I recently took one phase of this subject—the influence of commercialism on art—up with young Finlay, the brilliant new WT artist, who thought Grandpa was too severe on the editorial rats who have gnawed most of the merit out of the coming crop of writers. Finlay thought that the obstacles put in the way of good writing form a stimulating “challenge” . . . . . God! As if the ruthless discouraging of true merit & systematic encouragement of cheap & tawdry charlatanism had anything beneficial in it! As I told Finlay, the “challenge” offered by commercialism is not the true challenge of harder conditions in the right line of development, but is simply a demand for aesthetically harmful departures from the right line of development. What is valued & insisted upon by commercial editors is precisely what has no place whatever in authentic literary expression. Whoever consents to aim for tawdry effects demanded by commerce, is deliberately checking & perhaps permanently injuring his ability in an effort to achieve certain cheap results alien & antagonistic to literature. The literary ruin of brilliant figures like Long, Quinn, Price, Merritt, & Wandrei speaks for itself. No really fine story would ever be accepted by a modern pulp editor if submitted without the name of a prominent author. I have no hesitancy in saying that “The Willows”, anonymously submitted, would draw a rejection slip from every penny-dreadful editor in England & America combined. When a half-decent story does get printed in a pulp magazine, it is generally because of some irrelevant element wholly unrelated to its real merit. The really best stories of the same author would be promptly rejected—as the experience of Klarkash-Ton eloquently proves. The one effect of commerce on the writer is to make him stop trying to write good stuff & begin trying to tailor trash to order in conformity with some cheap & anti-artistic formula. This is no proper challenge. The real challenges are those offered by the various problems of aesthetic expression—the problems of achieving this or that different effect in genuine artistry. Concrete embodiments of these real challenges are things like Nobel & Pulitzer Prizes, & the standards set by “quality” magazines & the more substantial & dignified publishing houses . . . standards based on intellectual reputation, not on sales. Those, of course, are a far cry from rampant commercialism. That, indeed, is an unmitigated evil which has ruined more potential authors than any other single influence. It is useless to point out that a few tremendously vigorous authors like Two-Gun Bob do somehow find a way to circumvent commercialism in part, & to get a few good stories published in spite of Mammon-standards. Even in this case a cruel waste of energy & ability—which might have gone into aesthetic creation—is involved, & the net output of the author is just so much less excellent than it would have been in the absence of commercial pressures. . . .
DESCRIPTION: In a letter to fellow writer C. L. Moore, Lovecraft criticizes the commercialism of the publishing industry, which encourages writers to conform to a “cheap & anti-artistic formula.”
CITATION: Lovecraft, H. P. “To C. L. Moore.” 20 Oct. 1936. Letters to C. L. Moore and Others. Edited by David E. Schultz and S. T. Joshi, Hippocampus Press, 2017, pp. 175-85.
Well—take Bob Howard. There’s a bird whose basic mentality seems to me to be just about the good respectable citizen’s bank cashier, medium shopkeeper, ordinary lawyer, stockbroker, high school teacher, prosperous farmer, pulp fictionist, skilled mechanic, successful salesman, responsible government clerk, routine army or navy officer up to a colonel, etc. average—bright and keen, accurate and retentive, but not profound or analytical—yet who is at the same time one of the most eminently interesting beings I know. Two-Gun is interesting because he has refused to let his thoughts and feelings be standardised. He remains himself. He couldn’t—today—solve a quadratic equation, and probably thinks that Santayana is a brand of coffee—but he has a set of emotions which he has moulded and directed in uniquely harmonious patterns, and from which proceed his marvelous outbursts of historic retrospection and geographical description (in letters), and his vivid, energised and spontaneous pictures of a prehistoric world of battle in fiction …. pictures which insist on remaining distinctive and self-expressive despite all outward concessions to the stultifying pulp ideal. It is, therefore, piquant and enjoyable to exchange ideas with Two-Gun or to read his stories. He is of about the same intelligence as Seabury Quinn—but Yuggoth, what a difference!
DESCRIPTION: In a letter to his friend Kenneth Sterling, Lovecraft describes his impression of Robert E. Howard and his writing.
CITATION: Lovecraft, H. P. “To Kenneth Sterling.” 14 Dec. 1935. Lord of a Visible World: An Autobiography in Letters. Edited by S. T. Joshi and David E. Schultz, Ohio University Press, 2000, p. 253.
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.
It is hard to describe precisely what made his stories stand out so—but the real secret is that he was in every one of them, whether they were ostensibly commercial or not. He was greater than any profit-seeking policy he could adopt—for even when he outwardly made concessions to the mammon-guided editors he had an internal force and sincerity which broke through the surface and put the imprint of his personality on everything he wrote. Seldom or never did he set down a lifeless stock character or situation and leave it as such. Before he got through with it, it always took on some tinge of vitality and reality in spite of editorial orders—always drew something from his own first-hand experience and knowledge of life instead of from the barbarism of desiccated pulpish standbys. He was almost alone in his ability to create real emotions of fear and of dread suspense. Contrast his “Black Canaan” with the pallid synthetic pap comprising the rest of the current issue of W T. Bloch and Derleth are clever enough technically—but for stark, living fear …. The actual smell and feel and darkness and brooding terror and impending doom that inhere in that nighted, moss-hung jungle ….. what other writer is even in the running with R E H? No author can excel unless he takes his work very seriously and puts himself whole-heartedly into it—and Two-Gun did just that, even when he claimed and consciously believed that he didn’t. And this is the giant whom Fate had to snatch away whilst hundreds of insincere hacks continue to concoct phony ghosts and vampires and space-ships and occult detectives!
DESCRIPTION: In a letter to his friend and fellow writer E. Hoffmann Price, Lovecraft describes the authenticity and sincerity inherent in Robert E. Howard’s fiction.
CITATION: Lovecraft, H. P. “To E. Hoffmann Price.” 20 June 1936. Lord of a Visible World: An Autobiography in Letters. Edited by S. T. Joshi and David E. Schultz, Ohio University Press, 2000, pp. 337-9.