There have been numerous criticisms of Lovecraft’s work
over the years. Among familiar
complaints are his use of archaic grammar and vocabulary, his reliance on
italics to heighten climactic moments in his stories, and his florid, “purple
prose” that has bogged down many a reader—unless surgically removed ahead of
time by a humane editor. But these are
superficial complaints, and similar bad habits can be found among his
contemporaries.
There are more serious problems with Lovecraft’s writing,
which lessen the greatness that might have been present.
•There is little
or no dialogue among characters.
When there is conversation, it tends to be a monologue—essentially the
author’s exposition surrounded by quotes.
Without dialogue, Lovecraft’s stories lack an efficient and subtle way
to convey characterization, action, feeling, or relationship. He is forced to rely on ponderous explanation
and interminable back story. When he attempts
dialogue it is remarkably stilted and stereotypical, given the often
overwrought text that surrounds it.
(Compare many of his stories to Hodgson’s creepy The Ghost Pirates—a novel told almost entirely through dialogue.)
•Because there is rarely
more than one character. Almost always the lead character in a
Lovecraft story is Lovecraft himself, or some close version of the author. If the narrator is given a name at all, it is
Randolph Carter, or Thomas Olney or some other alias. Look for a quiet, sensitive, reflective antiquarian
scholar whose intense study of diverse historical and occult materials allows
him to connect the dots and see our collective and impending doom. Whom no one will believe. And his characters do not seem to change much
as a result of their supernatural adventures, other than to become more
terrified.
There seems to be rather little affection or compassion
among characters, or towards them.
•And women aren’t
allowed in his stories. Nor are
families, children, or dogs, (with the exception of perhaps, of The Hound). One of the most striking things about movies or
fiction inspired by Lovecraft’s writings is that women are added back in so to
speak to create a more fully rounded picture of humanity’s struggle with the
fearful unknown. History tells us that
women were prevalent in the 1920s, often appeared in books and even wrote
them. There were women in Lovecraft’s
family. Was his social sphere really so
limited that he could not conceive of a believable female character?
•Yet people of
other cultures and ethnic backgrounds—all of them evil—do appear. Lovecraft’s overt racism and cultural
chauvinism have been discussed in earlier posts. It is not hard to find examples throughout
much of his writing. It seems simplistic
to rationalize this by ascribing it to the times he lived in—when some in the
public were fearful of immigrants encroaching on white privilege in the big
cities—or to emphasize how he later renounced these views. There were contemporary writers and others
who took exception to white supremacist views and other forms of racism; his attitudes
were not inevitable.
•And no one works
for a living. In so far as we define
ourselves by what we do and the things we accomplish, we develop a sense of
identity that others can relate to—and these relationships themselves help us
also to generate a sense of self. Owing
to his emotional problems and dysfunctional upbringing, it seems likely
Lovecraft never really experienced a stable and fulfilling life that included meaningful
work and intimate relationships—and this is reflected in the limited
characterization in his stories. On a
practical level, who would be around or have the time to discover the awful
truth about ghouls, or the Cthulhu cult, or what is going on in Innsmouth, if
he or she had to work 9 to 5? You would
have to save it for the weekends.
•And everyone
gives up in the end. There does not
seem to be much conflict in a typical Lovecraft story. There are awful discoveries, and running away,
and insanity, but not much of a fight.
In the end, the character is often resigned to an uncertain and
threatening future, and at best can only remain vigilant. There is no lasting solution or resolution,
because there is no struggle.
Despite these weaknesses, many obviously related to the
sadness and frustrations of his personal life, Lovecraft made lasting
contributions to horror, fantasy and science fiction. We can thank him for the stock character of
the quiet thoughtful man who sees, before everyone else, the terrible menace
hinted at throughout history and in random events of today’s news, who puts it
all together, and saves the rest of us with his insight—at least for now. He is a champion for introverts, lonely
scholars, and ostracized youth. We need
these people.
He brilliantly developed a body of work that would later
be called the Cthulhu Mythos. Like all
mythology, it continues to serve as inspiration for further creativity—all the
cultural products mentioned earlier, and some that are yet to come. This mythology undergirds a cosmic fear, not just fear of being personally
consumed by a single predator, but of being converted en masse into something
wholly other and unknown.
He disabused us of the ignorant notion that supernatural
beings and extra terrestrials will look like something we know—like giant bugs,
or lizard men, or people with antenna, or dinosaurs. In fact we may barely be able to see them at
all, especially if they come from where “the geometry of the place was all
wrong.” Lovecraft’s monsters are
amorphous, shape shifting, in-between things—a good match for the fears our
society has for its future and the awesome changes it is struggling through
right now.
There has been several criticisms associated with Lovecraft’s function through the years. Among acquainted issues tend to be their utilization of archaic sentence structure as well as language,explore more their dependence upon italics in order to increase climactic times within their tales, as well as their florid, “purple prose” which has bogged lower numerous the reader—unless surgically eliminated in advance with a gentle publisher. However they are shallow issues, as well as comparable poor routines are available among st their contemporaries.
ReplyDeleteAmongst familiar problems are usually their own usage of archaic syntax in addition to vocabulary, explore more their own reliance on italics to be able to improve climactic occasions inside their stories, in addition to their own florid, “purple prose” that has bogged reduce several the actual reader—unless surgically removed ahead of time having a mild writer.
ReplyDeleteThis all depends upon the students that how they are taking him. Whether a good or a negative one because when you talk to the students about him so the answer is a mix one and you need to read this yourself to make sure that if he is a good or a negative.
ReplyDeleteTo become a good writer you have to work hard and write some quality books. This is actually very good article about good writer. Please here visit on this page to get best article rewriting services. Also here you have shared wonderful information about writer and his writing. Those information should make writers inspiration to be a good writer. Thanks
DeleteThis specific all depends about your individuals that will the way they are generally having your ex. No matter whether a fantastic or possibly a bad one particular since if you consult your individuals with regards to your ex hence the reply is often a combination one particular more along with you'll want to go through this specific on your own to make certain in case they is a superb or possibly a bad.
ReplyDelete