“It was in the house of Dexter, in the northern part of the town near the present intersection of North Main and Olney Streets, on the occasion of Canonchet’s raid of March 30, 1676, during King Phillip’s War; and the astute sachem, recognising it at once as a thing of singular venerableness and dignity, sent it as a symbol of alliance to a faction of the Pequots in Connecticut with whom he was negotiating. On April 4th he was captured by the colonists and soon after executed, but the austere head of Ibid continued on his wanderings.”
Welcome back to a very strange Blind Read! This week we contemplate academia while ruminating on relevance, legacy, and idolatry and wax poetic while following Lovecraft’s lead!
What a odd, curious whimsey this story was. There really isn’t much to it as it’s primarily a brief satire of what Lovecraft deemed academia of the time period… but if we look closely, beyond the gallows humor indicative of the man, and past the analogy he was striving for, we catch some strange influences into his other works. Themes that seeped into popular culture over the years which have not been present in his others works. Theme’s subsumed within a blanket of normalcy. Ok, I’ll stop being coy, let’s get to it!
Like I said, there’s not much to the story (especially the length), but we get the analogy immediatly with the opening sentence:
“The erroneous idea that Ibid is the author of the Lives is so frequently met with, even among those pretending to a degree of culture, that it is worth correcting.”
This is immediately following from an opening quote (“…-as Ibid says in his famous Lives of the Poets.” – From a Student theme.)
We then get a brief glimpse of the history Ibid himself (with some ridiculous speculation on his name which puts together many Ceasar’s and common Roman names together…there may be something to this, but it’s not something I caught: Caius Anicius Magnus Furius Camillus Aemilanus Cornelius Valerius Pompeius Julius Ibidus) before Lovecraft describes how the man’s skull is passed from person to person throughout history. From ancient Rome to Charlemagne, from private citizens to soldiers, from Native Americans to witches. This skull is passed as heirloom, as an art piece, as a magical talisman, and as a curiosity. There are even scenes which recall Hamlet and his famous Yorick scene where he gazes at the skull, nay into the skull, as though there is some deeper meaning or power within it.
So what is the point? Why follow along with a supposed “Learned Man” and then his skull afterward? The quote would seem to indicate that Lovecraft is railing against the stupidity of the uninformed at first. From the matter of a student wrongly using a quote, to Lovecraft ridiculing those who don’t know the truth:
“It should be a matter of general knowledge that Cf. is responsible for this work“
“There is a false report – very commonly reproduced in modern books...”
This seems to be the idea, but then, after we survive a page of brain numbing etymology, we get this sentence: “His full name – long and pompous according to the custom of an age which had lost the trinomial simplicity of classic Roman nomenclature…“
Then we go into a romp of the mans skull through history. Why would the man’s skull, as it outlines in the quote at the beginning of this essay, be “a thing of singular venerableness and dignity” when the only reason it’s available to be handed down is because it was “exhumed and ridiculed by Lombard Duke of Spoleto, who took his skull (after exhuming it) to King Autheris for use as a wassail-bowl.“
It’s because Lovecraft is poking fun at the pompous nature of academia in general. These people are so focused on revering something which was created to use as a drinking vessel, but attribute all means of power to it because of it’s age and the misguided idea of what he wrote.
This threw me for a while as it seems as thought Lovecraft is making fun of himself, after all one of his primary themes which pop up again and again is the idea of gathering knowledge and respect for learning. Is this supposed to be another navel gazing romp? Is Lovecraft saying he isn’t taking himself too seriously so we shouldn’t? Or is he saying that maybe he has taken himself too seriously and should stop? I think it goes deeper than that.
When we think about characters like Curwen in “The Case of Charles Dexter Ward” they are the ones pursuing these dark powers. They are the ones pursuing the dark underbelly of nature by seeking out these vessels of the outer gods. It’s a theme that I’ve mentioned many times and it’s a theme which comes up again and again in Lovecraft. Characters who seek out knowledge to understand more about the universe.
There’s only one character whom has been able to do this and not paid a terrible price. That’s Randolph Carter. What makes Carter unique is that he didn’t actually strive for the knowledge, rather it was thrust upon him and he adapted and worked with it to better understand his place. Carter’s wasn’t a path of power, but rather of understanding. I think that’s the crux here. Yes, Lovecraft is railing against the pomposity of academia and learning, which he seems to revel in, but instead he’s pushing back against the idea of false knowledge.
Lovecraft is playing with us before we even start reading. Ibid is actually a writing tool. Ibid is an abbreviation of the Latin “ibidem” which means in the same place. When you see the word ibid in a reading list it is referring you to material in a source just mentioned. For example it could be another chapter of a book that has just been referred to. Even with the title Lovecraft is playing with us, as he’s letting us know that he’s mentioned this concept multiple times. He’s referencing back to his previous works. This whole story is merely a reference to prove his thesis in his current (at the time he wrote this) oeuvre.
Anything can be twisted to fit a narrative. The whole point of much of Lovecraft’s cosmic gods is the idea that we’re insignificant in comparison to the beings actually running the show. If you’re striving for power, your talisman will end up being a mug from some smart dead guy, but if you’re goal is respecting and living with that power, then and only then, will you end up with “The Silver Key.“
Join me next week as we delve into some of Lovecraft’s earliest work with “The Little Glass Bottle!”
One last this before you go. There is one last thing which this story brought to my head (pun totally intended). One big visual within Lovecraft’s legacy is the idea of the head sprout. Whether that’s from fungi breaking through the skull (an Example is from “Fruiting Bodies” by Brian Lumley), creatures breaking through (we’ve actually seen this in “The Haunter in the Dark“), or people gaining such “insight” that they literally have thoughts (creatures) as an extension of their skull (think the tokens in the game Bloodborne).
The mere fact that so many of the historical people and the fictional characters in this story thought they could gain power or knowledge from this skull made this correlation immediate in my brain. This is not much of a story, but although this is supposed to be a “Blind Read” (meaning that I’m reading the story for the first time, without knowledge of it), I read this one twice. I feel as though I’m still missing references and innuendo, but if I can leave you with anything that represents Lovecraft to me, I’ll leave you with this image:
“Plodding through the endless downtown streets and the bleak, decayed squares beyond, he came finally upon the ascending avenue of century worn steps, sagging Doric porches, and blear-paned cupolas which he felt must lead up to the long-known, unreachable world beyond the mists.”
Welcome back to another Blind Read! This week we are tackling the darkness and entreating to hold a candle to the mystery and banish the Haunter of the Dark!
I had to sit and ruminate for a while on this one to decide whether it was genius, or if there wasn’t much going on. I think this is what happens when people read Lovecraft in succession like this for as long as I have. The connections are the same, the locations just change. We absolutely get the influence of the Mi-Go, much like we had in The Whisperer in Darkness, and some direct contact with the Outer Gods. What I’m finding more and more intriguing with these stories is that there is absolutely a theme of the connectedness of madness and genius. This story though, had a new surprising twist which took me a while to pick up on.
This story, though written later than many of the other stories, seems as though he was trying to tack on his mythos into something a bit more gothic in nature. In essence this is a sequel to a Robert Bloch story (“The Shambler from the Stars” of which I have not read, so feel free to take this critique with a grain of salt. I’m making assumptions based upon what I know of Bloch’s work. Though he does bring in insanity nicely in much of his work. Think “Psycho.”) and we have some amazing imagery and some quintessential Lovecraftian academic themes (I’ll explain later), but when we boil it down to the ending, I initially felt it was phoned in…that is until I thought about his wording. What is a Haunter, really?
Right off the bat we are told the ending, “Cautious investigators will hesitate to challenge the common belief that Robert Blake (read Bloch) was killed by lighting.” and we know immediately that Blake will die from whatever he gets himself into. This also leads into the broader gaming aspect which has made Lovecraft so popular. Being an “Investigator” and endeavoring to reveal what kind of strange death or rare occurrence happened is the corner-stone of the gaming experience, and this story is a good example of how that framework came about. There aren’t really investigator characters in Lovecraft, but there are the curious interlopers and in stories like this the characters go down a rabbit hole which is exactly where the ideas of the game come into play. Things like finding artifacts and texts which lend to further understanding of the Lovecraft universe are probably what sparked the idea for the game in the first place. Which leads me to a wonderful scene in the tale.
“When he did look away, it was to notice a somewhat singular mound of dust in the far corner near the ladder to the steeple. Just why it took his attention he could not tell, but something in it’s contours carried a message to his unconscious mind. ploughing toward it, and brushing aside the hanging cobwebs as he went, he began to discern something grim about it. Hand and handkerchief soon revealed the truth, and Blake gasped with a baffling mixture of emotions. It was a human skeleton, and it must have been there a very long time.“
This tense exposition is a perfect example of the gothic nature of the story, but it’s slow burn displays it’s brilliance. We can feel the environment, the cold stone, the cobwebs, the air thick with dust, and everything there holds meaning. The skeleton uncovered is actually an old reporter from the defunct paper “Providence Telegram,” and a notebook Blake finds on the skeleton holds the history of what transpired to that poor soul.
There is also the oddity of the bones themselves. Yes they’ve been there for years, but there seems to be something strangely nefarious in the dark “The skull was in a very particular state – stained yellow, and with charred aperture in the top as if some powerful acid had eaten through solid bone.” There are even bones with “seemed oddly dissolved at the ends.” What could have possibly eaten through his head? There is even mention of a blackening, like lightning. Strange happenings, and even through the end we don’t get a complete resolution…that is until we dig into the text a bit more.
So what was it that caused this reporters death? Was it shock? Herat attack? Was there some strange electrical charge which did this? Acid? Perhaps we might look to his journal:
“Fr. O’Malley tells of devil-worship with box found in great Egyptian ruins – says they call up something that can’t exist in light. Flees a little light, and banished by strong light. Then has to be summoned again. Probably got this from deathbed confession of Francis X. Feeney, who had join Starry Wisdom in ’49. These people say the Shining Trapezohedron shews them heaven & other worlds, & that the Haunter in the Dark tells them secrets in some way.”
So was this a cultist haven instead of a church? What is the Shining Trapezohedron? What kind of wisdom did the Haunter show them, and who is the Haunter? The layout of the church itself is even curious, “The designs were largely conventional, and his knowledge of obscure symbolism told him much concerning some of the ancient patterns.” and even more strange, “Blake noticed that the cobwebbed cross above the altar was not of the ordinary kind, but resembled the primordial ankh or crux ansata of shadowy Egypt.“
There are even strange texts there in the old chapel area, “a Latin version of the abhorred Necronomicon, the sinister Liber Ivonis, the infamous Cultes des Goules of Comte d’Erlette, the Unaussprechlichen Kulten of von Juntz, and old Ludvig Prinn’s hellish De Vermis Mysteriis. But there were others he had known merely by reputation or not at all – the Pnakotic Manuscripts, the Book of Dzyan, and a crumbling volume in wholly unidentifiable characters yet with certain symbols and diagrams shudderingly recognizable to the occult student.“
Blake continues further up past “Yellowish stains and charred patches (were) found on the ladder to the windowless spire,” where he finds a strange shining stone (The Trapezohedron) and glimpses the vast secrets of the universe within it. He sees beyond Yuggoth (Pluto as we found from “Whisperer in Darkness”), he sees the history of the strange Mi-Go first coming to Antarctica, lost continents lost to the sea (Atlantis? R’lyeh?) all the way through to Egypt…where Nyarlathotep corrupted. But the visions also seemed to call something forth. Something large and winged and darker than the night. Something which lives in darkness and something that, now that he has gazed into the stone, knows about Blake and can see into him as well. Sees him and speaks to him, even after the box with the strange shining stone is closed. The Haunter in the Dark.
Here is Lovecraft bringing in his classic theme of shape to something new and devious. The Shining Trapezohedron immediately makes me think of the puzzle box from Hellraiser, could this be that Lovecraft has created yet ANOTHER trope for the horror genre? Well, whether he did or not, he does bring back his infamous odd angles. If we remember back with “Dreams in the Witch house” (probably the best designation of this theme), Lovecraft uses strange angles and shapes to give off the feeling that something is off. When buildings are convex instead of being concave as in “The Music of Erich Zann” and it gives the reader a feeling that something unnatural is happening, but in “Dream in the Witch House” the odd angles actually create magic. They create a space where our reality has folded into different angles and the spaces between the dream world, the universe, and time, are thin. Something Stephen King would have called a “thinny” in his Dark Tower series. This thin space allows magic to flow into our world, but it also gives us glimpses into worlds beyond our ken, much like this Trapezohedron…or even the puzzle box.
So the “Haunter” who seems to live in the space of the box, now has a view to Blake, but then something terrible (at least for Blake) happens. There is a terrible storm and the power goes out. Because we know the Haunter lives in the dark and fears the light, there is a mounting fear through the remainder of the story, until finally we get to the climax.
Through the dark they find Blake, frozen before his window. There were the familiar burn marks on the top of his head, however the glass of the window was unaffected, also “...a burst of the singular foetor was likewise noticed.” in his room.
“The rigid body sat bolt upright at the desk by the window, and when the intruders saw the glassy, bulging eyes, and the marks of stark, convulsive fright on the twisted features, they turned away in sickened dismay.“
They couldn’t wrap their minds around what could have possibly happened so they said it had to be lighting…lightning that scorched the top of his head, much the same as the journalist in the church spire. There is also that Fetid Odor (yep I meat to capitalize it. There are so many mentions of the “odour” in Lovecraft that I feel as though it’s the outsider calling card. It just deserves something more.) which pervades the room and emanates from the body.
To me there is something far more disgusting going on here.
If we look up the definition of “Haunter” in Webster’s one of the meanings is “To remain persistently; to loiter; stay or linger.” and the story is built upon the premise that Blake saw something of the Haunter in the Trapezohedron and it has come back for him, but that doesn’t really fit with the title.
I think what’s really going on here is the Haunter is a being, or beings, who use the Trapezohedron to traverse time and space, much like the witch did in her strangely angled house, and when Blake gazed upon it the knowledge it gave him was of the universe. But to give that knowledge it implanted, or impregnated, his brain with a thought child. A thought child that grew in the darkness, because what it was used to was the void of space. No, the Haunter didn’t come from outside, the Haunter lingered in Blake’s brain until it grew large enough, by feeding on his psyche. It waited until it was dark enough to extricate itself from his mind and not be damaged by the light. It used the synapses of his brain to create an exit and literally fried an exit hole through his skull. That’s why his head looked like it was hit with lightning. That’s why there’s the strange fetid (read fungoid) odor coming from his head.
We found out in “The Whisperer in Darkness” that the strange smell which is re-occurring in Lovecraft is actually that of a rotten fungous, which is the smell of Yuggoth. And what is a fungous? It’s a parasite. It grows from others nutrients. It’s a passenger. It’s a Haunter.
Join me next week as we dive into another of Lovecraft’s comedic short tales, IBID!
“With the memory of the roadside claw-print fresh in my mind, Akeley’s whispered paragraphs had affected me queerly; and the hints of familiarity with this unknown world of fungous life – forbidden Yuggoth – made my flesh creep more than I cared to own. I was tremendously sorry about Akeley’s illness, but had to confess that his hoarse whisper had a hateful as well as pitiful quality. If only he wouldn’t gloat so about Yuggoth and it’s black secrets!”
Welcome back for another Blind Read! This week we conclude our dive into the strangely fungoid world of the Mi-Go and talk about the last half of The Whisperer in Darkness.
So the first half of the story was our narrator gathering information about what happened to Akeley and the strange other-worldly beings who turned out to be harbingers for the remainder of the tale. In this second half we have the narrator’s (Wilmarth) trip to Vermont and the subsequent confrontation with Akeley.
As we begin this second half Lovecraft infuses a strange feeling of a descent by describing the trip from the city to the “more primitive New England.” We get the visuals of the Industrial revolution with “foreigners and factory smoke, billboards and concrete roads” as we descend and “As I did so it seemed to me that I was likewise turning the calendar back a century.“
This is a lengthy (in page number) traverse through the country on our way to find Akeley’s farm and it actually feels as though this is an intended technique. Lovecraft is giving us time, as readers, to transcend the modernity of which the story had been taking place, and supplanting that with this metaphorical descent into the old and unknown. We even get introduced to a new and unnerving character, one Mr. Noyes, a particularly put together but aloof young man with a faint Bostonian accent whom serves as Wilmarth’s driver. If this seems strange to you you’re not alone, our narrator felt it as well, “Remembering what a hermit Akeley had been, I was a trifle surprised at the ready availability of such a friend” (to come down and pick the narrator up and bring him to the farm). There is the mention of Akeley having “a sudden attack of some asthmatic trouble.” which is curious because throughout this tale, even in the quote which opens this essay, we have mention that these creatures are a fungi. Fungus are a spectacular way to develop asthma or allergic reactions and it seems as though Akeley is having those more and more frequently of late. In fact even a few pages later when our narrator finally gets to the farm he tells us “They were the hellish tracks of the living fungi from Yuggoth.“
Noyes tells our narrator that Akeley would love to see him, but he is in a difficult state. His “Asthma” is so bad that he’s incredibly sick and cannot get up. It’s so bad in fact that he must spend his time recovering in the dark heavily blanketed. Yeah…that’s some gnarly Asthma.
The narrator gets to the room and immediately wants to leave…”Perhaps it was a certain odd odour which I thought I noticed – though I well know how common musty odours are in even the best of old farmhouses.“
I highlight this because throughout this series I have notated many times Lovecraft has mentioned the strange odors and they always revolve around these outer gods or their subservients. I’ve always assumed that there was some kind of sulphuric smell, indicating a connection with the Devil or the underground (in fact if memory serves, there was a single mention of this specific olfactory note), but I wonder if all along it was actually the musty, slightly vegetative rottenness of fungi which these characters have been notating as the funk. If these Yoggothians are parallel or even ubiquitous with great gods such as Azathoth (which this tale seems to indicate), then the strange odors which these characters smell in almost every Lovecraft work is fungus.
This makes Lovecraft’s works powerful on so many levels! Even now, modern science is looking for extraterrestrial life, but so far all that we can find which could exist in the chemicals of our galaxy is but single cell organisms and fungus. Lovecraft is contending that these creatures come from Pluto (read Yuggoth), and though we know that planet is covered in ice, it does not preclude the possibility of fungus. The fact that these ancient creatures are fungous made sentient and have been around since the dawn of time is just so intriguing, when you contrast that with the evolution of mankind beside them.
There is so much of this we could dig into, but I’m going to save that for a later post…anyway, back to the story…
The narrator sits down with Akeley in the dark and they begin to discuss what’s been going on. Akeley jumps right into the hard science:
“Do you know that Einstein is wrong, and that certain objects and forces can move with a velocity greater than that of light? With proper aid I expect to go backward and forward in time, and actually see and feel the earth of remote past and future epochs. You cant imagine the degree to which those beings have carried science. There is nothing they cant do with the mind and body of living organisms. I expect to visit other planets, and even other stars and galaxies. The first trip will be to Yuggoth, the nearest world fully peopled by beings…
Yet I am going there.”
We spend nearly the entire rest of the story going over the logistics of what these outer beings do to gather humans to travel faster than light or time. The problem is our corporeal selves…at least that’s what Akeley was told. They have a specific method of extracting the brain and setting it in a tube. This metal tube is what would make the transition through space and time and thus give the consciousness of an individual being greater knowledge and understanding…all they have to sacrifice is their own body.
Akeley, cloaked in darkness, makes a motion to the tubes in the room and one of them begins to speak to our narrator. The disembodied consciousness describes to Wilmarth of the great expanse which he has seen (the brain in the tube…not Wilmarth) and will soon see again. The knowledge of the larger world and that these fungoid creatures mean us no harm, but that they indeed want to increase our knowledge of the wider world.
They spend the night trying to make our narrator believe that their intentions are honest. That they are not trying to hurt him and all of this begins to make a little sense. The letters from Akeley going from concern, to fear, to understanding, and when you’re reading it (as you can tell from the previous essay I posted last week) you get the distinct feeling that there is something off about the whole scenario. That these creatures are only putting up a front. That Akeley is being tricked and he’s not really going to be able to go off and do these things.
But nothing actually happens. The narrator just goes to sleep and leaves Akeley to converse with the strange brains in the tubes and with Noyes… and when he wakes Akeley is gone. So in the end this doesn’t actually turn out to be a horror story because Akeley gets to go out to the stars and experience the strange like very few humans have ever before.
Let’s back this up shall we?
When the narrator first gets to the farmhouse he notices a strange vibration in the air that immediately makes him feel off, then there was Akeley himself:
“For a moment the closed blinds allowed me to see very little, but then a kind of apologetic hacking or whispering sound drew my attention to a great easy chair in the farther, darker corer of the room. Within it’s shadowy depths I saw the white blur of a man’s face and hands.“
“There was a touch of the pitiful in the limp, lifeless way his leans hands rested in his lap. He had on a loose dressing-gown, and was swathed around the head and high around the neck with a vivid yellow scarf or hood.“
“It was a hard whisper to catch at first, since the grey mustache concealed the moment of his lips, and something in its timbre disturbed me greatly;”
And our narrator was given a coffee: “My first spoonful revealed a faintly unpleasant acrid taste, so that I did not take more.”
The characters also mention the Necronomicon again and again, and as we know from Lovecraft’s previous works this is not a tome of the Other Gods, but instead it’s a tome of necromantic magic that uses (sparsely) the powers of the cosmos.
So then what the devil is going on here? As it turns out the Akeley we meet is not who he says he is. That final letter we get from Akeley is actually not Akeley either, but an impostor and the really terrified letter the narrator received was the last communication Akeley sent before he was taken by these creatures. The form in the shadows…the titular Whisperer…is a creature from beyond, whom is covered up and disguised so that Wilmarth, our narrator, doesn’t notice that it’s not him. The horror doesn’t really come until the last line of the story, when the confusion of the events begins to unfold:
“For the things in the chair, perfect to the last, subtle detail of the microscopic resemblance – or identity – were the face and hands of Henry Wentworth Akeley.“
When we look back at the last phonograph Wilmarth hears, we know that Akeley was taken against his will:
“...brought it on myself…sent back the letters and the record…end on it…taken in…seeing and hearing…damn you…impersonal force, after all…fresh, shiny cylinder…great God…“
Between this recording and the hidden Akeley we know that whomever is at play…possibly the nefarious Nyarlathotep (whose name is uttered in one of the recordings), does not have philanthropy at heart. They are harvesting something. To me, all of these things happening at a farm indicates a brutal and corrupted sense of humor…one that is right at home in Lovecraft.
Join me next week as we seek out the Haunter in the Dark!
“The unknown things, Akeley wrote in a script grown pitifully tremulous, had begun to close in on him with a wholly new degree of determination. The nocturnal barking of the dogs whenever the moon was dim or absent was hideous now, and there had been attempts to molest him on the lonely roads he had to traverse by day.“
Welcome back to another Blind Read! This week we’re diving into the new strange world of the Vermont Backwoods as our narrator strives to solve the mystery of one Henry Akeley. We get glimpses of Cosmic horror, the dream lands, and a brand new call back to a horror trope (the one appearing here, I’m pretty sure Lovecraft probably created!) as we descend in this world and strain to hear the Whisperer in Darkness.
Lovecraft begins this story with an enigma; “Bear in mind closely that I did not see any actual visual horror at the end.”
It’s a strange way to begin a short story because it leads the reader to infer that the narrator didn’t actually see anything throughout the story…so how is there a story to even tell? This can be a daunting assignment as we look at the sheer length of the tale but as we peel back Lovecraft’s language, we begin to see that he didn’t “see” anything, but that doesn’t preclude audible horror and given the title of this story, I think the denouement is going to be quite the romp. Besides which fact that this is what Lovecraft does best. He beats around the bush, deftly hiding from his audience what’s really going on, because the very nature of his horror would be ruined by the descriptors. In this story, we do in fact get a description, but it’s of dead creatures who may or not be real and the corpses disappear before any inspection can take place…that only makes it that much more terrifying when the encounters begin.
We start the story with the classical skeptical narrator (who very well could be unreliable. We’ll get t that later), who has heard a number of strange happenings in the woods surrounding his friend Akeley’s house. The folk tales speak of, “…pinkish things about five feet long; with crustaceous bodies bearing vast pairs of dorsal fins or membranous wings and several sets of articulated limbs, and with a sort of convoluted ellipsoid, covered with multitudes of very short antennae, where a head would normally be.”
So here we get our first glimpse of some freaky Lovecraftian stuff, but our narrator defers; “It was my conclusion that such witnesses – in every case naïve and simple backwoods folk – had glimpsed the battered and bloated bodies of human beings or farm animals in the whirling currents; and had allowed the half-remembered folklore to invest these pitiful objects with fantastic attributes.”
Although our disparaging narrator disavows the local folk on prejudice alone, he does dive into the mythology of the area. We hear how these backwoods folk have adapted to them, “the common name applied to them was ‘those ones,’ or ‘the old ones,’…” so we already know there’s some validity to these destitute whom the narrator disparages. They have knowledge of the Cthulhu Mythos. It does makes sense because these are the type of people who distrust outsiders, whom take care of themselves; so if something like this were to become a regular occurrence, then having it happen in this type of locale with these types of people make the most sense because they wont be going outside of their bubble to talk about it.
We also learn that the Native Americans had stories about these strange creatures as well. “They talked with their heads, which changed colour in difference ways to mean different things.”
Then to cap off everything the narrator ties in that he’s heard about a Nepalese Abominable Snow-Men species, whom they call the Mi-Go (Which I believe were also referenced in “At the Mountains of Madness“). This is where the story turns from the normal garden variety horror to an aspect of the Mythos.
The Farmer who disappeared (Akeley) whom our narrator is searching for, has knowledge of forbidden tomes. He knows about the Necronomicon and in one of his letters he even states, “the Yog-Sothoth and Cthulhu cycles – which were hinted at in the Necronomicon.”
These things are so outside of our everyday reality that our narrator continuously dis-believes his erstwhile friend and contends that it must just be natural phenomena. The claw prints outside of his house, the strange whisperings he hears in the darkness, the strange corpses of creatures he cannot explain. He disavows the claims because the corpses soon disappear and Akeley has a neighboring crotchety old farmer by the name of Brown who he holds accountable for all the other occurrences.
But the more and more our narrator looks into these night occurrences, the more and more he delves into the mythos: “I found myself faced by names and terms that I had heard elsewhere in the most hideous of connections – 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 Innominandium – 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.”
The first half of this tale is an expansion of the mythos in general, and we finally get an understanding of where the outer gods call home.
With the knowledge we have of what the universe looks like, this revelation is a little lack luster, but if you think back to what we understood of the universe in 1919 and imagine what it must have been like for people when scientists said they discovered a “new planet beyond Neptune” and then Lovecraft included that new dwarf planet into his mythos? The fear that might have been invoked, especially when the planet was given the name of the god of the underworld…Pluto. Lovecraft put his stamp on it. Pluto is where these strange, alien, creatures came from (though the mythos name for it is Yuggoth). The Mi-Go, who worship Yog-Sothoth and Shub-Niggurath (the goat with a thousand young and the mother of many gods of the mythos), who bow to Hastur, and do the bidding of Nyarlathotep, call Pluto home.
We also know the grand daddy of the mythos, Azathoth, also wanders blindly around the vacuum of space. One with the limited knowledge of how large the Universe was at the time, can only assume that Azathoth must have been wandering just past Pluto. Thus when Randolph Carter went sailing in his Dream-Quest and came into contact with Azathoth, he was wandering beyond the icy mountainous ranges of Pluto and it’s Mi-Go inhabitants.
This is just another nail in the coffin of belief that the dream-lands and the real world are fluid. The dream lands are more like a parallel universe, where there are gates between our world and the worlds of the Outer Gods. So few humans have experienced it, but many of the creatures of that dream realm have breached the barrier and have come over to our world. Our narrator even feels this as he tells us “My own zeal for the unknown flared up to meet his, and I felt myself touched by the contagion of the morbid barrier-breaking.”
So now we have set the stage. We know that our narrator will not “see” anything throughout this story, so we can only hope to garner inference (are the claw marks part of Shub-Niggurath’s thousand young? Is it a coincidence that Satan is considered goat like, while Shub-Niggurath is the mother of goats?) from the correspondence that Akeley sends our intrepid narrator…which brings us to our next point.
It feels like Lovecraft has created a new horror trope in this story which I’m sure has not existed before this point. The reason I’m sure is because of the availability of technology…and that is the trope of “found footage.”
As we progress through the story Akeley tells our narrator of various things which have transpired around him which we have already mentioned – the whisperings in the dark, the claw marks, the Mi-Go corpses (which incidentally disappear and fade back into the dreamlands) – and he goes through the normal progression of a character in a Lovecraft story…he suspects and is scared, he becomes terrified and pleads for help, he suddenly turns this around and says he was mistaken and he is in no danger, then he disappears. This is a theme which Lovecraft has instituted in many of his stories (take “The Case of Charles Dexter Ward” for example), but the layer he adds into this tale is a recording phonograph and a Dictaphone.
We get passages like this:
(A CULTIVATED MALE VOICE)
…is the Lord of the Woods, even to…and the gifts of the men of Leng…so from the wells of night to the gulfs of space, and from the gulfs of space to the wells of night, ever the praises of Great Cthulhu, of Tsathoggua, and of Him Who is not to be Named. Ever Their praises, and abundance to the Black Goat of the Woods. Ia! Shub-Niggurath! The Goat with a Thousand Young!
(A BUZZING IMITATION OF HUMAN SPEECH)
Ia! Shub-Niggurath! The Black Goat of the Woods with a Thousand Young!
The narrator spends time cultivating what it must have been like to listen to this passage, and though we are jaded now, at the time this was a unique and never before seen tool. Lovecraft was able to give an audible, visceral take on what it must have been like for this man to be sitting in a darkened room, listening to a scratchy Dictaphone espousing these words in barely human tones.
“To this hour I shudder retrospectively when I think of how it struck me, prepared though I was by Akeley’s accounts.”
I leave you with that slight feeling of unease. The feeling that you are being watched by some unseen Whisperer of ancient horrors. Watched by a group of alien creatures who’s motivations are unknown. Watched.
“There seemed to be an awful, immemorial linkage in several definite stages betwixt man and nameless infinity. The blasphemies which appeared on earth, it was hinted, came from the dark planet Yuggoth, at the rim of the solar system; but this was itself merely the populous outpost of a frightful interstellar race whose ultimate source must lie far outside even the Einsteinian space-time continuum or greatest known cosmos.”
Join me next week as we conclude “The Whisperer in Darkness”