“Life
is a hideous thing…”
Facts Concerning The Late Arthur
Jermyn and His Family
(1921) is not one of Lovecraft’s better stories. Virtually all of the characters in the tale
are dead before it even begins, so there is little need for dialogue or
characterization. For the same reason
there is little movement, conflict or suspense—the worst has already
happened. And there is scant attention
to setting, which is one of Lovecraft’s strengths as a writer. In many of his stories—think of The Shadow Over Innsmouth, or The Dunwich Horror or The Colour Out of Space—Lovecraft showed
real talent in creating entire landscapes that are dark, ominous and filled
with cosmic doom.
But anything Lovecraft wrote can be
interesting in the light of what is known about his family and the peculiar
emotional and psychological turmoil he endured.
His writing tends to be a fictional and symbolic representation of his
psychic pain experienced at various points in his life. This of course is common among many writers,
but in Lovecraft, the themes in his fiction and poetry are barely transmuted
from the source material—a reason he is an important, but not a great writer. His voluminous correspondence combined with
his fiction and poetry constitutes the case documentation of an individual who
struggled greatly with misfortune, social isolation, and mental health
problems.
Some
of the elements in Arthur Jermyn are
better understood if one considers aspects of Lovecraft’s own family
history. Both of his parents succumbed
to severe mental illness as he grew up—his father’s symptoms were the result of
the neurological degeneration of syphilis.
Though not clearly established, it has been suspected by some that his
mother also contracted the disease. Both
died in the same asylum. Lovecraft
himself endured extreme depression and several nervous breakdowns, a few times
considering suicide by drowning.
S.T.
Joshi and others have documented the unfortunate influence of his mother on
Lovecraft’s self esteem and self perception—she inculcated in him the sense
that he was ugly and physically repellent.
There is a strong element of this in Facts
Concerning The Late Arthur Jermyn and His Family, where the physical
strangeness and bestial details in his characters’ appearance are emphasized. The
domination and over protectiveness of first his mother and later his maternal
aunts, (who interfered with his marriage to Sonia Greene) is also represented
in the story: a forgotten race of white apes worships an all powerful female
deity.
In Facts Concerning The Late Arthur Jermyn and
His Family, the story, such as it is, is fairly straightforward. The author depicts the ancestry of one Arthur
Jermyn through several generations of patriarchs. The Jermyn clan is an old, well established and
well regarded family. It does well until Sir
Wade Jermyn, Arthur’s great-great-great-grandfather begins his explorations of
the Congo region of Africa.
He is
reputed to have discovered an ancient prehistoric civilization of white ape
like creatures. Worse, it seems that he
may have mingled with at least one of the natives. There is reference in local legends about “a
great white god who had come out of the west” and taken the ape-princess as his
consort. Subsequent generations of
Jermyns are afflicted with madness and physiological abnormalities—as well as a
fascination with the family’s historic past and connection to Africa.
Arthur
Jermyn is different from his predecessors.
He is the last of the line and described as a “poet and dreamer.” The family’s financial assets are only a
shadow of their original grandeur. But Arthur
Jermyn becomes smitten with an enthusiasm for family genealogy, which in a
Lovecraft story is nearly always life-changing (The Shadow Over Innsmouth), if not fatal, (The Case of Charles Dexter Ward). Think of all the Lovecraft
characters that have shared this motivation and interest! Arthur Jermyn is ultimately too successful in
his investigations. He obtains an
ancient mummified relic of a stuffed goddess from the Congo, and discovers a
confirmation of what the reader already knows about his troubled ancestry. He is unable to accept this truth, and so
takes his life.
It
was the consequences of sexual activity outside the bounds of white Anglo-Saxon
protestant matrimony which culminated in Arthur Jermyn’s horrible self
discovery. Surely this is an echo of
Lovecraft’s difficulties with understanding his own father’s behavior and his terrible
end. This is in the context of Lovecraft’s
Puritan upbringing, and his squeamishness about sex and relationships with
women. It is striking that Lovecraft
places the ancestor’s sexual transgressions several generations in the past,
instead of only one generation, which was the case in his family. This seems a kind of distancing from the pain
of that revelation.
The
horror of miscegenation—marriage and procreation across racial and ethnic
lines—is no longer such a horror in the
21st century, but was certainly one at the beginning of the 20th. It is a theme in several Lovecraft stories,
among them The Lurking Fear, Pickman’s Model, and The Shadow Over Innsmouth. In the 1920s, American society was concerned
with immigration, race relations, and sedition, among other anxieties, as urban
areas became more cosmopolitan and diverse in composition.
These
are recurrent issues in America of course, but were particularly intense in
Lovecraft’s time. (As an example, the Ku
Klux Klan was revived in the early 1920s, when it introduced its notorious
cross burnings. The movement often
emphasized the superiority of Anglo-Saxon genetics as well as its presumed
descent from 18th century British colonists—a familiar enthusiasm of
Lovecraft’s as well.)
Facts Concerning The Late Arthur
Jermyn and His Family
(1921) is not one of Lovecraft’s best, but is an interesting snapshot of his
psychological difficulties understanding and accepting the ‘facts’ of his own
family.
No comments:
Post a Comment
Thank you for your interest in The R'lyeh Tribune! Comments and suggestions are always welcome.