“Dr. Frankenstein’ll be ‘appy,” Louis Grogan said. He was a recent transplant to the states, his cockney accent giving him away. Louis was a young kid when he ran away from home and jumped on a freighter. He didn’t realize he was headed for the America’s until the boat landed in Plymouth. Being so young, naïve, and stupid, He was the perfect specimen for Buddy Charles to exploit.
“Boy, you know it,” Buddy responded, “you grab the head and I’ll grab the feet.”
The night was dark and storm clouds rolled over the graveyard. Buddy liked it when the weather was poor. A little thunder and a little rain made the digging was much easier. Not to mention you could be damn near as loud as you wanted and prying ears wouldn’t hear you. That was the problem with grave robbing. People always called the law.
They lifted the crudely made casket from the earth; cold blue moonlight refracting off the grave dirt. They had a carriage waiting for them with doors akimbo, so once they freed the casket they hoisted it into the carriage and slammed the doors shut. The crack of the carriage doors was echoed a moment afterward with a ripple of thunder.
“Louis, shut yer pie hole. No need to be groaning like that! What, you hurt yourself?” Buddy hissed.
“It wa’nt me, boss,” Louis said.
No, it couldn’t have been Louis. He was much too close. That moan came from a distance.
“Get saddled up, hoss. We’re getting outta here,” Buddy said.
He scanned the graveyard, waiting for the lightning to illuminate the plot; straining to find the origin of that moan.
“We got company, hoss. Out yonder, beyond the Mausoleum. He’s a big ‘un too. Let’s get moving,” Buddy said.
He climbed on the front of the carriage next to Louis and cracked the reigns. The horses neighed and reared and Buddy wondered if their reaction was because of the reigns or the thunder.
“Shit, that was close!” Louis cried.
Buddy cracked the reigns once again, urging the horses to speed.
A large figure stepped out in front of the carriage and grabbed one of the horses by the neck. The force of the figure and the momentum of the horse created an audible crack as the horse’s neck snapped and it collapsed to the ground. The carriage tilted from the mismatched inertia and it flipped on its side. Buddy and Louis were thrown clear from the carriage as it rolled and smashed up against a rock.
Buddy rose to his knees. He shook his head in an effort to clear the haze of shock from the wreck. A large figure stepped over him. Lightning shone dirty boots and overalls covered in grave dirt.
The creature above him moaned. It had bulging muscles beneath the overalls and another crack of lightning illuminated its face. It was a patchwork of brown and pink skin crudely stitched together.
“Do not be afraid of him, Buddy,” a familiar voice echoed over the graveyard.
“Dr. Frankenstein? What’s going on here?” Buddy asked. He was vaguely aware of his bladder releasing. He glanced around and saw Louis was unconscious lying on the ground.
“He’s glorious, isn’t he?” Dr. Frankenstein said. The doctor looked up at the creature and smiled. He approached and caressed its arm. “Such an amazing specimen.”
“What…what is he?” Buddy asked.
“He is my creation!” Frankenstein said.
“What, like a robot?” Buddy asked.
“No! He’s alive!” Dr. Frankenstein cried. “I’ll show you what he can do!”
The doctor whistled and the creature walked over to Louis.
“UUUUUHHHH,” It moaned.
It grabbed Louis by the head and lifted him off the ground before turning Louis around like a rag doll and swinging his body, crushing his head against a rock. The creature groaned and repeatedly swung Louis’ body down. With each subsequent blow Louis’ head flattened until eventually gore and bone splayed like a child’s drawing over the granite. Buddy felt the hot splash of blood and brain spatter across his face.
“Oh, god!” He cried.
“Isn’t it beautiful?” Dr. Frankenstein said.
Buddy jumped up and tried to run but the creature was faster. It grabbed his arm and twisted him into an embrace. Its breath reeked of decaying putrescence that made his eyes water.
“I am truly sorry Buddy,” Dr. Frankenstein said. “I just had to make sure you couldn’t escape.”
The creature pinned his arms to his sides and picked him up off the ground. He kicked the creature with all his might and it didn’t even seem to notice.
“You see, I’ve always admired you Buddy. You were never got caught by the police,” Frankenstein opined. He took a few steps toward them. Lightning flashed again, illuminating the grimacing construct of semi-rotten skin.
“That takes a special kind of intelligence. To stay out of jail all of these years, I mean,” The doctor crooned.
The creature leaned Buddy over and pinned him to the ground. He tried to move his arms but the creature’s hands were like iron shackles.
“You see Buddy, this creature is incredibly complex. It has taken years of experimentation. You’ve been able to provide me with some exemplary body parts, always taking care the tissues weren’t too decayed. This is important Buddy, because they need to hold up as I patch them together. But those are just limbs. When I tried to give my creature intelligence the corpse brains never worked. I’ve found that once the body dies the synapses that make the brain work aren’t far behind. I needed a fresh brain. Some new intelligence. That’s what my creature is lacking. The final piece of the puzzle,” Frankenstein said, suddenly brandishing a knife.
“UUUUHHHHH,” the creature moaned, as if to confirm Frankenstein’s statement.
“A brain of its own.”
Frankenstein held the carving knife up to Buddy’s forehead and began to cut.
“Then, driven ahead by curiosity in their captured yacht under Johansen’s command, the men sight a great stone pillar sticking out of the sea, and in S. Latitude 47* 9′, W. Longitude 126* 43′ come upon a coast-line of mingled mud, ooze, and weedy Cyclopean masonry which can be nothing less than the tangible substance of earth’s supreme terror – the nightmare corpse-city of R’lyeh, that was built in measureless aeons behind history by the vast, loathsome shapes that seeped down from the dark stars.”
Welcome back to another Blind Read! This time…I swear…This time we will finish The Call of Cthulhu! There is just far too much memorable and incredibly in depth material here to try and crunch it down, and I didn’t want to have two posts of 10k words a piece. Anyway here we go!
Last week we left off with the conclusion of Legrasse’s story of how he came across the Cthulhu idol and his raid of the cultists in the swamps of Louisiana. This week we start off by getting some connectivity between the two story lines (Wilcox and Legrasse).
Once Legrasse finishes his story, Angell takes the idol which was a remarkable resemblance to the one which Wilcox fabricated from his dreams. Both the narrator and Angell seem to be in denial, believing Wilcox must have somehow heard the story of the Louisiana raid, because Angell’s papers tell us that the idol “…was, no doubt, the giant shape he (Wilcox) had raved of in delirium.”
Our narrator goes to see his Uncle (Angell) who speaks of how the whole ordeal has effected him. “He talked of his dreams in a strangely poetic fashion; making me see with terrible vividness the damp cyclopean city of slimy green stone – whose geometry, he oddly said, was all wrong…”
We find that Wilcox “…had soon forgotten it amidst the mass of his equally weird reading and imagining…” and yet Angell seems to be followed by it. In fact our narrator tells us that “my uncle’s death was far from natural.” and yet still the narrator strives to understand what all of this actually means: “for I felt sure that I was on track for a very real, very secret, and very ancient religion whose discovery would make me an anthropologist of note.”
There are two very interesting themes here if you’ll indulge me. The first being Wilcox’s apparent amnesia. How can it be that someone can experience such a breakdown and not remember much about it? Beyond that, how can there be such a great population across the world which experienced the Call and for that month had similar breakdowns, only to go about their normal lives? The answer? Disassociation.
We humans are excellent at putting things in buckets and adapting. If there’s something that’s a little too big for our minds to wrap around, we are able to put it aside and basically ignore that it ever happened. This is a theme that is so closely tied to madness that I’m surprised that I haven’t seen or heard about it in Lovecraft discussions already. We already know that the mere thought of The Great Old Ones can drive a person insane, but what does that really do to a person? How does that effect our narrative?
It’s disassociation which makes Lovecraft so prominent. How can these cults remain so hidden when they have such reach? How can The Great Old Ones be so influential, but no one knows about them? How can COVID-19 be so prevalent, but we still go about our daily lives? We as humans have an ability to ignore facts if they aren’t in our face, and then when they appear they can drive us to madness. This is the classic “I didn’t think it could happen to me!” syndrome. There’s a reason why people are scared of ghosts and things that go bump in the night, because in the back of their mind there’s the possibility the supernatural could be real. But of course we ignore that…until we are face to face with something we are unable to rationally explain.
The second theme which keeps presenting itself over and over again is character Hubris. Again and again we see these people go down the rabbit hole of chaos and end up paying the price. So what is it that makes them do it? We get the quote right in the text from the narrator, “I was on the track of a very real, very secret, and very ancient religion whose discovery would make me an anthropologist of note.” Our narrator ignores all the signs of danger and actively participates in denial. Why did Wilcox forget about everything and his Uncle conversely get sucked in? Because Wilcox had a momentary lapse of sanity and Angell got old and couldn’t deal with the real life consequences of his pursuits? But of course, our narrator is young and strong, so nothing could possibly effect him the way it did his Uncle…right?
It’s something we see again and again in Lovecraft because it’s so endemic in our personalities as humans. If we want something, we’ll ignore the red flags, even the direct danger, because it’s something you desire. In both life and love this is a universal truth, but the denial of this truth is strong because the ends justify the means. In a relationship you’ll ignore red flags because you want to be with the person. In Hubris, you’ll ignore the dangers because the end result of the pursuit is that ever elusive power.
This pursuit leads our narrator to find a news article from the Sydney Bulletin which describes the freighter ship “Vigilant” who captured a ship with one living man and one dead man. The living man was Gustaf Johansen and his story brings together the reason why so many people went cuckoo that April.
While sailing in the middle of the Ocean on the schooner Emma, the crew came in contact with a yacht Alert, who had a very aggressive crew which attacked the Emma. Damaged, the Emma sinks and a number of the crew die, but the remainder now led by Johansen, boards and kills the crew of the Alert easily, “because of their particularly abhorrent and desperate though rather clumsy mode of fighting.”
“The next day, it appears, they raised and landed on a small island, although none is known to exist in that part of the ocean.” Johansen doesn’t seem to have a memory of what happened but the only survivors on the Emma turned out to be Briden and Johansen himself, with Briden dying of “…no apparent cause, and was probably due to excitement or exposure.”
The narrator comes to a realization. Right about the time Johansen and the crew get to the strange island in the ocean, is right about the time things started going crazy all over the world. To dig even further (Hubris) into this quandary, he decides to go and find Johansen.
Eventually he finds that Johansen has gone back to Oslo, but died shortly after returning. Apparently “Physicians found no adequate cause for the end, and laid it down to heart trouble and a weakened constitution.” If that sounds familiar, that’s because that’s the same thing Angell died of, but still our narrator ignores the signs.
Johansen’s widow gives the narrator Johansen’s journal, and finally we find the terrible truth.
The journey of the Emma started off with a vast earthquake and fast forwarding, after the fight and boarding of the Alert we find that the strange island they found (the quote from the beginning of this essay) is none other than the Nightmare City of R’lyeh, presumably broken free, or arisen from the depths because of the strange earthquake.
Johansen and his crew go aboard this strange island and are immediately ill at ease with its geometry; “He had said that the geometry of the dream-place he saw was abnormal, non-Euclidean, and loathsomely redolent of spheres and dimensions apart from ours.”
We are met with the strange angles from such stories as Dreams in the Witch House and Sphere’s such as in the stories of The Case of Charles Dexter Ward and the Dunwich Horror. We know that these are the calling cards of the Great Old Ones, the architecture of madness which encompasses their culture, things which call Their attention which are too hard for our mere mortal minds to comprehend. For example “suspense lurked leeringly in those crazily elusive angles of carven rock where a second glance shewed concavity after the first shewed convexity.” and “though they could not decide whether it lay flat like a trap-door or slantwise like an outside cellar door.“
The group tried to open the door to no avail, until suddenly the door opened by itself: “In this phantasy of prismatic distortion it moved anomalously in a diagonal way, so that all rules of matter and perspective seemed upset.”
From inside Cthulhu “…actually burst forth like smoke from it’s aeon-long imprisonment, visibly darkening the sun as it slunk away inot the shrunken and gibbous sky on flapping membranous wings.”
“After vigintillions (which equals 1 with 63 zeros after it) of years Great Cthulhu was loose again, and ravening for delight.”
So we know that nine men went aboard that island, but only two got back to the ship. Here’s what happened:
“Three men were swept up by the flabby claws before anybody turned. Parker slipped as the other three were plunging frenziedly over endless vistas of green-crusted rock to the boat, and Johansen swears he was swallowed up by an angle of masonry which shouldn’t have been there; and angle which was acute, but behaved as if it were obtuse.”
Briden and Johansen were the only two that made it to the boat, and as they fled “…the Titan thing from the stars slavered and gibbered like Polypheme (more cylops references) cursing the fleeing ship of Odysseus.“
“Briden looked back and went mad…But Johansen had not given out yet.”
“The awful squid-head with writhing feelers came nearly up to the bow-sprit of the sturdy yacht, but Johansen drove on relentlessly.” And Johansen got lucky. He never looked back and never got a full glimpse of Cthulhu as It actually is. It seems as though for that brief moment Cthulhu was in our world, until it ascended back up to the stars, It sent It’s Call to our world. The empaths like Wilcox felt this Call and had a month long descent into madness, because at It’s core, Cthulhu’s essence is chaos. Briden stayed in that spot on the ship and died, not eating nor drinking, scared to death, because just seeing The Great Priest was enough to strip his mind.
Our narrator put the journal in with his notes and the idol into a lock box and set it aside knowing that what he felt while reading it, that strange otherworldliness, the odd feeling that what he was reading was not possible but was possible at the same time, that he vowed never to let that information see the light of day.
He knows that the cults still exists and he knows that one day Cthulhu may return, but R’lyeh was sunken again and so he just has to hope that while he lives the stars wont align to give a path back for the High Priest from the stars.
Join me next week as we read “The Terrible Old Man!”
It is really no wonder that so many of the games that have come out focus so much on this particular Lovecraft story and there are three reasons for this being so.
The first is that we actually get to see Cthulhu, unlike the other Great Old Ones. Sure, we get to see a bit of the Shoggoth, but that’s not nearly the same because they’re just the workers, the slave labor of the Great Old Ones. Because we have a idea of what this creature looks like and has abilities to do, we are able to put it into a gameable scenario.
This story has incredible imagery, but what makes it special is that it’s tied to specific places around the world, so that leads to the second point. Many games follow along with the investigative plotline, which is this story in it’s entirety. You have a narrator who is following clues, through cultists and strange happenings, to find…and hopefully stop…the ultimate horrible ending. The rise of Cthulhu.
Finally Lovecraft has a tried and true style which he uses in many of his tales to bring the reader into the story. It was made famous by Bram Stoker in Dracula, but Lovecraft uses it to perfection. This is the Epistolary model. The best way to make something feel more realistic and more impactful is to show the action as part of a letter or as part of a newspaper. These epistles show first hand experience rather than just a narrator (which in Lovecraft are primarily unreliable) telling us a story. This gives the reader something they can feel they could look it up themselves which gives the narration validity and trustworthiness, especially when dealing with the macabre and otherworldly. It’s no wonder that this style is so popular in spectacular fiction
“There lay Great Cthulhu and his hordes, hidden in green slimy vaults and sending out at last, after cycles incalculable, the thoughts that spread fear into dreams of the sensitive and called imperiously to the faithful to come on a pilgrimage of liberation and restoration. All this Johansen did not suspect, but God knows he soon saw enough!”
Welcome back to another Blind Read! I was planning on concluding the illustrious “The Call of Cthulhu” this week, but it turns out I had waaaay to much to say, so we’re going to push the conclusion to next week!
Last week we finished with a few thoughts about Cthulhu himself (itself? herself? theirself?), and the beginning of Detective Legrasse’s story. Remember how he went into the swamps of Louisiana and found a bunch of cultists effecting a ritual around a ring of fire and in the center of that ring was a monolith with a statue of Cthulhu on it’s apex? Well there was a tussle as the police broke up the ritual, “Wild blows were struck, shots were fired, and escapes were made…”
In the end the police captured “forty-seven sullen prisoners” and “The image on the monolith (the idol of Cthulhu)…was carefully removed and carried back by Legrasse.”
Initially the police thought this gathering was just a particularly nefarious voodoo cult. They let their prejudice guide them in their approach because, “Most were seamen, and a sprinkling of negroes and mulattoes, largely West Indians or Brava Portuguese from the Cape Verde Islands, gave a colouring of voodooism to the heterogeneous cult. But before many questions were asked, it became manifest that somethign far deeper and older than negro fetichism (sp) was involved.”
The police did everything they could to get more information out of the worshippers beyond that they prayed to “The Great Old Ones who lived ages before there were any men,” and that “This was a cult,” who “...had always existed and always would exist… until the time when the great priest Cthulhu, from his dark house in the mighty city of R’lyeh under the waters, should rise and bring the earth again beneath his sway.”
The cultists said they were innocent of any killing. All those missing people, all the dead bodies that led the police to execute the raid were denied. The cultists said the ritual “…killing had been done by Black Winged Ones which had come to them from their immemorial meeting-place in the haunted wood.”
This strikes me as incredibly atmospheric. The thought of the old Spanish Moss trees, hanging down over the swampy foggy ground where hidden dark winged aeon old creatures lurk, just tickles my imagination in the best possible way. The description of the raid is short, but the set up is effective enough and then as we continually look back at the events surrounding the raid, it gives you a more and more grotesque point of view of what they actually walked into.
They finally get one of the cultists, “Old Castro,” to give them a bit more information. “There had been aeons when other things ruled on the earth, and They had had great cities. The remains of Them… were still to be found as Cyclopean stones on islands in the Pacific” (this is important later in the story), and “there were arts which could revive Them when the stars had come round again to the right positions in the cycle of eternity.” because “They had, indeed, come themselves from the stars, and brought their images with them.“
That is an interesting statement. “Brought their images with them.” Castro tells us that the Great Old Ones “had shape… but that shape was not made of matter.” Then he gives us the most important and interesting line of the story:
When the stars were right, They could plunge from world to world through the sky; but when the stars were wrong, They could not live.
Shortly there afterward we get “the much discussed couplet” from the Necronomicon:
That is not dead which can eternal lie, And with strange aeons even death may die.
Lets put all this together. We are told that Cthulhu and the other Great Old Ones are dead and trapped in their great city of R’lyeh under the Pacific Ocean somewhere, because at some point on ancient history the city sunk. How can They be asleep but dead and have form but no matter?
The Great Old ones are immortal so we know that even though we are told Cthulhu is dead under the ocean, He is also immortal thus he cannot die. We also know that They are from the stars and made from the stars. So then we go back to what Old Castro told us, “They brought their images with them.”
The Great Old Ones came from the stars with form, but those forms were just shells, just fantastic images of what they projected themselves as. What we think of as Cthulhu, dead and sleeping under the ocean is in actuality just a shell. Cthulhu and the Other Great Old Ones ascended back to the stars at some point, and because they are formless (and maybe just concepts?) they left their shells to remain on Earth for the time when they need or want to come back. So that’s why Cthulhu can be both dead and sleeping at the same time. It is just the shell and He can be awoken through a ritual when the stars align, giving Him a causeway to earth.
When reading through Lovecraft the couplet is in many stories, and is something which always confused me. This story made it terribly obvious. Cthulhu is immortal, thus eternal, thus he cannot die; “That is not dead which can eternal lie,” ok that makes sense, but then what does the second part mean? “And with strange aeons even death may die.” Oh. Given time and multiple universes (and dream worlds) even death, the ultimate absolute can die. Cthulhu and the other Great Old Ones, are more powerful than what we understand as the ultimate absolute.
Cultists for these types of beings never really made sense to me before. There is certain subset of the anarchists who want to set the world on fire, but Castro describes the resurrection of The Great Old Ones this way:
“The time would be easy to know, for then mankind would have become as the Great Old Ones; free and wild and beyond good and evil, with laws and morals thrown aside and all men shouting and killing and revelling in joy. Then the liberated Old Ones would teach them new ways to shout and kill and revel and enjoy themselves, and all the earth would flame with a holocaust of ecstasy and freedom.“
So I can see how there might be a very small amount of people who could believe that this is the way to go. But the volume of people? That ceremony that Legrasse broke up was hundreds of cultists. They all want to burn the world?
Then while digesting this story and the infamous couplet brought me to a realization. Yes, there are people that want to burn the world, but there are a far higher population which are terrified of death. If the return of the Great Old Ones means that the followers will be granted eternity, than there probably is a huge amount of the population who would be willing to take part, damn the consequences. Death is supposed to be the absolute, but what if it didn’t have to be?
Beyond this the couplet brings up what Lovecraftian horror really means. Cosmic horror is a difficult concept to wrap your mind around and it’s specifically built that way. The couplet gives us a glimpse into what this really means; where we truly stand in the world. I remember showing my wife the reboot of the show “Cosmos” narrated by Neil Degrasse Tyson. When they showed the earth in comparison to the galaxy and then in contrast with the universe, she made me turn it off because it gave her the willies. It was too much for her to understand that our entire world means absolutely nothing in the grand scheme of things. This is the same concept with cosmic horror except more theologically. Death is where we all head, but there are things so far beyond that. Things that are “miles tall” that cannot die. Things which have lived billions of years and will live for billions more.
It’s no wonder Lovecraft was agoraphobic, if he just sat around thinking about these concepts all day.
Join me next week for the conclusion of “The Call of Cthulhu!”
Just a few more thoughts if you’ll indulge me. While reading about the section on the raid I had a conceptual thought about Lovecraft in general. In the story Lovecraft uses a thematic approach that describes the action in a single line, then when recalling the events Legrasse goes into much greater detail. After reading as much Lovecraft as I have, I can say that he did this because he’s not great at writing action, however his strength is in the feel of the piece. Legrasse is able to go far more into detail and flush out his feelings at the time and his disgust with the cultists, but during the raid all he could muster was direct and emotionless fact.
Our human brains work this way. When we look back on a time frame or an event, it almost always comes out more emotional that it was during the event. If it was traumatic, the events are colored much darker when you recall them. If it was inconsequential or happy, the events usually are colored much brighter and happier while recalling them. This is known in psychology terms as the reminiscence bump.
I’ve been reading Lovecraft now for nearly two years. I do a critique and analysis on a story every week (or, as in this case, over multiple weeks). I saw a thread on Twitter asking people what their favorite Lovecraft story was and I couldn’t come up with one. I thought back on nearly every story with fond memories, even though I know for a fact that I didn’t always like the stories that much while I was reading them. That’s the reminiscence bump.
Lovecraft is a master of atmosphere, despite his terrible action sequences and dialog. But atmosphere is what you truly remember when thinking back on a story. How the story made you feel. Individual action sequences and dialog are no longer aren’t what stick in long term memory, so what bubbles to the surface is the atmosphere you experienced while reading. When I think back on Lovecraft’s works I feel almost universal love. That’s a really strange thing to say, because about six months into this project it felt like a slog and I remember feeling bored, but now I cant remember which story I was bored with because I liked them all so much!
The more you read Lovecraft the more you like it. He’s insidious in that way. At first the language is a bit of a barrier, but once it starts to flow, your mind creates and atmosphere and experience greater than you read on the page.
Lewis turned the key in the lock to the main doors and waved off Dr. Whemple. The darkened museum was always his favorite place to be. It was quiet, there were things to be learned from the exhibits, and there were always books.
He’d been looking forward to this week for months. This was the week they brought in the treasures from the Egyptian dig. He’d been following it closely. Dr. Whemple and his associates finally discovered the long lost burial site of Imhotep.
It was all very exciting for Lewis. He didn’t know much about Egypt or its history, but he thought he could use the information. He had another date with Elizabeth on Tuesday and she had even mentioned how much she loved Egyptian history and was excited to hear about the exhibit of the high priest Imhotep coming to their town. He was planning on learning everything there was to know about Imhotep to impress her. She was beautiful and smart and maybe, just maybe, he could trick her into falling in love with him.
He whistled as he opened the door to the curating room. He knew he wasn’t allowed in the room without supervision, Dr. Whemple made sure that no one went into the room without him but what was the harm? Lewis only wanted to get some firsthand experience to show off for Elizabeth.
The room was incredible. It was dusty, sure, but all the artifacts came from Egypt. What else could he expect coming from all that sand?
The first thing he noticed was the sarcophagus. It was stone and had the shape of a man carved into the lid. The carving had crossed arms was holding a flail and maybe a hook. He hoped those things had a name. He would love to regale Elizabeth with that knowledge.
He turned to the table and saw an old parchment underneath a heavy glass. It was in a language he couldn’t understand, but he gave it a shot anyway. The words stumbled over his tongue, but he finished and shrugged. Maybe he could regurgitate that and say it was some kind of prayer to impress Elizabeth. He tried it again.
A moment later a large crash came from behind him. He twisted just as the candles blew out and the room was plunged into darkness.
“Damn,” he said under his breath and patted his uniform until he found a box of matches. He lit one and held it high and blood instantly drained from his face. The lid of the sarcophagus had fallen off and smashed on the ground. That was it. He was going to get fired. There was no way Dr. Whemple would forgive something like this!
Then he heard something move behind him. It almost sounded like someone dragging a sheet over the ground.
He turned and held the match high. He thought he saw movement for a second but the match burned his finger and he dropped it, cursing. He got another match and struck it on the box. The light bloomed and illuminated a figure standing before him. It had old rotten cloth wrapped around it, covering the entirety of its body. It lifted an arm out to him, cloth hanging loose, showing a brown, wrinkled skeletal hand with long twisted and yellowed nails.
Lewis screamed and jumped back, swiping his hand at the thing. His finger caught on a strand of the rotted cloth covering the thing’s face. The cloth pulled free, taking with it a part of the creatures dehydrated skin. The cloth began to unravel as the second match burned Lewis’ finger.
He cursed and fell backwards. He struck another match. It bloomed and he immediately wished it hadn’t. The wrappings had fallen free of the face of the creature. Its skin was rotten and twisted, with intermittent holes, showing bone and blackness of its mouth. The eyeballs were gone, replaced with some kind of beetles crawling in and out of the empty sockets. Its teeth were long and yellow and pointed.
Lewis was sure it laughed at him. He screamed as it grasped his arm with its rotten hand. Its grip was stronger than anything he’d ever felt before and it snapped one of the bones in his forearm.
The creature lifted him up by his ruined arm, bringing him face to face with its horrible rotten visage. Its breath smelt like decay and hot sand. It opened its mouth wider than Lewis thought possible and one of those beetles began to crawl out.
Lewis screamed again and when he opened his mouth, the beetle flew into it. He could feel it crawl down his throat. He tried to scream, but no sound came out. Two more beetles crawled out of the creature’s eyes. They landed on Lewis’ nose and forced their way into his nostrils…
Dr. Whemple stood outside the door, waiting for Lewis to unlock it for him.
“About time Lewis!” Whemple cried as Lewis swung the door wide for him. “My lord man, you look terrible. Maybe you should head home and get some rest!”
Lewis didn’t respond, but Whemple could see a beetle crawl over the back of Lewis’ hand.
“Lewis! Wipe that off! Why, that looked suspiciously like a scarab! You weren’t bitten were you? Those can be terribly poisonous!” Whemple asked.
Lewis pointed behind Whemple into the Museum. The doctor, confused, turned to see what Lewis was pointing at. A large figure limped towards them.
“Who…” Whemple began, but Lewis grabbed him in a bear hug trapping his arms to his sides.
“Lewis! What is the meaning of this!”
The Mummy opened its rotten mouth and a scarab crawled out of it. Whemple screamed.
“It represented a monster of vaguely anthropoid outline, but with an octopus-like head whose face was a mass of feelers, a scaly, rubbery-looking body, prodigious claws on hind and fore feet, and long narrow wings behind.”
Welcome back for another Blind Read! This week we’re diving into the most classic Lovecraft story in the catalog. Between the board games, the role playing games, and the video games (not to mention the plushies!), Cthulhu and the perennial trope of a detective investigating an eldritch mystery while fighting off evil cultists has burned its way into our culture. This Great Old One was so popular that he took over from Yog-Sothoth, transferring the mythology from Yog-Sothothery to The Cthulhu Mythos.
What I find so fascinating about this tale is that it’s more of a creepy mystery than a horror story. Lovecraft wrote far scarier stories, but with this one he found just the right mold to make it everlasting.
We kick off the story with the best opening paragraph in Lovecraft:
The most merciful thing in the world, I think, is the inability of the human mind to correlate all it’s contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age.
Much of this opening chapter is written in this theosophist cadence, delivering some of the best writing of Lovecraft’s career. Not only is it beautiful prose, but it also deftly communicates not only the direction the story is going to undertake, but the theory behind the mythos itself. It really is no wonder Cthulhu became the center of Lovecraft’s world (at least in his audience’s point of view).
The actual narrative starts with a realization of our narrator, “That glimpse, like all dread glimpses of truth, flashed out from an accidental piecing together of separated things – in this case an old newspaper item and the notes of a dead professor.” The professor, the narrators grand-uncle George Gammell Angell, was ninety-two years old and happened upon a man (epithet from the original text redacted) whom reminded him of some strange past. Whatever it reminded him of dropped the professor by a heart attack right then.
Angell was a Professor Emeritus of Semitic languages at Brown University, and because of his interests, he had many archaeological artifacts. Upon his death the narrator and the executor of his estate find a strange box. Beyond the barrier of the box there is an odd bas-relief and a number of papers.
The papers have strange hieroglyphics “which only a diseased fancy could conceive.” Our narrator tells us they look like, “...simultaneous pictures of an octopus, a dragon, and a human caricature…A pulpy, tentacled head surmounted a grotesque and scaly body with rudimentary wings…“
Well hello Cthulhu.
In case there is any question, we next find a document entitled “Cthulhu Cult” which talks about “Dream and dream work of H.A. Wilcox” and the “Narrative of Inspector John R. Legrasse.” This sets up the rest of the narrative, as the story is cut into three parts. The first focuses on Wilcox’s story, the second on Legrasse, and the third of a strange sea voyage. (Because of the volume of text to unravel here, we’ll only be covering Wilcox and the first half of Legrasse in this essay.)
Wilcox just showed up one day at Angell’s study “bearing the singular clay bas-relief“. Wilcox was a young man who was studying sculpture and was an excitable, anxious youth, in fact he even called himself “Psychically hypersensitive.” He visited Angell many times, seemingly testing the waters to see if Angell would believe his outlandish tale, before finally diving into a larger, very odd story. What struck Angell more than the youth’s frantic nature, was the bas-relief, because “…the conspicuous freshness of the tablet implied kinship with anything but archaeology.“
Wilcox seemly changes over the time he’s dealing with Angell (starting on March 1st and ending on Arpil 2nd). He gets more and more frantic, his claims becoming more and more deliriously strange. Finally Wilcox gives in and tells Angell, “It is new (the bas-relief), indeed, for I made it last night in a dream of strange cities; and dreams are older than brooding Tyre, or the contemplative Sphinx, or garden-girded Babylon.”
Wilcox the sculptor tells a rambling tale which began with a slight earthquake which Wilcox thinks triggered his imagination. He dreamed, “...of great cyclopean cities of titan blocks and sky-flung monoliths, all dripping with green ooze and sinister with latent horror.” He heard “a voice that was not a voice” which said “Cthulhu fhtagn.”
Angell worked more and more with Wilcox to try and get to the bottom of this strange youth’s obsession. To understand where his psychosis came from. As Angell worked with him the words Wilcox repeated most often were “Cthulhu” and “R’lyeh.” He even mentioned of a “...gigantic thing ‘miles high’ which walked or lumbered about.”
Then suddenly, despite the youth getting worse and worse, devolving into a miasma of despair, Wilcox one day was perfectly fine with no trace of anxiety or psychosis.
Angell, perturbed researched and found that many people in New England were acting strangely, much like Wilcox, “...always between March 23rd and April 2nd…” The narrator even gives us more examples of how others went “hysterical“, but still the narrator holds onto rationalism, as though Angell was searching for signs and he saw what he wanted, not the actual truth. It is only when we get to the second chapter of the story that the true cultural cataclysm begins.
That chapter begins with Inspector Legrasse travelling all the way from New Orleans to speak directly with professor Angell and brings with him, “a grotesque, repulsive, and apparently very ancient stone statue whose origin he was at a loss to determine.”
The good inspector came across this fetish when he broke up a supposed voodoo meeting down in Louisiana. The quote at the start of this essay is the description of the idol he confiscated from that cult meeting and is an actual description of Cthulhu himself. All those art pieces you’ve seen online gain their inspiration from the few paragraphs in this story, and I have to say, their depictions are pretty perfect.
Lovecraft does a really interesting thing here. He is famous for not describing the creatures from the cosmic horror arena, but yet he does go to great lengths to describe Cthulhu here. Why would that be? Why would Lovecraft subvert his theme of not describing the horrific creatures in his mythos in this story? Then I came to a realization, but more on that in a bit.
The confiscated idol was researched and was not found to be made of earthly origin and the subject and writings on the fetish, “belonged to something horribly remote and distinct from mankind as we know it…“
Angell collected professors to view the idol and to see if anyone had any kind of insight as to what it was, or what it might mean. Unanimously they were at a loss … except for one man, Professor of Anthropology William Channing Webb. Years before while on an expedition in Greenland Webb came across a native tribe praying to some kind of idol very similar to this fetish. He said they were chanting:
“Ph’nglui mglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn.”
Which roughly translates to: “In his house at R’lyeh dead Cthulhu waits dreaming.“
Excited, Legrasse tells his tale. His precinct knew of a place in the swamps of Louisiana where squatters and voodoo practitioners liked to occupy. They generally stayed clear of the “…black haunted woods where no dweller ventured...” but there were reports of women and children missing in the area, and speculation that a voodoo cult was behind it. They heard there was going to be a big voodoo meeting so Legrasse compiled a force of twenty policemen to head down to the swamps to break up this cult meeting. This group of cultists used the same chant as Professor Webb had heard in Greenland, but something horribly unique happened down in those swamps. In a natural glade, “...leaped and twisted a more indescribable horde of human abnormality than any but a Sime or an Angarola could paint.” These monstrous creatures danced around a “ring-shaped bonfire” which had an eight foot monolith in the center with the Cthulhu statuette on the top.
They captured a few of the cultists only to find that they were praying to their head priest Cthulhu.
What a minute. This took me a minute to compute. Cthulhu is only a priest? This is a creature so powerful and so corruptible that it has the capability of destroying the world… and it’s only a priest to a much higher being?
Then I realized this is what Cosmic Horror is all about. This is why Lovecraft doesn’t describe these beings very often, but that’s what also makes this story so memorable and powerful. We DO get to see Cthulhu here, and his visage is enough to drive men to death. Cthulhu is miles tall, nearly formless, but somehow has form of a terrible amalgamation of things which are at the roots of all fear. Just looking at a idol of him gives people the willies. But when we learn here that Cthulhu is just a mere priest it means that Cthulhu prays to beings which are epically more powerful than he is. It’s like the perspective of the universe seen from your living room. This story really strikes home the fact that we dont matter in the grand scheme of things. That there is so much more to the world than our minds could ever comprehend. Why doesn’t Lovecraft describe his Cosmic Monsters? It would be like trying to describe the scale of the universe to an agoraphobic infant.
This is what the narrator is slowly beginning to realize as he puts together the tale of Wilcox and Legrasse, and we can only wager that Angell guessed at the truth, because when he saw that (epithet redacted) sailor, the man mirrored the Cthulhu cultists so much that it made his heart stop in terror. At this point, we can only guess that, but things get so much deeper, so much more grand that our narrator will come to see the possible impact of what this creature is and the havoc these cultists could wreck upon the world.
Join me next week for the conclusion of “The Call of Cthulhu!”
Trypophobia? “The abnormal feeling of discomfort or revulsion at the sight of clustered holes or bumps?” That’s a real thing and it keeps coming up again and again in Lovecraft. Why do I bring it up here? Well the root of this phobia comes from strange things in nature. The images we see root down into our subconsciousness and inform our conscious mind. Are you scared of spiders? You probably suffer a little from this phobia. Think about their clusters of eyes. If you see a cluster of bumps or holes, your subconscious mind attributes this to a close up of the cluster of a spiders eye, and triggers that fear of spiders. Octopus? Their tentacles have suckers that look like clusters of holes or bumps. Again, this is something rooted into your subconsciousness. When Lovecraft describes Cthulhu as having tentacles, it isn’t the idea of a whip like beard that’s scary, I mean no one is truly scared of tails. It’s the suckers on those tentacles and what they could possibly do to you if they attach is which make the tentacles eerie. Lovecraft is tapping into those deeper fears, the fears of which we dont even realize that we have, which make his writing so effective.
“Original title Al Azif – Azif being the word used by the Arabs to designate that nocturnal sound (made by insects) suppos’d to be the howling of daemons.“
Welcome back for another Blind Read! This week I wanted to review one of the shorter stories because we’ve gone over so many long ones in the past month or two, but I was presented with something altogether different than what I expected.
I thought that since this was deemed a short story in the collection I have that it would actually have a narrative, but this is actually more of a “non-fiction” essay about the etymology and history of the Necronomicon through modern times (or at least the time of Lovecraft’s writing).
We find that the Text was written by “Abdul Alhazred, a mad poet of Sanna, In Yemen,” in 700 A.D. He wrote the book based upon the horrid learnings and all the terrible things he saw and experienced in “The ruins of Babylon and the subterranean secrets of Memphis,” then “spent ten years alone in the great southern desert of Arabia –” which was said “to be inhabited by protective evil spirits and monsters of death.“
Alhazred was called mad, possibly for making an effort to pursue the mysteries of those horrors. In fact it seems as though he got so deep that he was “seized by an invisible monster in broad daylight and devoured horribly before a large number of fright-frozen witnesses.”
We found that “He was only an indifferent Moslem, worshipping unknown entities who he called Yog-Sothoth and Cthulhu.” If he was worshipping these two we know from “At the Mountains of Madness,” that their main workers or slaves are the Shoggoth, which we know from “The Dunwich Horror” that those Shoggoth can be invisible and move around our world.
But because this is a history we gloss over this auspicious death and move on. We find that the Al Azif “was secretly translated into Greek by Theodorus Philetas of Constantinople under the title Necronomicon…” and for a century “it impelled certain experiments…” until it was suppressed. Then in 1228, two copies were translated into Latin; “both editions being without identifying marks, and located as to time and place by internal typographical evidence only.”
These texts were banned by Pope Gregory and they went away for hundreds of years, until the Greek copy “has been reported since the burning of certain Salem man’s library in 1692” (Read that as Curwen from “The Case of Charles Dexter Ward“).
Later an English translation was made but never printed, and only the original papers (which are strewn about the world) occasionally come up. The text tells us that there is a Latin translation at the British Museum “under lock and key” and another at the Bibliotheque Nationale in Paris. Later editions could be found at the Widener Library in Harvard, Miskatonic University in Arkham, and the library of the University of “Buenos Ayres.”
This all makes sense. These are rare texts and you would imagine that they would be interred in these prestigious places. However, due to human nature, “Numerous other copies probably exist in secret, and a fifteenth-century one is persistently rumoured to form part of the collection of a celebrated American Millionaire. A still vague rumour credits the preservation of a sixteenth-century Greek text in the Salem family of Pickman;”
I hadn’t truly realized how much this little story effected so much literature after the fact. Books like “The Club Dumas” by Arturo Perez Reverte (later made into the movie “The 9th Gate” with Johnny Depp), where we have collectors or antagonists searching out lost pieces of a nefarious book to complete research into a horrible other world. This kind of suspense or horror ties directly into these origins, and even if it isn’t specifically cosmic (“The Club Dumas” was about a Satanic cult) the themes are still there. The theme that we are smaller in the overall scheme of things than we realize. This theme creates anxiety and uneasiness in our minds and enables us to experience an existential dread without even beginning the story. The skill of the writing brings us even deeper because Lovecraft has some truly incredible atmospheric lines.
And one of the best line I’ve read in Lovecraft comes here: Reading leads to terrible consequences.
This line hits on so many levels.
First and foremost, the most obvious, is reading the book can cause a Shoggoth to come out and eat you (Like Alhazred). That would probably be pretty terrible. Yeah. That would suck.
Then there is also the other in-text meaning, of which so many of the characters in Lovecraft end up going crazy or being consumed by their analysis of the book (The irony is not lost on me that I dove straight into Lovecraft and have become consumed by his writing). This is the basis for all of those crazed billionaires seeking out the scattered lost pages of the Necronomicon to understand their larger meaning.
But what I take from this line, more than anything else is Lovecraft’s hidden meaning. It’s a double entendre that only becomes clear the more Lovecraft you read.
Reading leads to terrible consequences.
Yeah that’s a little tongue in cheek. Reading will give you a greater knowledge and show you vistas that you will never be able to experience. On top of that, Lovecraft wasn’t a huge fan of people and he thought most of the populace below him in intelligence quotient. So to him reading will make you more intelligent and bring you to a level above others. Then others will discourage you and disparage you because of your superiority (read nerdiness). Lovecraft believes that reading makes stupid people jealous, because they don’t understand it. What have we learned about human nature from the eyes of Lovecraft? That you try to understand it and it destroys you, or the people that dont understand you will try and destroy you. In either case, Reading leads to terrible consequences.
There is also the factor that the more you read you’ll get to experience places that you will never go. This is even more dangerous for an agoraphobe like Lovecraft because, naturally, he wants to see and experience different worlds and lands. The problem is his mental illness prohibits him from doing so because his anxiety prevails and skews his perspective to animosity. (think about his time living in Red Hook in New York).
So for all of you reading this now, beware… Reading leads to terrible consequences.
There is also a very interesting last line where Lovecraft says that R.W. Chambers derived his idea of The King in Yellow from the fictional Necronomicon. This almost seems like a dig at Chambers, but we have to remember that Lovecraft encouraged other authors to create works within the mythos, and the creation of Hastur, who now has become ubiquitous with Lovecraft was a pretty brilliant addition to the most infamous text in Lovecraft’s oeuvre.
Read along and join me next week in a discussion of “The Call of Cthulhu!”
“Any magazine-cover hack can splash paint around wildly and call it a nightmare or a Witches’ Sabbath or a portrait of the devil, but only a great painter can make such a thing really scare or ring true.“
Welcome back for another Blind Read! This week we’re diving into Pickman’s Model; a singularly unique Lovecraft story. We get not only the classic Lovecraft tropes; Witchcraft, summons, and people going beyond their ken to gain power or knowledge, but we get some insight into the man himself and his personal tastes (hint, they’re just as weird as his writing is).
We know exactly how the story will end within the first few paragraphs, and yet, this is one of Lovecraft’s finest works (at least in my opinion). The previously mentioned themes of Lovecraft are in the background (though obviously present), and two facets of Lovecraft’s personality come through, the love of New England (specifically Boston) and his love of art. His prose transcends much of his normal exposition because he’s describing, what is in his opinion, high art. He isn’t only trying to create horrors, but he’s lifting up some of his favorite artists and some of his contemporaries. It reads as though he was having a blast writing, which some of the stories he wrote (I’m looking at you Herbert West – Reanimator) feel contrived.
The story is simple. We follow an art curator who had Richard Upton Pickman as a resident in his Art Club, to a gruesome conclusion. He begins the story by telling us “…I cant use the subway or go down into cellars anymore.” and that “Morbid art doesn’t shock me…” We know all of Pickman’s art is morbid because the narrator tells us that the only piece that wasn’t wholly grotesque, the one that people could actually palate, was the piece entitled “Ghoul Feeding” which was hung in the narrators Art Club.
The narrator goes to great pains to explain that “Pickman’s forte was faces.” and how he had “latent instincts” for “the proper colour contrasts and lighting effects to stir the dormant sense of strangeness.“
To give example the narrator says “…Fuseli really brings a shiver while a cheap ghost-story frontispiece merely makes us laugh.” because “There’s something those fellows catch – beyond life – that they’re able to make us catch for a second. Dore had it.“
Indeed Dore was lauded as the most iconic realist artists of in his time. His black and white drawings had more depth of character of anything I’ve had ever seen either (I have “The Rime of the Ancient Mariner” by Samuel Coleridge, illustrated by Dore and it is everything). His mostly religious vistas brought humanity to his angels and devils. Dore endeavored to show his audience that humanity could be all of these things. We were the angels. We were the devils. We were everything in between. We came to realize, through his art, that WE were better or worse than anything we could actually dream up.
Then our narrator mentions Sime. Sidney Sime was a fantasist and a satirist who relied on his outrageous concepts to elicit emotion. Famously he partnered up with Lord Dunsany (is it any wonder that Lovecraft liked Sime?) to illustrate Dunsany’s “The Gods of Paegana.” Dunsany famously quoted “I tried to account for the Ocean and the Moon. I don’t know whether anyone has ever tried that before.” Dunsany is Lovecraft’s inspiration for stories like Dagon, and with images like “Slid” is it really any wonder?
Art is the centerpiece of this masterful story, but either because Lovecraft is channeling the art or because of it’s inspiration; we get some of the best, most atmospheric writing he’s done. While explaining that Pickman’s relatives were cast out of Salem in 1692 (we’ve heard that one before!), the narrator describes how they treaded through the North End:
“When we did turn, it was to climb through the deserted length of the oldest and dirtiest alley I ever saw in my life, with crumbling – looking gables, broken small – paned windows, and archaic chimneys that stood out half-disintegrated against the moonlit sky. I don’t believe there were three houses in sight that hadn’t been standing in Cotton Mathers time – certainly I glimpsed at least two with an overhang, and once I thought I saw a peaked roof-line of the almost forgotten pre-gambrel type, though antiquarians tell us there are none left in Boston.”
This is a classic Lovecraft technique. We go from some normal vista to an area that is just a little off. Something that shouldn’t be possible. There’s nothing outwardly menacing about the neighborhood the narrator suddenly experiences, but the mention that “antiquarians tell us there are none left…” indicates that we have passed into another world, or we have transcended into an underworld where normal people don’t pass.
The narrator tells us again and again that he is not weak of heart, that he has seen horrible paintings, but “It was the faces…those horrible faces, that leered and slavered out of the canvas with the very breath of life!” He sets us up for the denouement when we finally reach Pickman’s vault.
The vault is filled with paintings; “…the ones he couldn’t paint or even shew in Newbury Street…” The narrator tells us “There was none of the exotic technique you see in Sidney Sime, none of the trans-Saturnian landscapes and lunar fungi that Clark Ashton Smith uses to freeze the blood.” No, these were more hyper realistic than his public “Ghoul Feeding” painting that turned everyone’s blood. It seems that most of these paintings had a backdrop of Copp’s Hill burying ground, which had a number of figures who “…were seldom completely human, but often approached humanity in varying degree.” and “They were usually feeding.”
Our narrator is disgusted, but he allows Pickman to take him into the next area where things get even more atmospheric. We get depictions of art with creatures coming up from cracks and holes in the ground, and strange angles and spaces that should not be possible. Here again, Lovecraft is making an effort to seep into our subconscious without us ever knowing it. There is a very real fear called Trypophobia which states that people are scared of honeycombs or groups of regular holes (I wont scar anyone with pictures…but if you’re curious click here) . To envision hellish creatures coming from these holes is just one more way to make the reader feel ill at ease. It’s an atmospheric addition in which Lovecraft uses to perfection. Likewise his “strange geometry” which we’ve seen before as well. Remember back in “Dream in the Witch House” where the “sorcerer” used the strange geometry of the house to better conjure up horrors? Lovecraft is setting the scene for the climax. Building the tension, making the reader feel… off. The first step is setting the stage that Pickman is somehow odd and descended from witches. The next is heading into a place that even historians say doesn’t exist. The final step is giving the audience a glimpse of strange and off-putting artwork – artwork that’s hard to look at because it shouldn’t be possible. Art work that is too horrible to look at without screaming.
As we digest this, the narrator sees a camera. When asked, Pickman “…told me that he used it in taking scenes for backgrounds...” and our narrator sees a paper crumbled up next to a painting. He makes an effort to unravel it, when he is distracted by Pickman taking him deeper into his studio, so the narrator puts the crumpled paper into his pocket.
When they get into a bricked up room Pickman shows the narrator a work in progress so terrifying that it makes our narrator scream. This, right here, is what’s so wonderful of Lovecraft’s work. He’s painstakingly told us that Pickman had a horrible realism to his work. Then we get possible examples that are close, but not quite as terror inducing as anything Pickman had the ability to exude. We get a few examples of his lesser works as well, just to give the reader some dread as to what is coming – “The Lesson” about dog-like things that are teaching stolen children how to eat like them…”Subway Accident” which portrayed “a flock of vile things…clambering up from some unknown catacomb through a crack in the floor of the Boylston Street subway and attacking a crowd of people on the platform.” – also an unnamed drawing that depicted “a vast cross-section of Beacon Hill, with ant-like armies of the mephitic monsters squeezing themselves through burrows that honeycombed the ground.“
All of this anticipation and then Lovecraft purposely keeps the description of the painting which finally puts the narrator over the edge because Lovecraft knows that whatever we’ve been building in our minds is far more terrifying than anything he could possibly put to page. Lovecraft does this time and again in his work, where he describes just enough to make the psyche of his reader take off and make of what they are reading that much worse.
The scream causes Pickman to start. He produces a revolver and ushers our narrator out of the room. He makes up an excuse that there’s a rat nest in the walls, but when he’s hidden from sight something more devious happens. Our narrator heard, “a sharp grating noise, a shouted gibberish from Pickman, and the deafening discharge of all six chambers of a revolver...”
That ends the narrators adventures with Pickman. He leaves to go home and is terribly off put by the realism of the paintings, the detail Pickman is able to get from the photos he takes for the backgrounds, the realistic faces Pickman is able to create out of nothing. But then, when he gets home, he feels the paper in his pocket. It isn’t a paper at all. It’s a photograph. A photograph of “the monstrous being he was painting on that awful canvas.”
And oh reader, “It was the model he was using – and it’s background was merely the wall of the cellar studio in minute detail…It was a photograph from life.“
Join me next week as we tackle the infamous “History of the Necronomicon!”
There is another painting in Pickman’s vault which gives us and interesting peek into Lovecraft’s social landscape.
A scene in an unknown vault, where scores of beasts crowded about one who held a well-known Boston guide-book and was evidently reading aloud. All were pointing to a certain passage, and every face seemed so distorted with epileptic and reverberant laughter that I almost thought I heard the fiendish echoes. The title of the picture was “Holmes, Lowell, and Longfellow Lie Buried in Mount Auburn.”
This is a seeminly deviant view at first. It’s just demons looking at a…guidebook? But then we get answers when we get the title. Mount Auburn is a well known cemetery in Boston and it’s the main resting place for the Boston Brahmins (nomenclature penned by the doctor and writer Oliver Wendall Holmes…yes the same Holmes).
So why are the demons laughing at the guidebook? Well the Boston Brahmins are heavily associated with the Boston Aristocracy and Anglicism. Two things that Lovecraft railed against.
So what is Lovecraft saying here? The demons have a guidebook. The demons are looking for this place, because they are going to collect the Boston elite and religious, because, to Lovecraft, those two things are worse than being a murderer. The demons, using the guidebook, have finally found their way to the elite to procure thier pound of flesh. Death and the cemetery wont save them.
That right there is what’s so wonderful about Lovecraft. These little gems that you can extract, only if you look close enough, to the overall narrative.