John L. Steadman, a scholar of H.P. Lovecraft and western occultism, is an English professor at Olivet College here in Michigan. He recently published a fascinating book about the author and his influence on contemporary occult and magickal practice, H.P. Lovecraft & the Black Magickal Tradition. (The book was reviewed earlier; see also Horror Theory:Lovecraft and Black Magick) This week Mr. Steadman graciously took time out from his busy academic schedule to answer some questions about his new book. What follows is the first of a three part series.
How and when did you first become
acquainted with the work of H.P. Lovecraft? Do you have a favorite story?
I don’t
remember a time in my early life and childhood when I wasn’t fascinated by
ghosts, vampires, witches, werewolves and occult subjects. I actually saw a ghost when I was very young
up at our summer cottage in Claire, Michigan. When I was in elementary school,
there were two books that I constantly checked out at the school library: The Thing at the Foot of the Bed (a
collection of ghost stories compiled by folklorist Maria Leach) and the
wonderful anthology, The Fireside Book of
Ghost Stories. I also collected Famous Monsters of Filmland.
When I
attended Middle School, I graduated to more sophisticated reading material. I
first read the works of Edgar Allan Poe, Nathaniel Hawthorne, Ray Bradbury and
M. R. James in the 7th grade.
It was in Middle School, also, when I discovered Lovecraft. This was in the mid 1960’s. I was shopping at a bookstore and was drawn
to a paperback book with a particularly lurid cover. The book was titled The Colour Out of Space & Other Stories, by H. P. Lovecraft.
The cover was black, with a burning, orange and red skull in the center. I bought the book mainly because of this
cover. At this time, it was autumn, my favorite season, and after school, I
liked to sit outside to read and to savor the crisp days and the colorful
trees. On that day, I read the title story and I remember even after all these
years how terrified I was by it. Quite
literally, I found myself shivering, even though the day was rather warm and
comfortable.
This
was an entirely new sensation for me; no other story, with the possible
exception of E. F. Benson’s “The Room in the Tower,” had ever had such an
immediate, disturbing effect on me. And from that point on, I was a lifelong
fan of Lovecraft. I like all of
Lovecraft’s stories, particularly those written after 1926, and I always try to
find the time to re-read all of them at least once a year. If I had to pick favorites, it would be
these three: “The Case of Charles Dexter Ward”, “The Dunwich Horror”; and “The
Dreams in the Witch House.”
How would you evaluate Lovecraft as
a writer in terms of his strengths and weaknesses?
Quite
honestly and emphatically, I rank Lovecraft as a very great writer, the supreme
20th century writer, in fact, of horror, fantasy and science
fiction. Moreover, I believe Lovecraft,
as a stylist, to be superior to Poe, Hawthorne, Melville, Dunsany, Machen,
Blackwood, Bierce, Bulwer-Lytton, James, Wells, or any other fantasist of
previous generations. This claim may, no
doubt, seem outrageous to many individuals, but nevertheless, I abide by it and
believe it to be true.
Lovecraft’s
particular strengths lie in his descriptive, evocative prose and in his
narrative power; his characters and especially, his places, are vividly and
unforgettably realized. His greatest
contribution to literature, of course, is his brilliant expression of the
conviction that human life and human concerns, and in fact, the earth itself,
is of minimal significance in the great, cosmic expanse of the universe and
that, furthermore, there is no real purpose or direction to human life.
Lovecraft’s
weakness, at least for many of his critics, is his tendency to use vague,
rather indefinite adjectives to “spice” up his work- “horrible, terrible,
frightful, weird, unholy, blasphemous, hellish, infernal”, etc. But from my own
standpoint, I like these adjectives because they do, indeed, spice things up,
making the whole brew much more delightfully delicious. And in fact, there are critics, notably
Graham Harman, Associate Provost for Research Administration and Professor of
Philosophy at the American University in Cairo, who argue that Lovecraft’s use
of such adjectives, serve a very important function in his work, highlighting
the “weird” content of reality.
Lovecraft has been criticized for
his prose style as well as content now considered insensitive and disrespectful
of ethnic or racial minorities. Yet most would agree that his influence on
horror and science fiction is pervasive and enduring. What do you think
accounts for this? Do his critics appreciate what he was trying to accomplish
in his fiction?
Lovecraft’s
views about ethnic and racial minorities were much more than simply insensitive
or disrespectful; Lovecraft was, in fact, a racist; he hated most ethnic
groups, particularly Jews, Italians, Poles, Asians and definitely
African-Americans, which he freely referred to as “Niggers.” In fact, there are critics who claim that
Lovecraft’s female Great Old One, Shub-Niggurath, represents a product of Lovecraft’s
racism, i.e. “Shub” suggesting sub-human, and “Niggurath” suggesting
“Nigger.”
Admittedly,
Lovecraft’s racism was a very thorny issue among his friends during his
lifetime and has remained so for his fans and admirers right up to the present
day. During Lovecraft’s lifetime, his friends
tried to downplay this issue, making the argument that Lovecraft only hated
ethnic groups in the abstract, but actually not when he encountered them on a
personal level. As justification for
this view, these individuals cite the fact that Lovecraft married Sonia Greene,
a Jewish woman whom he admired and fell in love with, despite of the fact that
Lovecraft, in his writings and conversation, expressed an intense dislike for
the Jewish people.
However,
this type of reasoning is clearly specious.
It is true that Lovecraft did love and admire Ms. Greene, but this
didn’t mitigate his racist opinions towards Jews. Lovecraft was able to
tolerate his wife because she wasn’t “in-your-face” ethnic in terms of looks or
behavior; Sonia was white like him, she sounded like him and acted like him,
and thus, he was able to overlook her ethnic background. If Sonia had been an African American woman,
then Lovecraft would not have been capable of marrying her and wouldn’t have
done so.
Quite
frankly, there isn’t any way of getting around the fact of Lovecraft’s racism,
and this is something that the scholar, the student and the fan of Lovecraft
must simply acknowledge. I’ve read a
great deal of Lovecraft criticism over the years and the critics almost
invariably find themselves easily able to get past Loveraft’s racism; they
ignore the less attractive, reprehensible traits, and they admire Lovecraft for
his fine, though slightly flawed, intellect.
And, without question, they all agree that Lovecraft’s influence on
horror, science fiction and fantasy is, indeed, pervasive and enduring and is
likely to remain so for a very long time.
Early in the book you make the
provocative claim that the ultimate purpose of ritual magick is to facilitate
communication with extraterrestrials. Can you elaborate on this interesting
idea?
All
magickal practice derives from the earnest desire on the part of the magickal
practitioner for an original relationship with the universe; this is the goal
of magick, in fact, and in pursuit of that goal, the practitioner expects to
find meaning and purpose for his or her life.
The black magickal systems, in particular, allow for the achievement of
knowledge and power, while the white magickal systems are focused primarily on
spiritual perfection. But all
three of these goals, knowledge, power and even spiritual attainment, must come
from something. Or from some place. And they do; they come from the
extra-terrestrial entities themselves, and the places that these entities
inhabit.
In my book,
I allow for the broadest interpretation of the term “extra-terrestrial.” It is
perfectly reasonable to argue that extra-terrestrial entities are merely
personifications of the powers of the mind, which are unlocked and utilized by
the magickal practitioner; in terms of this interpretation, the entities are
imaginary entities, “evoked” or “invoked” as the case might be for specific
purposes. It is equally reasonable to
argue that the extra-terrestrial entities are actual existing beings who
inhabit alternate dimensions and can be contacted via ritual, dream control or
controlled magickal possession. And,
similarly, it is reasonable to view the extra-terrestrial entities merely as
ontological creatures of a form and substance similar to our own who happen to
dwell on other planets; alien beings who may, perhaps, have colonized the earth
in the past and are still living hidden in remote or inaccessible places.
In
Lovecraft’s work, we find examples of all three types of extra-terrestrial
entities, though in terms of goals, Lovecraft’s entities provide only knowledge
or power- there is no such thing as spiritual perfection in Lovecraft’s
universe. In terms of magickal practice, it doesn’t really matter how the
practitioner views the extra-terrestrial entities, or, in fact, what he or she
conceives these entities to be; as long as the magick works, then the
practitioner should be sensible enough to be satisfied.
To be continued…
No comments:
Post a Comment
Thank you for your interest in The R'lyeh Tribune! Comments and suggestions are always welcome.