I trust you will pardon the liberty taken by an absolute stranger in writing you, for I cannot refrain from expressing the appreciation aroused in me by your drawings and poetry, as shown me by my friend, Mr. Samuel Loveman, whom I am now visiting in Cleveland. Your book, containing matter only chronologically classifiable as juvenilia, impresses me as a work of the most distinguished genius; and makes me anxious to see the new volume which I understand is in course of preparation.
Of the drawings and water-colours I lack a vocabulary adequate to express my enthusiastic admiration. What a world of opiate phantasy and horror is here unveiled, and what an unique power and perspective must lie behind it! I speak with especial sincerity and enthusiasm, because my own especial tastes centre almost wholly around the grotesque and the arabesque. I have tried to write short stories and sketches affording glimpses into the unknown abysses of terror which leer beyond the boundaries of the known, but have never succeeded in evoking even a fraction of the stark hideousness conveyed by any one of your ghoulishly potent designs.
DESCRIPTION: In a letter to Clark Ashton Smith, a writer and poet who would, in time, become one of his closest friends, Lovecraft expresses his admiration for Smith’s weird poetry, which he enthusiastically describes as a “work of the most distinguished genius.”
CITATION: Lovecraft, H. P. “To Clark Ashton Smith.” 12 Aug. 1922. Dawnward Spire, Lonely Hill: The Letters of H. P. Lovecraft and Clark Ashton Smith. Edited by David E. Schultz and S. T. Joshi, Hippocampus Press, 2017, p. 35.
—Extra! Special! The postman just arrived with the latest bunch of forwarded mail, and guess who that Auburn, Cal. letter was from? CLARK ASHTON SMITH, the author of “The Star-Treader”, “Odes and Sonnets”, “The Hasheesh-Eater”, etc., and the artist who drew the unutterably hideous pictures I sent you! I had written him at Loveman’s suggestion, but never thought he would answer. He’s a good fellow—he has seen one of my stories (“Beyond the Wall of Sleep”, which Loveman sent him), praises it effusively, and wants to see more. I shall accommodate him, you can bet! Did I tell you—or A. E. P. G.—that I have both of his already published works? Galpin (generous little divvle!) gave me “The Star-Treader”, whilst George Kirk (benevolent soul!) gave me “Odes and Sonnets” (deluxe edition, price $6.00) out of his regular stock. As you know, Kirk is a bookseller . . . Smith is a genius. As a poet he is on par with Loveman, and as an artist he is alone in his field. He is going to give me his new book when it is out. I have lent “Odes and Sonnets” to little Longlet, and the child is transported with Smith’s devastating horror.
DESCRIPTION: In a letter to his aunt Lillian D. Clark, Lovecraft describes his reaction upon receiving a letter from Clark Ashton Smith, a poet who would, in time, become one of his closest friends.
CITATION: Lovecraft, H. P. “To Lillian D. Clark.” 1 Sept. 1922. H. P. Lovecraft: Letters from New York. Edited by S. T. Joshi and David E. Schultz, Night Shade Books, 2005, pp. 18-9.
Long has alluded to the Necronomicon in some things of his—in fact, I think it is rather good fun to have this artificial mythology given an air of verisimilitude by wide citation. I ought, though, to write Mr. O’Neail and disabuse him of the idea that there is a large blind spot in his mythological erudition! Clark Ashton Smith is launching another mock mythology revolving around the black, furry toad-god Tsathoggua, whose name had variant forms amongst the Atlanteans, Lemurians, and Hyperboreans who worshiped him after he emerged from inner Earth (whither he came from Outer Space, with Saturn as a stepping-stone). I am using Tsathoggua in several tales of my own and of revision-clients—although Wright rejected the Smith tale in which he originally appeared. It would be amusing to identify your Kathulos with my Cthulhu—indeed, I may so adopt him in some future black allusion.
DESCRIPTION: In a letter to fellow writer Robert E. Howard, Lovecraft discusses the expansion of his imaginary mythology, now known as the Cthulhu Mythos.
CITATION: Lovecraft, H. P. “To Robert E. Howard.” 14 Aug. 1930. Lord of a Visible World: An Autobiography in Letters. Edited by S. T. Joshi and David E. Schultz, Ohio University Press, 2000, pp. 207-8.
I found myself by names and terms that I had heard elsewhere in the most hideous of connexions—Yuggoth, Great Cthulhu, Tsathoggua, Yog-Sothoth, R’lyeh, Nyarlathotep, Azathoth, Hastur, Yian, Leng, the Lake of Hali, Bethmoora, the Yellow Sign, L’mur-Kathulos, Bran, and the Magnum Innominandum—and was drawn back through nameless aeons and inconceivable dimensions to worlds of elder, outer entity at which the crazed author of the Necronomicon had only guessed in the vaguest way. I was told of the pits of primal life, and of the streams that had trickled down therefrom; and finally, of the tiny rivulet from one of those streams which had become entangled with the destinies of our own earth.
DESCRIPTION: In this passage from the short story “The Whisperer in Darkness” (1930), Albert Wilmarth describes the occult knowledge he gains from corresponding with Henry Akeley.
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.
He is very kindly and likeable, and incredibly brave in his lifelong struggle against illness, poverty, and misunderstanding. He has at times helped out his revenues by fruit-picking, but is always forced to struggle hard. His home is a very small one, with no running water—just a primitive well outside. He writes in the open a great deal—at a table in his front yard—and takes many walking trips in the picturesque mountains of his region. The responsibility of his aged parents (who are inclined to domineer a bit) has kept him chained rather closely at home—if it were not for them, he would probably manage to see more of the world. Perhaps, though, his localism has been a blessing in disguise—his limited acquaintance with this world (San Francisco being the only metropolis he knows) giving his imagination all the keener force in depicting other worlds and other universes!
DESCRIPTION: In a letter to his friend F. Lee Baldwin, Lovecraft describes his friend and fellow writer Clark Ashton Smith.
CITATION: Lovecraft, H. P. “To F. Lee Baldwin.” 27 Mar. 1934. Lord of a Visible World: An Autobiography in Letters. Edited by S. T. Joshi and David E. Schultz, Ohio University Press, 2000, pp. 254-6.
“Ebony and Crystal” is an artist’s intrepid repudiation of the world of trolleys and cash-registers, Freudian complexes and Binet-Simon tests, for realms of exalted and iridescent strangeness beyond space and time yet real as any reality because dreams have made them so. Mr. Smith has escaped the fetish of life and the world, and glimpsed the perverse, titanic beauty of death and the universe; taking infinity as his canvas and recording in awe the vagaries of suns and planets, gods and daemons, and blind amorphous horrors that haunt gardens of polychrome fungi more remote than Algol and Achernar. It is a cosmos of vivid flame and glacial abysses that he celebrates, and the colourful luxuriance with which he peoples it could be born from nothing less than sheer genius.
DESCRIPTION: In his essay entitled “Review of Ebony and Crystal by Clark Ashton Smith,” Lovecraft describes his friend’s poetry as a repudiation of modern life.
CITATION: Lovecraft, H. P. “Review of Ebony and Crystal by Clark Ashton Smith.” Collected Essays. Edited by S. T. Joshi, vol. 2, Hippocampus Press, 2004, pp. 73-4.