William
Lumley’s The Diary of Alonzo Typer
(1938) is essentially a haunted house story.
The house serves as a metaphor for a mind succumbing to the temptations
of a cosmic evil. The tale does not otherwise
make much sense when viewed from the perspective of logic or realism. Much of the plot follows the typical elements
of a ‘house dream’: a dreamer—Alonzo Typer—makes
a series of explorations into forgotten rooms to find mysterious and vaguely
familiar artifacts. His experience is
told in a series of diary entries.
Because
the story is a collaboration with H.P. Lovecraft, what the dreamer finds are
familiar eldritch items like ancient occult texts, keys that open strangely
ornate doors, secret passageways, unnerving portraits of evil ancestors, and
strange hieroglyphics. He also finds an
entity that is also looking for him: “It towers like a colossus, bearing out what
is said in the Aklo writings…There is such a feeling of vast size…that I wonder
these chambers can contain its bulk—and yet it has no visible bulk.”
S.T.
Joshi, in his thoroughly researched biography of H.P. Lovecraft, reports that
Lumley, who was an occult enthusiast, actually believed that the Cthulhu mythos
was literally true. A devoted fan,
Lumley began communicating with the author in the early 1930s. Joshi quotes a letter Lovecraft wrote to
August Derleth, in which he describes Lumley as an “amazing freak” who “believes
in magic” and is “virtually unable to spell.”
Out
of a sort of condescending altruism, Lovecraft assisted Lumley and similar
mediocre talents. Referring to Lumley
and another senior, Lovecraft wrote: “The
good old fellows need a few rays of light in their last years, & anybody
would be a damned prig not to let’em have such if possible—” It seems that Lovecraft extensively rewrote
Lumley’s original draft, attempting to preserve some of the latter’s
ideas. When the story was eventually
sold to Weird Tales, Lovecraft allowed
Lumley to keep the entire $70.00.
Perhaps
this is why there is a sense of fatigue underlying much of The Diary of Alonzo Typer.
The first few pages provide a dutiful back story about an ancient house,
a degraded local population, and a landscape that exudes timeless evil. The family members depicted in dusty old
portraits exhibit subtle physical deformities as a mark of their commerce with
the Old Ones. The canon of forbidden
books is recited, as are the names of various Mythos members. Readers of H.P. Lovecraft will see many
familiar elements of other stories he wrote. The
Diary of Alonzo Typer is not much more than a pastiche of scenes and
notions from the more competent stories of his mentor.
The
original residents of the house are described as ‘squamous’, that is, scaly. Their faces have a slight greenish cast, with
a serpentine look to their eyes. There is
reference to an ancient, evil city that existed in what is present day China, (“Yian-Ho”),
and disturbing Mongolian hieroglyphics.
It may be a coincidence, but in the story discussed in the previous
post, (Robert E. Howard’s 1931 The
Children of the Night, and other tales in that cycle) there is a similar description
of a subterranean race in terms of snakes, reptiles, the colors yellow and green,
and ‘Chinese’. This seems to be racist
motif that appears in several stories, by various horror writers of the time.
The rest
of Lumley’s story consists of interminable description of Alonzo Typer’s various
explorations of the cellar, attic, hallway and other rooms of this haunted
house. He is evidently still writing in
his diary as he is dragged down into the cellar by something with large black
paws.
The
use of a haunted house to symbolize the contents of single mind was discussed
in a post last spring. (See Your
Head is a Haunted House: Thoughts on Horror,... ). This is what
is most interesting about Lumley’s attempt at horror fiction and a relative strength
of the story. As Alonzo Typer writes in
his diary of his explorations of the house, by degrees he becomes more and more
aware of what he has forgotten or misplaced or only dimly understood—about himself.
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