H.P.
Lovecraft’s Herbert West: Reanimator
(1922) is arguably one his best known stories, though the author disparaged it
as “hack” work, claiming at one point that his “sole inducement is the monetary
reward…” Joshi relates how Lovecraft
felt frustrated and limited by the conventions of serial fiction, but suspects
he may actually have enjoyed working on this project. Certainly the ebullient grotesqueness of
various episodes suggests that the author was having some fun. Though Lovecraft enthusiasts may not consider
this story one of his best, it is one of the very few to survive translation
into film relatively intact. (The 1970
film The Dunwich Horror, may be another.)
The
version I have is in The New Annotated
H.P. Lovecraft (2014) edited by Leslie Klinger, which preserves the six
part serial format, and supplements the text with dozens of helpful marginal
notes and illustrations. Each section
recapitulates the events of the previous installment but also reiterates
unfinished business, in particular, the suspicion that several of West’s earlier
experimental results may still be shambling about, relentlessly making their
way towards him. These repetitions enhance
the enjoyment of the story in my view, and offer a rare instance where
Lovecraft seems to address his readers directly.
Lovecraft’s
fiction shows a recurring preoccupation with certain themes and images. He is very consistent with the dark matters
on which he ruminates. It is fascinating
to see certain motifs show up again and again, and identify parallels among his
various stories. Early on in Herbert West: Reanimator, Puritanism is criticized
for its rigidity and restraint of personal freedom and intellectual
exploration. Nearly identical diatribes
can be found in The Unnamable (1925)
and The Picture in the House (1919).
The
arrangement of two male characters, one passively subservient to another who is
reckless and monomaniacal in his research, is duplicated in several stories. Here are examples of the narrator’s
perspective from various works by Lovecraft:
“…for
they were terrible studies, which I pursued more through reluctant fascination than
through actual inclination. Warren always
dominated me, and sometimes I feared him.”—The
Statement of Randolph Carter (1920)
“Our
quest for novel scenes and piquant conditions was feverish and insatiate—St.
John was always the leader, and he it was who led the way at last to that
mocking, accursed spot which brought us our hideous and inevitable doom.”—The Hound (1924)
“So
as I drove the crowd away I told him he must come home with me and be my
teacher and leader in unfathomed mysteries, and he assented without saying a
word.”—Hypnos (1923)
“…I
could not resist the imperious persuasion of one determined that I should
accompany him in my usual capacity.”—Herbert
West: Reanimator (1922)
In the
early 1920s it seems that someone was often leading an avatar of H.P. Lovecraft
astray, drawing him out of the safety and stifling conventionality of his Puritan
heritage, but leaving him stranded in a realm of horror and madness. Some have ascribed this particular motif and
related imagery to repressed homosexuality, though there is no clear
substantiation of this. At any rate, in
terms of the importance of his work, Lovecraft’s sexual orientation is ultimately
irrelevant.
However,
another way to look at Lovecraft’s “bromantic” relationships is to consider
what the arrangement of male characters may suggest of Lovecraft’s personality. Are these fictional relationships an expression
of Lovecraft’s divided soul? Hypnos is interesting because it
suggests at the end that the narrator and his partner were actually the same person, one the doppelgänger of the
other. Herbert West: Reanimator ends on a similar note: After the final conflagration, West cannot be
found. He supposedly has been either
dismembered or incinerated or both, but the narrator is now accused of madness
and murder. The wall that had separated
their last secret laboratory from an ancient tomb filled with vengeful raging
zombies is now weirdly intact—did it ever actually fall?
There
are other interesting parallels among some of Lovecraft’s early work. An almost gleeful focus on the contents of
graveyards and “receiving tombs” can be found in The Hound, Herbert West:
Reanimator, and the notorious Lovecraft-Eddy collaboration The Loved Dead (1924), all appearing
around this time in Lovecraft’s career.
In all three tales a morbid fascination with collecting and interacting
with dead things culminates in exceedingly rough justice administered by the undead. Despite his materialism and avowed atheism,
these early tales display overt religiosity and conventional morality.
In Herbert West: Reanimator, the advent of
some new horror is heralded by a flurry of allusions to “the nightmare caverns
of Tartarus”, or “a noxious afrite [demon] from the halls of Eblis”. When a plague of typhoid arrives providing West
additional experimental subjects, “devils danced on the roofs of Arkham”. One
of West’s reanimated subjects is likened to “the embodied dæmon-soul of the
plague itself.”
Herbert West: Reanimator is for the most part a pre-Mythos
tale, and like The Horror at Red Hook (1927)
derives some of its weird imagery from vaguely Judeo-Christian or Greek and Roman
mythological sources. (The latter story contains
appearances by Satan, Lillith, incubi, succubi, Moloch and so forth.) As Lovecraft developed his ideas about the
supernatural, these conventional entities were later replaced with impersonal,
extraterrestrial, cosmicist beings like Cthulhu and Nyarlathotep.
In a
couple of places in the story Lovecraft has his mad scientist dispute the existence
of a mind or soul separate from the material body. Tellingly, the narrator expresses occasional
doubts: “I myself still held some
curious notions about the traditional “soul” of man, and felt an awe at the secrets
that might be told by one returning from the dead.” Later in the story he makes these remarks
about his friend West’s point of view:
“I
did not wholly disagree with him theoretically, yet held vague instinctive
remnants of the primitive faith of my forefathers; so that I could not help
eyeing the corpse with a certain amount of awe and terrible expectation.”
S.T. Joshi
and others have noted that the end of the story seems to contradict the materialism
espoused in the opening sections. The
zombies catch up to West and the narrator, and their revenge is coordinated by
a talking, disembodied head. Because
this is in direct opposition to the materialistic view laid out at the
beginning of the story, Joshi believes these scenes are intended as parody.
But another
possibility is that Lovecraft’s wavering between materialistic and supernatural
understandings shows a tension—present in much of Lovecraft’s work—that was
never resolved. Which is a good thing! It is the view here that the possibility of
mind or spirit existing separately from matter is a key assumption of horror
literature, without which it becomes unintelligible or reduced to mere
exaggerated science. One wonders if
Lovecraft understood this at some level.
Aside
from these more abstract considerations, the story can be enjoyed for its
unrestrained zombie mayhem and outrageousness.
As his concepts took form, one can imagine Lovecraft and perhaps some
close colleagues brainstorming a series of gruesome “what-ifs”: What if the reanimated body had been damaged
in some ghastly way at the point of death?
What if just parts of the body
were reanimated? What if the reanimated
corpse could talk? What if only the body
but not the head were reanimated? What if you reanimated the head and kept it
alive in a vat full of undifferentiated reptilian muscle tissue? Lovecraft’s outré speculations in Herbert West: Reanimator form a significant
contribution to the field of zombiology, and West’s gruesome dismemberment near
the end has been replayed in dozens of zombie movies ever since.
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