What have others said about Lovecraft’s writing?
Serious
criticism of Lovecraft’s work began not long after the author’s death in 1937. There is Edmund Wilson’s famous, or infamous “Tales
of the Marvelous and Ridiculous” published in 1945. The title pretty much says it all. L. Sprague De Camp, Darrel Schweitzer and
Donald R. Burkeson wrote critical surveys of Lovecraft's work and life in the late 70s
and early 80s. In 1981 S.T. Joshi’s H.P. Lovecraft: Four Decades of Criticism
was published—this one is a bit more comprehensive than the others.
Phillip
A. Shreffler has a chapter about the author in a collection of critical essays
about supernatural fiction that was also published several decades ago.* The chapter is actually an excerpt from
Shreffler’s larger work, The H.P.
Lovecraft Companion, (1977), published a couple years after L. Sprague De
Camp’s rather critical biography.
Shreffler is a past editor of the Baker
Street Journal , an “irregular”quarterly publication devoted to writings
about Sherlock Holmes.
There
is not enough time or space to do justice to Shreffler’s essay, but here are
some of the interesting points that he makes about the work of H.P. Lovecraft.
•It
is relatively straightforward to identify those stories that were inspired by the
style of Lord Dunsany; these he puts aside as “pure fantasy-land or dream
stories”. Shreffler offers a further
classification based on the extent to which characters struggle with powerful
forces that are natural or supernaturalistic and impersonal on one hand—what Joshi
calls cosmicist—or show conscious evil intent toward humankind on the other.
Shreffler
would place The Other Gods in the
first category, while The Case of Charles
Dexter Ward would be a strong example of the latter. It seems that Lovecraft’s earlier stories
embody the theme of impersonal, even accidental cosmic forces, while the later
ones, especially those comprising the ‘Cthulhu Mythos’ exhibit actively malevolent
entities.
(From
a psychological viewpoint, this continuum of personal or impersonal forces is
expressed in the concept of ‘locus of control’—the degree to which an individual
believes that events in life result from personal effort and decision making or
to the over powering influence of outside forces. It is interesting that in Lovecraft’s
stories, as in his personal life, the locus of control is almost always
external—threats and challenges are met with passivity and acquiescence. This seems to be the case no matter whether
said forces are personal or impersonal in nature.)
•Shreffler
feels that the ‘Cthulhu Mythos’ is misnamed, because it gives undue emphasis to
Cthulhu, who only actively appears in just one story, and in an atypical location,
(i.e., the South Seas). The critic feels
that this unique collection of Lovecraft’s stories ought to be called the ‘New
England Mythos’, given the importance to Lovecraft of that region of the country,
both for the settings of his stories and his underlying literary theory. (Joshi and others have pointed out that
Lovecraft himself did not coin the term ‘Cthulhu Mythos’, preferring instead “Yog-Sotho-thery”.)
•The Case of Charles Dexter Ward,
illustrates a uniquely Lovecraftian understanding of the origin of evil. Evil does not come from the biblical concept
of ‘original sin’—a notion Lovecraft would have been familiar with from his
Puritan heritage. Rather, the evil
underlying all of the black and depraved arts of humanity is the remnant of “ritual
veneration of these monsters from space”, that is the ‘Old Ones’. Present day superstitions and occultism are
derived from these ancient religious practices carried forward from very ancient
extraterrestrial encounters. So evil
came from outer space, not from Adam and Eve.
•In
Shreffler’s essay, the influence of both Hawthorne and Poe on Lovecraft’s
fiction and literary theory are discussed in depth. By way of Lovecraft’s analysis in his
foundational Supernatural History in
Literature, Shreffler shows how Lovecraft turned to Hawthorne for the
insight that behind the commonplace is a “dismal throng of vague specters”. From Hawthorne he also obtained an appreciation
of how to manage setting and atmosphere to create an effect of terror and the
uncanny. Lovecraft of course left out Hawthorne’s interest in the moral or spiritual aspects his characters’ struggles.
It
was primarily from Edgar Allen Poe that Lovecraft derived much of his prose
style, and his tendency to emphasize setting and description of his characters’
mental and emotional state, as opposed to plot or characterization. As with Lord Dunsany, the influence of Poe on
much of Lovecraft’s work is fairly conspicuous.
There
has been much more informed criticism since the eighties, as Lovecraft’s work
has gained in stature and general familiarity.
If you have not already discovered them, two great resources for current
study and analysis include the following:
S.T.
Joshi’s Blog at http://www.stjoshi.org/news.html.
David
Haden’s Blog at http://tentaclii.wordpress.com/.
*“H.P.
Lovecraft and an American Literary Tradition” by Philip A. Shreffler, in Literature Of The Occult, edited by
Peter B. Messent, (1981, Prentice-Hall, Inc.)—this is an interesting book with
a focus primarily on gothic fiction.
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