It’s not a bad idea to call this Cthulhuism & Yog-Sothothery of mine “The Mythology of Hastur”—although it was really from Machen & Dunsany & others, rather than through the Bierce-Chambers line, that I picked up my gradually developing hash of theogony—or daimonogony. Come to think of it, I guess I sling this stuff more as Chambers does than as Machen & Dunsany do—though I had written a good deal of it before I ever suspected that Chambers ever wrote a weird story!
DESCRIPTION: In a letter to his friend August Derleth, Lovecraft describes the origins of the Cthulhu Mythos, citing Arthur Machen and Lord Dunsany as influences.
CITATION: Lovecraft, H. P. “To August Derleth.” 16 May 1931. Essential Solitude: The Letters of H. P. Lovecraft and August Derleth. Edited by David E. Schultz and S. T. Joshi, vol. 1, Hippocampus Press, 2013, pp. 335-9.
As against romanticism I am solidly a realist—even though realising the dangerously narrow margin separating romanticism from certain forms of phantasy. My conception of phantasy, as a genuine art-form, is an extension rather than a negation of reality. Ordinary tales about a castle ghost or old-fashioned werewolf are merely so much junk. The true function of phantasy is to give the imagination a ground for limitless expansion, and to satisfy aesthetically the sincere and burning curiosity and sense of awe which a sensitive minority of mankind feel toward the alluring and provocative abysses of unplumbed space and unguessed entity which press in upon the known world from unknown infinites and in unknown relationships of time, space, matter, force, dimensionality, and consciousness. This curiosity and sense of awe, I believe, are quite basic amongst the sensitive minority in question; and I see no reason to think that they will decline in the future—for as you point out, the frontier of the unknown can never do more than scratch the surface of eternally unknowable infinity. But the truly sensitive will never be more than a minority, because most persons—even those of the keenest possible intellect and aesthetic ability—simply have not the psychological equipment or adjustment to feel that way. I have taken some pains to sound various persons as to their capacity to feel profoundly regarding the cosmos and the disturbing and fascinating quality of the extra-terrestrial and perpetually unknown; and my results reveal a surprisingly small quota. In literature we can easily see the cosmic quality in Poe, Maturin, Dunsany, de la Mare, and Blackwood, but I profoundly suspect the cosmicism of Bierce, James, and even Machen. It is not every macabre writer who feels poignantly and almost intolerably the pressure of cryptic and unbounded outer space.
DESCRIPTION: In a letter to fellow writer Clark Ashton Smith, Lovecraft claims that the true purpose of weird fiction is to awaken a sense of curiosity and awe in its readers.
CITATION: Lovecraft, H. P. “To Clark Ashton Smith.” 17 Oct. 1930. Lord of a Visible World: An Autobiography in Letters. Edited by S. T. Joshi and David E. Schultz, Ohio University Press, 2000, pp. 210-13.
Favourite authors, in most intimate sense, are Poe, Arthur Machen, Lord Dunsany, Walter de la Mare, and Algernon Blackwood.
DESCRIPTION: In his essay “Autobiography of Howard Phillips Lovecraft,” Lovecraft lists his five favorite weird writers.
CITATION: Lovecraft, H. P. “Autobiography of Howard Phillips Lovecraft.” Collected Essays. Edited by S. T. Joshi, vol. 5, Hippocampus Press, 2006, p. 205.
However—the crucial thing is my lack of interest in ordinary life. No one ever wrote a story yet without some real emotional drive behind it—and I have not that drive except where violations of the natural order …. defiances and evasions of time, space, and cosmic law …. are concerned. Just why this is so I haven’t the slightest idea—it simply is so. I am interested only in broad pageants—historic streams—orders of biological, chemical, physical, and astronomical organisation—and the only conflict which has any deep emotional significance to me is that of the principle of freedom or irregularity or adventurous opportunity against the eternal and maddening rigidity of cosmic law …. especially the laws of time. Individuals and their fortunes within natural law move me very little. They are all momentary trifles bound from a common nothingness toward another common nothingness. Only the cosmic framework itself—or such individuals as symbolise principles (or defiances of principles) of the cosmic framework—can gain a deep grip on my imagination and set it to work creating. In other words, the only “heroes” I can write about are phenomena. The cosmos is such a closely-locked round of fatality—with everything prearranged—that nothing impresses me as really dramatic except some sudden and abnormal violation of that relentless inevitability …. something which cannot exist, but which can be imagined as existing. Hence the type of thing I try to write. Naturally, I am aware that this forms a very limited special field so far as mankind en masse is concerned; but I believe (as pointed out in that Recluse article) that the field is an authentic one despite its subordinate nature. This protest against natural law, and tendency to weave visions of escape from orderly nature, are characteristic and eternal factors in human psychology, even though very small ones. They exist as permanent realities, and have always expressed themselves in a typical form of art from the earliest fireside folk tales and ballads to the latest achievements of Blackwood or Machen or de la Mare or Dunsany. That art exists—whether the majority like it or not. It is small and limited, but real—and there is no reason why its practitioners should be ashamed of it.
DESCRIPTION: In a letter to his fellow writer E. Hoffmann Price, Lovecraft claims that he writes about supernatural horror because human dramas do not inspire him.
CITATION: Lovecraft, H. P. “To E. Hoffmann Price.” 15 Aug. 1934. Selected Letters. Edited by August Derleth and James Turner, vol. 5, Arkham House, 1976, pp. 17-20.
While my chosen form of story-writing is obviously a special and perhaps a narrow one, it is none the less a persistent and permanent type of expression, as old as literature itself. There will always be a small percentage of persons who feel a burning curiosity about unknown outer space, and a burning desire to escape from the prison-house of the known and the real into those enchanted lands of incredible adventure and infinite possibilities which dreams open up to us, and which things like deep woods, fantastic urban towers, and flaming sunsets momentarily suggest. These persons include great authors as well as insignificant amateurs like myself—Dunsany, Poe, Arthur Machen, M. R. James, Algernon Blackwood, and Walter de la Mare being typical masters in this field.
DESCRIPTION: In his essay “Notes on Writing Weird Fiction,” Lovecraft describes weird fiction as an unpopular yet “persistent and permanent type of expression,” which appeals primarily to those curious about the unknown.
CITATION: Lovecraft, H. P. “Notes on Writing Weird Fiction.” Collected Essays. Edited by S. T. Joshi, vol. 2, Hippocampus Press, 2004, pp. 175-8.