Ode to Dunsany

The hours of night unheeded fly,
And in the grate the embers fade;
Vast shadows one by one pass by
In silent daemon cavalcade.

But still the magic volume holds
The raptur’d eye in realms apart,
And fulgent sorcery enfolds
The willing mind and eager heart.

The lonely room no more is there—
For to the sight in pomp appear
Temples and cities pois’d in air,
And blazing glories—sphere on sphere.

DESCRIPTION: In his poem “On Reading Lord Dunsany’s Book of Wonder,” Lovecraft describes the sense of awe he experiences when reading Lord Dunsany’s works.

CITATION: Lovecraft, H. P. “On Reading Lord Dunsany’s Book of Wonder.” The Ancient Track: The Complete Poetical Works of H. P. Lovecraft. Edited by S. T. Joshi, Hippocampus Press, 2013, pp. 70-1.

Early Attempts at Fiction

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 The story they saw is my unpublished credential—”The Alchemist,” which, having been sent to Miss Ballou, then Secretary, was shown to Miss Hepner & Mr.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.

Minutely Typical of Old New England

You’ll notice that although my yarns reach out into the nameless abyss, they always take off from the springboard of a realistic setting. Poe has his haunted regions nameless, and peopled by mysterious beings with unknown pasts—but I make mine minutely typical of old New England, and give my characters (by implication and sometimes in detail) characteristic New England genealogies. I don’t weave dreams absolutely out of nothing, (i.e., out of material wholly in the subconscious) but need the spur of some actual scene or object or incident to set me off.

DESCRIPTION: In a letter to his friend Maurice W. Moe, Lovecraft explains why, despite the example of his idol Poe, he prefers to use a realistic setting in all of his weird stories.

CITATION: Lovecraft, H. P. “To Maurice W. Moe.” 26 Mar. 1932. Selected Letters. Edited by August Derleth and James Turner, vol. 4, Arkham House, 1976, pp. 31-3.

Alone in Black Space

I am not sleeping much this week, but last night I had a promising fragment of a dream that was cut short by premature awakening. I was alone in black space, when suddenly, ahead of me, there arose out of some hidden pit a huge, white-robed man with a bald head and snowy beard. Across his shoulders was slung the corpse of a younger man—cleanshaven, and grizzled of hair, and clad in a similar robe. A sound as of rushing wind or a roaring furnace accompanied this spectacular ascent—an ascent which seemed accomplished by some occult species of levitation. When I awaked, I had an idea for a story—but queerly enough, the idea had nothing to do with the dream!

DESCRIPTION: In a letter to the Gallomo, Lovecraft describes a scene from one of his nightmares.

CITATION: Lovecraft, H. P. “To Alfred Galpin and Maurice W. Moe.” 1920. Selected Letters. Edited by August Derleth and Donald Wandrei, vol. 1, Arkham House, 1965, pp. 100-6.

Trying to Improve

I have tried to improve and subtilise my tales with the passing of years, but have not made the progress I wish. Some of my efforts have been cited in the O’Brien and O. Henry annuals, and a few have enjoyed reprinting in anthologies; but all proposals for a published collection have come to nothing. It is possible that one or two short tales may be issued as separate brochures before long. I never write when I cannot be spontaneous—expressing a mood already existing and demanding crystallisation. Some of my tales involve actual dreams I have experienced. My speed and manner of writing vary widely in different cases, but I always work best at night. Of my products, my favourites are “The Colour out of Space” and “The Music of Erich Zann”, in the order named. I doubt if I could ever succeed well in the ordinary kind of science fiction.

DESCRIPTION: In his essay “Some Notes on a Nonentity,” Lovecraft describes his dissatisfaction with his own writing and his rate of improvement.

CITATION: Lovecraft, H. P. “Some Notes on a Nonentity.” Collected Essays. Edited by S. T. Joshi, vol. 5, Hippocampus Press, 2006, pp. 207-11.

The Maddening Rigidity of Cosmic Law

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.