To the southern New-Englander entering Vermont for the first time there is a sense of mystic revivification. On the towns of the lower coast the blight of mutation and modernity has descended. Weird metamorphoses and excrescences, architectural and topographical, mark a menacing tyranny of mechanism and viceroyalty of engineering which are fast hurrying the present scene out of all linkage with its historic antecedents and setting it adrift anchorless and all but traditionless in alien oceans. Swart foreign forms, heirs to moods and impulses antipodal to those which moulded our heritage, surge in endless streams along smoke-clouded and lamp-dazzled streets; moving to strange measures and inculcating strange customs. All through the nearer countryside the stigmata of change are spreading. Reservoirs, billboards, and concrete roads, power lines, garages, and flamboyant inns, squalid immigrant nests and grimy mill villages; these things and things like them have brought ugliness, tawdriness, and commonplaceness to the urban penumbra. Only in the remoter backwoods can one find the pristine and ancestral beauty which was southern New-England’s, or the unmixed signs of that continuous native life whose deep roots make it the one authentic outgrowth of the landscape. There are traces enough to allure and tantalise, but not enough to satisfy. With our keenest pleasure and satisfaction is mixed a certain melancholy; for it is upon the ghost of something beloved and departed, rather than upon the thing itself, that we gaze. Our own country and history seem subtly dissolving away from us, and we clutch frantically at the straws and symbols through which our imaginations may momentarily recall and recapture a past which is really our own.
DESCRIPTION: In his essay “Vermont—A First Impression,” Lovecraft describes the ways in which industrialization and immigration have reshaped the state of Vermont.
CITATION: Lovecraft, H. P. “Vermont—A First Impression.” Collected Essays. Edited by S. T. Joshi, vol. 4, Hippocampus Press, 2005, pp. 13-5.
Here exist assorted Jews in the absolutely unassimilated state, with their ancestral beards, skull-caps, and general costumes—which makes them very picturesque, and no nearly so offensive as the strident, pushing Jews who affect clean shaves and American dress. In this particular section, where Hebrew books are vended from pushcarts, and patriarchal rabbins totter in high hats and frock coats, there are far less offensive faces than in the general subways of the town—probably because most of the pushing commercial Jews are from another colony where the blood is less pure.
DESCRIPTION: In a letter to his aunt Lillian D. Clark, Lovecraft describes his impressions of a community of Orthodox Jews.
CITATION: Lovecraft, H. P. “To Lillian D. Clark.” 29-30 Sept. 1924. H. P. Lovecraft: Letters from New York. Edited by S. T. Joshi and David E. Schultz, Night Shade Books, 2005, pp. 63-76.
No anthropologist of standing insists on the uniformly advanced evolution of the Nordic as compared with that of other Caucasian and Mongolian races. As a matter of fact, it is freely conceded that the Mediterranean race turns out a higher percentage of the aesthetically sensitive and that the Semitic groups excel in sharp, precise intellection. It may be, too, that the Mongolian excels in aesthetick capacity and normality of philosophical adjustment. What, then, is the secret of pro-Nordicism amongst those who hold these views? Simply this—that ours is a Nordic culture, and that the roots of that culture are so inextricably tangled in the national standards, perspectives, traditions, memories, instincts, peculiarities, and physical aspects of the Nordic stream that no other influences are fitted to mingle in our fabric. We don’t despise the French in France or Quebec, but we don’t want them grabbing our territory and creating foreign islands like Woonsocket and Fall River. The fact of this uniqueness of every separate culture-stream—this dependence of instinctive likes and dislikes, natural methods, unconscious appraisals, etc., etc., on the physical and historical attributes of a single race—is too obvious to be ignored except by empty theorists.
DESCRIPTION: In a letter to his friend James F. Morton, Lovecraft explains why he resents immigrants from outside of the Anglosphere.
CITATION: Lovecraft, H. P. “To James F. Morton.” 18 Jan. 1931. Selected Letters. Edited by August Derleth and Donald Wandrei, vol. 3, Arkham House, 1971, pp. 266-80.
As for New York—there is no question but that its overwhelming Semitism has totally removed it from the American stream. Regarding its influence on literary & dramatic expression—it is not so much that the country is flooded directly with Jewish authors, as that Jewish publishers determine just which of our Aryan writers shall achieve print & position. That means that those of us who least express our own people have the preference. Taste is insidiously moulded along non-Aryan lines—so that, no matter how intrinsically good the resulting body of literature may be, it is a special, rootless literature which does not represent us.
DESCRIPTION: In a letter to his friend J. Vernon Shea, Lovecraft claims that the Jewish community in New York controls the publishing industry in the United States.
CITATION: Lovecraft, H. P. “To J. Vernon Shea.” 30 July 1933. Selected Letters. Edited by August Derleth and James Turner, vol. 4, Arkham House, 1965, pp. 229-32.
But of course, the primary reason for such attempts is simply a sensible wish to keep every settled culture (Nordic or not) true to itself for the sake of the human values involved. No one wishes to force Nordicism on the non-Nordic—indeed, a real friend of civilisation wishes merely to make the Germans more German, the French more French, the Spaniards more Spanish, & so on.
DESCRIPTION: In a letter to his friend J. Vernon Shea, Lovecraft defends his views on race, ethnicity, and immigration, claiming that they are not the result of prejudice.
CITATION: Lovecraft, H. P. “To J. Vernon Shea.” 25 Sept. 1933. Selected Letters. Edited by August Derleth and James Turner, vol. 4, Arkham House, 1976, pp. 245-59.
The village rings with ribald foreign cries;
Around the wine-shops loaf with bleary eyes
A vicious crew, that mock the name of “man”,
Yet dare to call themselves “American”.
New-England’s ships no longer ride the sea;
Once prosp’rous ports are sunk in poverty.
The rotting wharves as ruins tell the tale
Of days when Yankees mann’d the swelling sail.
The Indies yield no more their cargoes rare;
The sooty mill’s New-England’s present care:
The noisy mill, by foreign peasants run,
Supplants the glorious shipping that hath gone.
In arid fields, the kine no longer low;
The soil knows not the furrow of the plough;
The rolling meadows all neglected lie,
Fleck’d here and there by some foul alien’s sty.
The school no more contains the busy class;
The walls are down, the ruins chok’d with grass.
Within the gate-post swallows build their nests;
Upon the hill, the gentle master rests.
The mossy lane with briers is o’ergrown;
The bound’ry walls are shapeless heaps of stone,
And thro’ the mourning trees the winds in sorrow moan.
DESCRIPTION: In his poem “New-England Fallen,” Lovecraft describes, in racist language, the impact of industrialization and immigration on New England.
CITATION: Lovecraft, H. P. “New-England Fallen.” The Ancient Track: The Complete Poetical Works of H. P. Lovecraft. Edited by S. T. Joshi, Hippocampus Press, 2013, pp. 385-8.
It was the city I had known before;
The ancient, leprous town where mongrel throngs
Chant to strange gods, and beat unhallowed gongs
In crypts beneath foul alleys near the shore.
The rotting, fish-eyed houses leered at me
From where they leaned, drunk and half-animate,
As edging through the filth I passed the gate
To the black courtyard where the man would be.
The dark walls closed me in, and loud I cursed
That ever I had come to such a den,
When suddenly a score of windows burst
Into wild light, and swarmed with dancing men:
Mad, soundless revels of the dragging dead—
And not a corpse had either hands or head!
DESCRIPTION: In his poem “The Courtyard,” Lovecraft describes a slum inhabited by the living dead.
CITATION: Lovecraft, H. P. “The Courtyard.” The Ancient Track: The Complete Poetical Works of H. P. Lovecraft. Edited by S. T. Joshi, Hippocampus Press, 2013, p. 84.
But success and happiness were not to be. Garish daylight shewed only squalor and alienage and the noxious elephantiasis of climbing, spreading stone where the moon had hinted of loveliness and elder magic; and the throngs of people that seethed through the flume-like streets were squat, swarthy strangers with hardened faces and narrow eyes, shrewd strangers without dreams and without kinship to the scenes about them, who could never mean aught to a blue-eyed man of the old folk, with the loves of fair green lanes and white New England village steeples in his heart.
DESCRIPTION: In a passage from the short story “He” (1925), Lovecraft describes, in racist terms, the sense of alienation he experienced while living in New York City.
CITATION: Lovecraft, H. P. “He.” The Call of Cthulhu and Other Weird Stories. Edited by S. T. Joshi, Penguin Books, 1999, pp. 119-29.
He had for some time been detailed to the Butler Street station in Brooklyn when the Red Hook matter came to his notice. Red Hook is a maze of hybrid squalor near the ancient waterfront opposite Governor’s Island, with dirty highways climbing the hill from wharves to that higher ground where the decayed lengths of Clinton and Court Streets lead off toward the Borough Hall. Its houses are mostly of brick, dating from the first quarter to the middle of the nineteenth century, and some of the obscurer alleys and byways have that alluring antique flavour which conventional reading leads us to call “Dickensian.” The population is a hopeless tangle and enigma; Syrian, Spanish, Italian, and negro elements impinging upon one another, and fragments of Scandinavian and American belts lying not far distant. It is a babel of sound and filth, and sends out strange cries to answer the lapping of oily waves at its grimy piers and the monstrous organ litanies of the harbour whistles. Here long ago a brighter picture dwelt, with clear-eyed mariners on the lower streets and homes of taste and substance where the larger houses line the hill. Once can trace the relics of this former happiness in the trim shapes of the buildings, the occasional graceful churches, and the evidences of original art and background in bits of detail here and there—a worn flight of steps, a battered doorway, a wormy pair of decorative columns or pilasters, or a fragment of once green space with bent and rusted iron railing. The houses are generally in solid blocks, and now and then a many-windowed cupola arises to tell of days when the households of captains and ship-owners watched the sea.
DESCRIPTION: In a passage from the short story “The Horror at Red Hook” (1925), Lovecraft describes the heterogeneous character of Red Hook, a neighborhood in Brooklyn.
CITATION: Lovecraft, H. P. “The Horror at Red Hook.” The Dreams in the Witch House and Other Weird Stories. Edited by S. T. Joshi, Penguin Books, 2004, pp. 116-37.
Just now—as I sit in the sun on Charleston’s Battery, I am being pestered by dozens of coal-black pickaninnies of the average age of eight, who want (a) to dance a jig for my benefit in exchange for a penny, and (b) to black my already-blacked boots. Dey des nochally ca’n’t un’erstan’ wha de genmum ruther write letters than improve his personal appearance or advance his choreographic education! Damn hard little wasps to shoo off—but one doesn’t want to be cross with them.
DESCRIPTION: In a letter to an unknown acquaintance named Mr. Bantz, Lovecraft describes his trip to Charleston, South Carolina, and his interaction with the local African Americans there.
CITATION: Lovecraft, H. P. “To Mr. Bantz.” Selected Letters. Edited by August Derleth and James Turner, vol. 5, Arkham House, 1976, p. 178.