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.
I used to write detective stories very often, the works of A. Conan Doyle being my model so far as plot was concerned. But Poe was my God of Fiction. I used to love the horrible and the grotesque—much more than I do now—and can recall tales of murderers, spirits, reincarnations, metempsychoses, and every shudder-producing device known to literature!
DESCRIPTION: In a letter to his friend Rheinhart Kleiner, Lovecraft describes his childhood infatuation with the works of Arthur Conan Doyle and Edgar Allan Poe.
CITATION: Lovecraft, H. P. “To Rheinhart Kleiner.” 2 Feb. 1916. Selected Letters. Edited by August Derleth and Donald Wandrei, vol. 1, Arkham House, 1965, pp. 20-1.
My reason for writing stories is to give myself the satisfaction of visualising more clearly and detailedly and stably the vague, elusive, fragmentary impressions of wonder, beauty, and adventurous expectancy which are conveyed to me by certain sights (scenic, architectural, atmospheric, etc.), ideas, occurrences, and images encountered in art and literature. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve, momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which for ever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis. These stories frequently emphasise the element of horror because fear is our deepest and strongest emotion, and the one which best lends itself to the creation of nature-defying illusions. Horror and the unknown or the strange are always closely connected, so that it is hard to create a convincing picture of shattered natural law or cosmic alienage or “outsideness” without laying stress on the emotion of fear. The reason why time plays a great part in so many of my tales is that this element looms up in my mind as the most profoundly dramatic and grimly terrible thing in the universe. Conflict with time seems to me the most potent and fruitful theme in all human expression.
DESCRIPTION: In his essay “Notes on Writing Weird Fiction,” Lovecraft states that he writes supernatural horror because he finds the limitations of natural law “galling” and thus enjoys exploring an alternative reality in which they have been suspended.
CITATION: Lovecraft, H. P. “Notes on Writing Weird Fiction.” Collected Essays. Edited by S. T. Joshi, vol. 2, Hippocampus Press, 2004, pp. 175-8.
The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown. These facts few psychologists will dispute, and their admitted truth must establish for all time the genuineness and dignity of the weirdly horrible tale as a literary form. Against it are discharged all the shafts of a materialistic sophistication which clings to frequently felt emotions and external events, and of a naively insipid idealism which deprecates the aesthetic motive and calls for a didactic literature to uplift the reader toward a suitable degree of smirking optimism. But in spite of all this opposition the weird tale has survived, developed, and attained remarkable heights of perfection; founded as it is on a profound and elementary principle whose appeal, if not always universal, must necessarily be poignant and permanent to minds of the requisite sensitiveness.
DESCRIPTION: In his essay “Supernatural Horror in Literature,” Lovecraft claims that the weird tale, despite the objections of its critics, is a legitimate form of artistic expression.
CITATION: Lovecraft, H. P. “Supernatural Horror in Literature.” Collected Essays. Edited by S. T. Joshi, vol. 2, Hippocampus Press, 2004, pp. 82-125.
My health prevented college attendance; but informal studies at home, and the influence of a notably scholarly physician-uncle, helped to banish some of the worst effects of the lack. In the years which should have been collegiate I veered from science to literature, specialising in the products of that eighteenth century of which I felt myself so oddly a part. Weird writing was then in abeyance, although I read everything spectral that I could find—including the frequent bizarre items in such cheap magazines as The All-Story and The Black Cat. My own products were largely verse and essays—uniformly worthless and now relegated to eternal concealment.
DESCRIPTION: In his essay “Some Notes on a Nonentity,” Lovecraft describes the extent of his informal education.
CITATION: Lovecraft, H. P. “Some Notes on a Nonentity.” Collected Essays. Edited by S. T. Joshi, vol. 5, Hippocampus Press, 2006, pp. 207-11.
It’s not a bad idea to call this Cthulhuism & Yog-Sothothery of mine “The Mythology of Hastur”—although it was really from Machen & Dunsany & others, rather than through the Bierce-Chambers line, that I picked up my gradually developing hash of theogony—or daimonogony. Come to think of it, I guess I sling this stuff more as Chambers does than as Machen & Dunsany do—though I had written a good deal of it before I ever suspected that Chambers ever wrote a weird story!
DESCRIPTION: In a letter to his friend August Derleth, Lovecraft describes the origins of the Cthulhu Mythos, citing Arthur Machen and Lord Dunsany as influences.
CITATION: Lovecraft, H. P. “To August Derleth.” 16 May 1931. Essential Solitude: The Letters of H. P. Lovecraft and August Derleth. Edited by David E. Schultz and S. T. Joshi, vol. 1, Hippocampus Press, 2013, pp. 335-9.
There is no field other than the weird in which I have any aptitude or inclination for fictional composition. Life has never interested me so much as the escape from life.
DESCRIPTION: In a letter to his friend J. Vernon Shea, Lovecraft explains why he writes weird fiction as opposed to literary fiction.
CITATION: Lovecraft, H. P. “To J. Vernon Shea.” 7 Aug. 1931. Selected Letters. Edited by August Derleth and Donald Wandrei, vol. 3, Arkham House, 1971, pp. 394-6.
Now all my tales are based on the fundamental premise that common human laws and interests and emotions have no validity or significance in the vast cosmos-at-large. To me there is nothing but puerility in a tale in which the human form—and the local human passions and conditions and standards—are depicted as native to other worlds or other universes. To achieve the essence of real externality, whether of time or space or dimension, one must forget that such things as organic life, good and evil, love and hate, and all such local attributes of a negligible and temporary race called mankind, have any existence at all.
DESCRIPTION: In a letter to editor Farnsworth Wright, Lovecraft describes the philosophy that inspires his fiction.
CITATION: Lovecraft, H. P. “To Farnsworth Wright.” 5 July 1927. Selected Letters. Edited by August Derleth and Donald Wandrei, vol. 2, Arkham House, 1968, pp. 149-51.
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.
In everything I do there is a certain concreteness, extravagance, or general crudeness which defeats the vague but insistent object I have in mind. I start out trying to find symbols expressive of a certain mood induced by a certain visual conception …, but when I come to put anything on paper the chosen symbols seem forced, awkward, childish, exaggerated, & essentially inexpressive. I have staged a cheap, melodramatic puppet-show without saying what I wanted to say in the first place.
DESCRIPTION: In a letter to fellow writer Clark Ashton Smith, Lovecraft expresses doubts about the value of his writing.
CITATION: Lovecraft, H. P. “To Clark Ashton Smith.” 13 Dec. 1933. Selected Letters. Edited by August Derleth and James Turner, vol. 4, Arkham House, 1965, pp. 328-36.