil Gaiman, Flannery O’Connor, Fred Chappell, and Joyce Carol Oates.
Houellebecq’s compact work uses Lovecraft’s biography as a springboard for a lively introduction to weird fiction, Lovecraft’s unique contributions to that sub-genre, and as a well-argued case for a greater appreciation for Lovecraft as an author. Few can deny Lovecraft’s livid, overflowing imagination, but many dismiss him as a second-rate writer and craftsman. This, declares Houellebecq, is simply wrong. Lovecraft’s style perfectly matches his subject matter and worldview.
In Houellebecq’s view:
Lovecraft has never been rivaled in this. His way of using mathematical concepts, of precisely indicating the topography of each location of a drama, his mythology, his imaginary demoniac library, have all been borrowed; but no one has ever attempted to imitate these passages where he sets aside all stylistic restraint, where adjectives and adverbs pile upon one another to the point of exasperation, and he utters such exclamations of pure delirium such as “Hippopotami should not have human hands and crazy torches…men should not have the heads of crocodiles…” And yet this is the true aim of the work. p. 88
I must admit that though I have long admired Lovecraft’s story-telling abilities and shocking inventiveness, I considered him only a so-so writer. Monsieur Houellebecq has convinced me otherwise.
The sizable volume on the left (also sporting a great cover!) is another recent acquisition. All the HPL works I’ve read over the years were either borrowed from the library or downloaded from the ‘net — Lovecraft’s fiction is in the public domain. I am now the proud owner of The Complete Fiction of H.P. Lovecraft — with one glaring exception. Despite its title, it does not include “In the Walls of Eryx,” one of my favorite HPL stories. It’s one of his few sci-fi works, and I cannot understand why it wasn’t included.
As Monsieur Houellebecq would put it, “C’est la vie.”
Whether you’re a fan of fantasy fiction in general, or of Robert E. Howard in particular, or if you’re an aspiring writer who wants to learn what makes successful writers tick, you will enjoy David C. Smith’s Robert E. Howard: A Literary Biography.
David C. Smith is a prolific writer himself. In his latest work, he focuses on the complex and rich relationship between Howard’s life and thought and the spell-binding tales he gave the world. One of the strengths of this literary biography is the fact-filled account of Howard’s inspirational, yet tragic, development as a young man and author. Note: This is not a pseudo-psychological analysis, but an insightful and sympathetic exploration of an important literary figure backed by thorough research and genuine understanding.
Smith draws upon his own experience as a writer to flesh out the intellectual and emotional forces that shaped Howard and his works. Of Howard, the man, Smith observes:
His work is shot through with a relentless awareness of time, hurtfully so. This tragic appreciation is exhibited as powerfully in his writing as his acute awareness of the body — the weight of time, its passage and its cost to us. He grew up, of course, listening to recollections of the immediate past, frontier tales in which “the past is never past,” in Faulkner’s famous phrase. … Thus, what we get from Howard is not merely a story. Howard reports the facts. Right down to every bloody detail, each emotional pitch, all of the colors and moods — he reports the facts. Howard reminds us who we are. pp. 191-2
The portrait Smith creates sheds light on the enduring appeal of Howard’s most famous character, Conan:
Let enemies come, even demons and sorcerers; he will confront them and defeat them or go down trying. He is the natural man, ourselves begun again, reborn in a world as we secretly know our own world to be beneath its layers of hypocrisy and pretense. Conan is nothing if not honest in this regard and has no patience with the nonsense most of us accept as a matter of course. p. 134
The chapter examining the correspondence and resulting relationship between Howard and H.P. Lovecraft is itself worth the price of the book. Not only does it add to our understanding of Howard, it’s also a useful introduction to Lovecraft.
This is no hagiography. Smith does not close his eyes to Howard’s literary and personal stumbles. While Smith clearly admires Howard’s accomplishments, he constructs his case for a new appreciation of Howard out of a solid and broad body of research, with observations and critiques from friends, editors, and other writers who knew the man and the artist. The only fault I can detect in this otherwise remarkable and entertaining book is in the final chapter, “Legacy,” in which Smith slips into an over-the-top tone of wounded offense toward critics who dismiss Howard as a hack.
Having read Smith’s previous chapters, the reader will already be convinced how wrong those critics are.
This story comes from Popular Mechanics, so you know it’s true!
UPDATE: Here’s a little background for newcomers to the Lovecraft Universe: At The Mountains of Madness
Science Fiction and Fantasy, once despised by the creators of popular entertainment as well as literary scholars, have not only risen in the eyes of serious students of literature but among the general public. What accounts for this sea-change? We could point to the surprising success of both Star Trek (soft sci-fi) or Star Wars (sci-fan), but the origins of the near-dominance of sci-fi/fantasy in popular entertainment today goes back a little further, as this must-read from Open Culture argues:
Do we start with The Castle of Otranto, the first Gothic novel, which opened the door for such books as Dracula and Frankenstein? Or do we open with Edgar Allan Poe, whose macabre short stories and poems captivated the public’s imagination and inspired a million imitators? Maybe. But if we really want to know when the most populist, mass-market horror and fantasy began—the kind that inspired television shows from the Twilight Zone to the X-Files to Supernatural to The Walking Dead—we need to start with H.P. Lovecraft, and with the pulpy magazine that published his bizarre stories, Weird Tales.
I have to agree. Lovecraft’s the man!
Don’t miss the article’s treasure trove of links to the letters of H.P. Lovecraft, as well as links to classic editions of Weird Tales featuring stories by Lovecraft, Ray Bradbury, Dorothy Quick, Robert Bloch, and Theodor Sturgeon. What a great way to get ready for Halloween!
H. P. Lovecraft was born on this date in Providence, Rhode Island. A self-taught science and astronomy buff, Lovecraft built upon the legacy of Edgar Allan Poe to pioneer and define what is now known as weird fiction and cosmic horror.
In addition to his many works of fiction, he was a prolific correspondent, notably with Robert E. Howard. His works continue to inspire both writers and moviemakers. Writers who acknowledge Lovecraft’s influence include China Miéville and Joyce Carol Oates. Lovecraft has also inspired indie filmmakers Justin Benson and Aaron Moorhead, as well as Guillermo del Toro.
Last night, my wife and I attended the Charlotte Film Society’s screening of “The Endless,” the latest project from indie filmmakers Justin Benson and Aaron Moorhead. When the closing credits rolled, we quickly agreed that in an age of sternum-rattling surround sound and blinding special effects, this film was truly something different: It pulled us in and held us with first-class writing and acting.
Think that filmmaking approach will catch on? We can only hope.
In the movie, brothers Justin and Aaron (yeah, cute!) have hit rock bottom. Years earlier, they’d enjoyed notoriety after they escaped what they described to the news media as a “UFO death cult.” But now, their notoriety has faded, and they’re barely making a living in their cleaning business. Collection agencies hound them, they can’t make friends, and the young ladies they meet aren’t interested in dating ex-death cult members. When younger brother Aaron decides he can’t stomach any more normalcy and wants to visit the old commune, Justin reluctantly agrees.
What could go wrong?
The film opens with this quote from H. P. Lovecraft: “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.” That quote is a nod to the profound influence Lovecraft has exerted on Benson and Moorhead. (In the closing credits, they pay special tribute to Guillermo Del Toro, another Lovecraftian storyteller.)
What makes “The Endless” stand out is its unforced but relentless buildup of details that lull and mislead. When the seemingly commonplace path you’re following suddenly twists around and scares the daylights out of you, you can only wonder how you could have been so blind. “The Endless” had an effect on me similar to “Rosemary’s Baby,” with its clever presentation of clues that could be dismissed as merely odd that suddenly add up to unspeakable terror.
Now THAT’S entertainment.
What accounts for the enduring popularity of Robert E. Howard’s most famous creation, Conan of Cimmeria? Author John C. Wright offers this perceptive analysis:
Conan is somewhat more deep and complex than the cartoon image of a brute in a bearskin loincloth found the popular imagination, with a dancing girl clutching his brawny thigh and a devil-beast dying under his bloody ax. The theme and philosophy he represents is not the product of adolescent neurosis (as certain bitter critics would have us believe) but of somber, even cynical, reflection on the age of the world, the costs of civilization, and the frailty of man.
Howard, despite his lack of formal education, was well-read and intellectually curious. The worldview behind his Conan stories is broad, well-crafted, insightful, and still worthwhile for the modern reader. Wright’s introduction is an invaluable introduction to one of the great writers of our age.