I derived the most extreme pleasure from my toys—of which I had profuse variety, since our really straitened circumstances date only from 1904. My favourite toys were very small ones, which would permit of their arrangement in widely extensive scenes. My mode of play was to devote an entire table-top to a scene, which I would proceed to develop as a broad landscape . . . . helped by occasional trays of earth or clay. I had all sorts of toy villages with small wooded or cardboard houses, and by combining several of them would often construct cities of considerable extent and intricacy. (Do they make these toy villages now? There were even steepled churches!) Toy trees—of which I had an infinite number—were used with varying effect to form parts of the landscape . . . . even forests (or the suggested edges of forests). Certain kinds of blocks made walls and hedges, and I also used blocks in constructing large public buildings.
DESCRIPTION: In a letter to his friend J. Vernon Shea, Lovecraft describes how, as a child, he would build elaborate cities out of wooden blocks and other small toys.
CITATION: Lovecraft, H. P. “To J. Vernon Shea.” 8 Nov. 1933. Lord of a Visible World: An Autobiography in Letters. Edited by S. T. Joshi and David E. Schultz, Ohio University Press, 2000, pp. 18-24.
It so happens that I am unable to take pleasure or interest in anything but a mental re-creation of other & better days—for in sooth, I see no possibility of ever encountering a really congenial milieu or living among civilised people with old Yankee historic memories again—so in order to avoid the madness which leads to violence & suicide I must cling to the few shreds of old days & old ways which are left to me. Therefore no one need expect me to discard the ponderous furniture & paintings & clocks & books which help to keep 454 always in my dreams. When they go, I shall go, for they are all that make it possible for me to open my eyes in the morning or look forward to another day of consciousness without screaming in sheer desperation & pounding the walls & floor in a frenzied clamour to be waked up out of the nightmare of “reality” & my own room in Providence. Yes—such sensitivenesses of temperament are very inconvenient when one has no money—but it’s easier to criticise than to cure them. When a poor fool possessing them allows himself to get exiled & sidetracked through temporarily false perspective & ignorance of the world, the only thing to do is let him cling to his pathetic scraps as long as he can hold them. They are life for him.
DESCRIPTION: In a letter to Lillian Delora Clark, Lovecraft describes his attachment to the past.
CITATION: Lovecraft, H. P. “To Lillian D. Clark.” 8 Aug. 1925. H. P. Lovecraft: Letters from New York. Edited by S. T. Joshi and David E. Schultz, Night Shade Books, 2005, pp. 167-9.
There had been no decay, nor even vandalism. Tables stood about as of yore, pictures we knew still adorned the walls with unbroken glass. Not an inch of tar paper was ripped off, & in the cement hearth we found still embedded the small pebbles we stamped in when it was new & wet—pebbles arranged to form the initials G.M.C.C. Nothing was lacking—save the fire, the ambition, the ebulliency of youth in ourselves; & that can never be replaced. Thus two stolid middle-aged men caught for a moment a vision of the aureate & iridescent past—caught it, & sighed for days that are no more.
DESCRIPTION: In a letter to his aunt, Annie E. P. Gamwell, Lovecraft describes the sense of nostalgia he felt when, as an adult, he found his childhood clubhouse unchanged by time.
CITATION: Lovecraft, H. P. “To Annie E. P. Gamwell.” 19 Aug. 1921. Selected Letters. Edited by August Derleth and Donald Wandrei, vol. 1, Arkham House, 1965, pp. 144-7.
For know you, that your gold and marble city of wonder is only the sum of what you have seen and loved in youth. It is the glory of Boston’s hillside roofs and western windows aflame with sunset; of the flower-fragrant Common and the great dome on the hill and the tangle of gables and chimneys in the violet valley where the many-bridged Charles flows drowsily […] This loveliness, moulded, crystallised, and polished by years of memory and dreaming, is your terraced wonder of elusive sunsets; and to find that marble parapet with curious urns and carven rail, and descend at last those endless balustrade steps to the city of broad squares and prismatic fountains, you need only to turn back to the thoughts and visions of your wistful boyhood.
DESCRIPTION: In a passage from the novella The Dream-Quest of Unknown Kadath, Randolph Carter learns that the fantastic city he has been searching for in his dreams is, in reality, the Boston of his childhood.
CITATION: Lovecraft, H. P. “The Dream-Quest of Unknown Kadath.” The Dreams in the Witch House and Other Weird Stories. Edited by S. T. Joshi, Penguin Books, 2004, pp. 155-251.
I am perfectly confident that I could never adequately convey to any other human being the precise reasons why I continue to refrain from suicide—the reasons, that is, why I still find existence enough of a compensation to atone for its dominantly burthensome quality. These reasons are strongly linked with architecture, scenery, and lighting and atmospheric effects, and take the form of vague impressions of adventurous expectancy coupled with elusive memory—impressions that certain vistas, particularly those associated with sunsets, are avenues of approach to spheres or conditions of wholly undefined delights and freedoms which I have known in the past and have a slender possibility of knowing again in the future. Just what those delights and freedoms are, or even what they approximately resemble, I could not concretely imagine to save my life; save that they seem to concern some ethereal quality of indefinite expansion and mobility, and of a heightened perception which shall make all forms and combinations of beauty simultaneously visible to me, and realisable by me. I might add, though, that they invariably imply a total defeat of the laws of time, space, matter, and energy—or rather, an individual independence of these laws on my part, whereby I can sail through the varied universes of space-time as an invisible vapour might …… upsetting none of them, yet superior to their limitations and local forms of material organisation. The commonest form of my imaginative aspiration—that is, the commonest definable form—is a motion backward in time, or a discovery that time is merely an illusion and that the past is simply a lost mode of vision which I have a chance of recovering.
DESCRIPTION: In a letter to his friend August Derleth, Lovecraft claims that a desire to experience certain sensations, including the feeling of traveling backwards through time, constitutes his chief reason for living.
CITATION: Lovecraft, H. P. “To August Derleth.” 1930. Lord of a Visible World: An Autobiography in Letters. Edited by S. T. Joshi and David E. Schultz, Ohio University Press, 2000, pp. 231-4.
At Break-Neck Hill Road we diverg’d to the eastward and travers’d the winding roads thro’ the exquisite sylvan stretches of Quinsnicket, or Lincoln-Woods, my favourite haunt on fine summer afternoons. It seem’d appropriate to return to my native scenes thro’ this lovely and typical part of them—and this avenue of approach set off very ably the occasional glimpses of the distant spires and domes of OLD PROVIDENCE which hilltop moments afforded. PROVIDENCE—my native land! No sensation at any stage of my travels equall’d that with which I was animated as we drew near the scene of my birth and lifelong memories. Pawtucket was a dingy interlude. Then the line of East Avenue and Hope Street—and the PROVIDENCE urban boundary at the end of Blackstone Boulevard, known to me for thirty years and more, and the scene of my choicest bicycle rides of boyhood! Again my three-corner’d hat was rais’d from the powder’d locks of my periwig. HOME! After that but a little space to Barnes Street, then a turn under shady trees, a square or two westward to where the road touches the brink of the antient hill and vanishes into the golden sunset sky betwixt old houses—and then Number Ten! My own hearthstone at last—and all the remember’d books and furniture of my youth! It was the eighteenth of May, and I had been abroad since the fourth of April! A marvellous, pleasing, and vary’d trip in all its parts, yet providing no sight more agreeable than Old Providence, or any moment so delightful as that of my return to my cherish’d doorstep.
DESCRIPTION: In his essay “Travels in the Provinces of America,” Lovecraft describes his sensations when, after a long trip abroad, he returned home to his beloved Providence.
CITATION: Lovecraft, H. P. “Travels in the Provinces of America.” Collected Essays. Edited by S. T. Joshi, vol. 4, Hippocampus Press, 2005, pp. 32-61.
Once every year, in autumn’s wistful glow,
The birds fly out over an ocean waste,
Calling and chattering in a joyous haste
To reach some land their inner memories know.
Great terraced gardens where bright blossoms blow,
And lines of mangoes luscious to the taste,
And temple-groves with branches interlaced
Over cool paths—all these their vague dreams shew.
They search the sea for marks of their old shore—
For the tall city, white and turreted—
But only empty waters stretch ahead,
So that at last they turn away once more.
Yet sunken deep where alien polyps throng,
The old towers miss their lost, remembered song.
DESCRIPTION: In his poem “Nostalgia,” Lovecraft describes the sense of longing migratory birds feel for their faraway home, a sentiment similar to the one he felt after his childhood home was sold in 1904.
CITATION: Lovecraft, H. P. “Nostalgia.” The Ancient Track: The Complete Poetical Works of H. P. Lovecraft. Edited by S. T. Joshi, Hippocampus Press, 2013, p. 92.