Blind Read Through: H.P. Lovecraft; The Whisperer in Darkness, Part 1
“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”