He could scarcely tear his eyes from it, and as he looked at its glistening surfaces he almost fancied it was transparent, with half-formed worlds of wonder within. Into his mind floated pictures of alien orbs with great stone towers, and other orbs with titan mountains and no mark of life, and still remoter spaces where only a stirring in vague blacknesses told of the presence of consciousness and will.
DESCRIPTION: In this passage from the short story “The Haunter of the Dark” (1935), the narrator describes Robert Blake’s fascination with a mysterious object known as the Shining Trapezohedron.
CITATION: Lovecraft, H. P. “The Haunter of the Dark.” The Call of Cthulhu and Other Weird Stories. Edited by S. T. Joshi, Penguin Books, 1999, pp. 336-60.
Regarding early reading, I am able to say that our tastes in childhood were even more similar than you imagine. When I was about twelve I became greatly interested in science, specialising in geography, (later to be displaced by astronomy), & being a Verne enthusiast. In those days I used to write fiction, & many of my tales showed the literary influence of the immortal Jules. I wrote one story about that side of the moon which is forever turned away from us—using, for fictional purposes—the Hansen theory that air & water still exist there as the result of an abnormal centre of gravity in the moon. I hardly need add that the theory is really exploded—I even was aware of that fact at the time—but I desired to compose a “thriller”. Some day I may take up fiction in the amateur press—revealing a side of my nature hitherto concealed from the United. When I write stories, Edgar Allan Poe is my model. I never choose normal subjects, & frequently deal with the supernatural. Only four persons in the association have seen any of my fiction—these being Misses Ballou & Hepner, & Messrs. Fritter & Geo. Schilling. The story they saw is my unpublished credential—”The Alchemist,” which, having been sent to Miss Ballou, then Secretary, was shown to Miss Hepner & Mr. Fritter. Later I sent Schilling a revised copy for publication in a paper he was finally forced to abandon. The tale was written 11 years ago, yet is my latest attempt at fiction.
DESCRIPTION: In a letter to his friend Rheinhart Kleiner, Lovecraft describes his early attempts at writing fiction.
CITATION: Lovecraft, H. P. “To Rheinhart Kleiner.” 20 Jan. 1916. Letters to Rheinhart Kleiner. Edited by S. T. Joshi and David E. Schultz, Hippocampus Press, 2005, p. 29.
A sudden gust, stronger than the others, caught up the manuscript and bore it toward the window. I followed the flying sheets in desperation, but they were gone before I reached the demolished panes. Then I remembered my old wish to gaze from this window, the only window in the Rue d’Auseil from which one might see the slope beyond the wall, and the city outspread beneath. It was very dark, but the city’s lights always burned, and I expected to see them there amidst the rain and wind. Yet when I looked from that highest of all gable windows, looked while the candles sputtered and the insane viol howled with the night-wind, I saw no city spread below, and no friendly lights gleaming from remembered streets, but only the blackness of space illimitable; unimagined space alive with motion and music, and having no semblance to anything on earth. And as I stood there looking in terror, the wind blew out both the candles in that ancient peaked garret, leaving me in savage and impenetrable darkness with chaos and pandemonium before me, and the daemon madness of that night-baying viol behind me.
DESCRIPTION: In this passage from the short story “The Music of Erich Zann” (1921), the narrator describes what he sees when he looks through the gable window in Erich Zann’s garret apartment.
CITATION: Lovecraft, H. P. “The Music of Erich Zann.” The Thing on the Doorstep and Other Weird Stories. Edited by S. T. Joshi, Penguin Books, 2001, pp. 45-52.
It is the night-black Massachusetts legendry which packs the really macabre ‘kick’. Here is material for a really profound study in group-neuroticism; for certainly, no one can deny the existence of a profoundly morbid streak in the Puritan imagination.
DESCRIPTION: In a letter to his friend and fellow writer Robert E. Howard, Lovecraft claims that Puritan Massachusetts is the ideal setting for a weird tale.
CITATION: Lovecraft, H. P. “To Robert E. Howard.” 4 Oct. 1930. Selected Letters. Edited by August Derleth and Donald Wandrei, vol. 3, Arkham House, 1971, pp. 174-84.
Gradually the country around us grew wilder and more deserted. Archaic covered bridges lingered fearsomely out of the past in pockets of the hills, and the half-abandoned railway track paralleling the river seemed to exhale a nebulously visible air of desolation. There were awesome sweeps of vivid valley where great cliffs rose, New England’s virgin granite shewing grey and austere through the verdure that scaled the crests. There were gorges where untamed streams leaped, bearing down towards the river the unimagined secrets of a thousand pathless peaks. Branching away now and then were narrow, half-concealed roads that bored their way through solid, luxuriant masses of forest among whose primal trees whole armies of elemental spirits might well lurk. As I saw these I thought of how Akeley had been molested by unseen agencies on his drives along this very route, and did not wonder that such things could be.
DESCRIPTION: In this passage from the short story “The Whisperer in Darkness” (1930), Albert N. Wilmarth describes his impressions as he journeys deeper and deeper into the state of Vermont.
CITATION: Lovecraft, H. P. “The Whisperer in Darkness.” The Call of Cthulhu and Other Weird Stories. Edited by S. T. Joshi, Penguin Books, 1999, pp. 200-67.