“The Fourth letter was in some was the most frightening. A kind of pall of astonished horror had been laid upon Dewart by the first three letters; but in the fourth there lay an incredible suggestion of shuddersome terror, though this was not so much evident in the words as in the implications.“
Welcome back to another blind read! This week we slide into foreshadow with the potential for much more nefarious events on the horizon as we delve deeper into what or who the Lurker is.
This conclusion of part 1, “Billington’s Wood” set’s up a very exciting story – probably the most exciting of any I’ve seen in Derleth. Last week we established that Dewart, our main protagonist, inherited a house in the back woods of Massachusetts outside of a little town called Dunwich. He finds a strange colored glass window with strange designs, lots of books and history of his ancestors, and an odd tower surrounded by stone rings. When he heads to the tower he carves out a stone with an Elder Sign on it to get a view of the area.
There was much talk of naming conventions, as Derleth tried his best to fool us as to which character he was introducing (I’m still hoping the main antagonist is Nyarlathotep!), but this week we join our protagonist Dewart with a quest for more information.
He heads out into Dunwich in an effort to discover the truth of Misquamacus, a native mystic and Laban Billington’s companion, but “when he arrived at the cluster of houses which was Dunwich, though no sign survived to identify it, most of the dwellings being deserted and in various stages of ruin.”
He looks around until he finds a “mercantile establishment” with “Two shabby old men (who) leaned up against the building, and, taking in their appearance of mental and physical degeneracy and inbreeding, Dewart addressed himself to them.”
This passage is so endemic in Lovecraft and Derleth, that I’ve been ruminating over it for quite some time. So much of horror is the fear of the unknown, and none do that theme better than Lovecraft. The general population at the time of this novel’s publication however (and quite honestly still to this day) fear what would make a person live out off the grid and only with a few kin. That fear that they would have to live in squalor and the only possibility of affection or twisted love would be inbreeding translates into monstrous intent. If they’re willing to do that to themselves just imagine what they would do to a normal person! This is echoed in movies like “The Hills Have Eyes” and James Dickey’s haunting novel (and the movie they made of it) “Deliverance.”
Both Lovecraft and Derleth use this internal fear to set up the unease of their plots. In this story Dewart feels at home and does stupid things (like carving out an Elder Sign) because of his comfort, but the tone changes when he heads out into these remote locals. There is tension in the interactions and the writing. Dewart still hasn’t chosen to believe in the magic or the otherworldly nastiness that he could potentially unleash. At this point in the story he’s only worried about the human horror which could blossom in these back country yokels if they get their ire up.
The two “shabby old men” are just as weary of outsiders as Dewart is of the down home Dunwich folks, and when he asks if either of them know of any Indians around he merely gets, “‘Hain’t no Injuns left.'” but the other companion notices something peculiar about Dewart’s look and asks him straight out if he’s a Billington. Dewart, feeling emboldened relays his bloodline… that he’s the great-great-grandson of Alijah.
“He had no sooner identified himself than both the old men underwent a complete change in manner; from simply curious individuals, they became almost fawning and subservient.” They tell him to go see Mrs. Bishop for more information, but why would they become fawning and subservient? Historically in Lovecraft (and pretty much every Derleth story) it’s because of a tainted bloodline, and the down home folk have been through so much horror already that they’re weary of people from these bloodlines…but why subservient? Could Derleth be implying that the whole town has become complicit in the outsider cult? Let’s find out…
Dewart heads off to meet her Mrs. Bishop. You might remember that the Bishops are very closely connected with the Marshes of Innsmouth fame that there is a good chance Dewart is about to go out and meet with a descendant of a Deep One, but an old woman answers the door with “rather a conviction of hidden knowledge, and in addition, a most disturbing sense of secret, almost contemptuous superiority…”
She asks him right out of he’s looking for Quamis, and lets him know that Quamis “ain’t never coming back.” She gives him all kinds of information about Alijah, telling him “‘ye’ll not do like Alijah did, an’ mind – yew leave the stone an’ keep the door sealed an’ locked so thet them from Outside can’t git back.‘” Oops.
But she tells him that the information he’s looking for is in Alijah’s old books. He gets ready to leave and the old woman mumbles to herself in some strange language, which Dewart tries to decipher: “N’gai, n’ga’ghaa, shoggog, y’hah, Nyarla-to, Nyarla-totep, Yog-Sotot, n-yah, n-yah.” He thinks it’s strange, but nothing else. He then goes off to meet a Mrs. Giles in hopes to find a picture and discovers that she and her son are scared of Dewart from his ancestral appearance, holding a Kewpie Doll as if it were a talisman to ward off evil. He leaves mourning these people because their poverty and depravity was “infinitely more terrible because it carried with it implication of self-choice” showing off his hubris and ignorance before heading home.
But there is something strange going on here. It could just be Derleth trying to throw us off the track again, but why in the world would the two old men be subservient, Mrs. Bishop be so willing to help, and Mrs. Giles so scared of what’s going on? and what’s up with Mrs. Bishop intoning the Great Old Ones under her breath? We’ll have to wait because we never find out in the first section of the book.
Getting back to the story, the next day Dewart’s cousin Stephen Bates (whom the next section of the book is named after) “summons” Dewart to Boston to collect some documents. In said documents are Alijah Billington’s rules for taking over the Dunwich property:
“He is not to cause the water to cease flowing about the island of the tower, nor to molest the tower in any way, nor to entreat the stones.” Oops agian.
“He is not to open the door which leads to strange time and place, nor invite Him Who lurks at the threshold, nor to call out to the hills.” Could that be Nyarlathotep? Yog-Sothoth?
“He is not to disturb the frogs, particularly the bullfrogs of the marshland between the tower and the house, nor the fire-flies, nor the birds known as whippoor-wills, lest he abandon his locks and his guards.” Well at least he’s been good on that front…so far at least!
“He is not to touch upon the window, seeking to change it in any way.” We’ve had notice of the window, but we don’t truly know what it is yet, nor have we seen it close up.
Otherwise the last rule is just keep the land or destroy it, don’t sell it.
Dewart hems and haws over these rules, trying to figure out what the big deal is, then he decides to go get a closer look at the window. This is the first point in the story where things start to get a bit…otherworldly.
“By some trick or arrangement of moonlight on the leaded panes, the window gave the unmistakable appearance of a grotesquely malformed head…with a vast dome-like forehead…and the nebulous outline trailed off in a hideous representation of what seemed to be tentacles.”
He moves a chair over to get a closer look, “when the entire window seemed to become animated, as if the moonlight had turned to witchfire, as if the outline, spectral as it was, had come to malign life.” But then suddenly it stopped and became just a window again, a window which aimed his view out to the mysterious tower and circle of stones, where he saw “something flaffing darkly around the tower.“
He’s upset about what he experienced, but decides to go for a walk because, surely, all of those things were put into his mind because of the message from his great-great-grandfather. It’s dusk, but he saw a strange glow and heard voices raised in fright coming from Dunwich. Weirded out, he went back to the house and decides to give it a rest for the night.
The next day he wakes and listens to the radio to hear of a corpse found, “but the body is so mangled and torn t would seem as if the waves had beaten it up along the rocks for a long time.”
Derleth briefly misdirects us as Dewart worries that there may be a Massachusetts version of Jack the Ripper or a copy cat of the Troppmann murders, although one really has to wonder why he even discusses this up seeing as a body “beaten against rocks” is a far cry from being dissected like those two murderers… but this is what Derelth does. He works his misdirections in, to both build suspense (now he has you thinking about serial killers in conjunction with the cosmic horror), and to try and keep you guessing about what’s going to happen. In fact the next few pages in the book are Dewart ruminating on what Alijah’s “rules” are all about and giving reasons for what they could possibly mean, obviously with his conjectures all being false or just half truths, until he comes across a few letters between Alijah and some correspondent named Jonathan B.
These letters have all mention of cosmic entities. Jonathan B. mentions on many occasions that he is a faithful servant to Alijah, and despite the normal ancestral degradation you would expect from Lovecraft or Derleth, these letters seem to exonerate Alijah. It seems as though Alijah was a fighter against “servts. of N. or of Yog-Sothothe” and is indeed the one who sealed the Lurker with the Elder Sign.
There is also mention of another “Him who is not to be named.” No this is not Voldemort, but very potentially a precursor to him. This, I believe, is the nefarious King in Yellow, better known as the Unspeakable…better known as Hastur. But how does he fit in the Cthulhu Mythos?
Remember that it wasn’t until Derleth that the Cthulhu Mythos were called the Cthulhu Mythos…Lovecraft actually described them as Yog-Sothothery, based around his favorite of his otherworldy gods. This novel was published in 1945 which was significantly earlier than nearly all of Derleth’s stories, and thus far, with the exception of “Witches’ Hollow,” this has been the best. Derleth seems to be at the top of his game here, where later in his career he seemed to phone it in, relying on the same old story line again and again. This very well may have been the first time he created this often repeated ancestral story line, and if it was published in ’45 you have to imagine that he was writing it in either the late 30’s or the early 40’s where the influence of Lovecraft’s correspondence was the most fresh.
In these four letters from Alijah Derleth begins to tighten his storyline a bit, by bringing in the Native American mythology and tying it to the mythos, while also giving us the back story of why the tower was built…to seal away the Lurker at the Threshold. The seal which Dewart has already broken. There are only a few more guards which he hasn’t messed with, and he’s already begun to play with the window, so he’s going to be reliant on the birds and the frogs to stop Nyarlathotep or Yog-Sothoth, and potentially Hastur, and their minions from entreating upon our world.
But there are other forces moving against him. He has a dream that night where he heads to the tower, beneath “great birds that fought and tore, birds with horribly distorted human aspects” and because it’s a dream, he just keeps going to the tower. He looks up through the hole he made when he carved out the Elder Sign stone, and, in a “hideous distortion of the Latin tongue…He recited a formula thrice and made designs in the sand.”
He “dreamed” of a hideous aspect apparating, “squid-like or octopoid, passing among the trees as air…”
As it floated away he headed back to his room and got back to bed..in his dream. But when he woke the next morning he found sandy foot prints in the room and his clothes disheveled.
He decides he’s been too wound up, and he needs help with everything going on, so he makes a decision:
“It took great physical and mental effort for him to drive into Arkham and deposit the letter to Stephen Bates beyond recall in the post-office of that city, whose ancient gambrel roofs and shuttered windows seemed to crouch and leer at him with ghastly camaraderie as he went by.”
It’s here that Dewart leaves us in anticipation of Part 2 of the novel “Manuscript by Stephen Bates.” Derleth may just be using the epistolary style which Lovecraft had perfected to cover some back story, to fill out this novel. Lovecraft did that so well in “The Case of Charles Dexter Ward” as he focused each section of that novel on different people to give different perspectives as to what was actually going on in the tale.
Join me next week as we dive into the Manuscript and see where Derleth is taking us!
“So, then, Old Billington was ‘feared’ or disliked and everyone connected with him in any way likewise. This additional discovery put Dewart almost into a fever of anticipation; his quest was so different from the usual genealogical adventure that it delighted him; here was mystery, here was something deep, unfathomable, something out of the routine ken; and, fed by this taste of the mystery, Dewart was stirred and stimulated with the excitement of the chase.“
Welcome back to another Blind Read! This week we begin down the journey of Derleth’s longest Lovecraftian story along tried and true lines, while delving into what differentiates the two authors.
Once again we begin with a man going back to his ancestral home to restore it. Nearly every single Derleth story has this opening salvo and it just really shows the difference in imaginative capabilities between the two men. We’ll get into writing ability and imagination a bit more later, but to do so I need to introduce you to the story.
Our “Protagonist” is Ambrose Dewart. He’s a British gentleman who has come to the back water of Massachusetts “...towards the strange, lonely Dunwich country beyond Dean’s Corners” to a strange and forbidden place called Billington’s Wood, “and all that property around, including the great house which could not be seen but was none the less there, deep in that wood, on a pleasant knoll, it was said ‘near the tower and the circle of stones.’“
Again, much like in other stories the house was upkept by “a firm of solicitors” because the last of the Billingtons, Alijah and his son Laban, fled the area. No information is given as to why they fled other than the notorious sounds coming from the woods such as “a piping and croaking of frogs” and a “chorus of whippoorwills” but we know from previous stories that the batrachian croaking indicates that Deep Ones are near and the whippoorwill is an indication to deep and dark foreshadowing and warning, and yet as soon as the Billingtons left, the noises stopped.
Ambrose finally gets to the house and notices that it’s devoid of all modernity, “such as electricity…” which might indicate a foreshadowing for something to come ahead, but I believe it’s just Derleth’s effort to show the atmosphere of the place. Another one of those red herrings he’s so apt to do.
It’s mentioned numerous times in the first few pages that this area is full into the “portion of Dunwich country where the Whateleys and the Bishops...” lived which tells us immediately that something is going to happen surrounding Cthulhu, Dagon, or the Deep Ones (Derleth pretty much ignored the Shoggoth which is unfortunate because they are some of the most intense and fearful creatures), because, well, all Derleth has something to do with Cthulhu, Dagon, or the Deep Ones.
But then there’s a very interesting bit of information which arises when Ambrose is searching through the house and finds Laban’s journal. “The child, Laban, who was, Dewert determined, his own grandfather…” Laban is motherless and has a Narragansett Indian named Quamus (or Quamis) as a companion (no doubt a slave or indentured servant, but such is never mentioned). Until one day when Alijah gets angry with them and “has forbidden us to go, on the banks of the stream across from that place where the tower rises. He (Quamus) was on his hands and knees and had his arms raised up, and he was saying in a loud voice words in his own language which I could not understand…but had the sound of Narlato, or Narlatep.”
Ok two things. This book thus far (I’m only covering the first 40 pages of it so we may get to some surprises later!) has a penchant for giving things numerous names and Derleth uses it as a crutch to try and give the reader an inkling of what’s going to happen instead of really delving into the scene and layering in the details for us to find later. This is the first difference between the two authors… Derleth hits you over the head with a hammer, where Lovecraft would sew unease beneath your skin. The second thing is… Oh my god is Derleth separating himself from his safety net!!?? Is Nyarlathotep going to make an appearance in the story!? Or is this just another red herring Derleth is so quick to throw out to distract fans of Lovecraft. There’s no further mention other than the almost throw away of this line with the two misspellings, but I’m am extremely excited if this were to be the case.
Eventually in Laban’s journal there are “great noises” coming from the hills and suddenly Quamus is missing. There isn’t anything of else in the journal, so in an effort to broaden his knowledge, Dewart searches around the house and eventually finds a book called “Of Evill Sorceries done in New-England of Daemons in no Humane Shape.” The Book basically tells us of a Wampanaug Shaman named Misquamacus (does that name seem familiar? It should, it’s Derleth playing again…could it be Laban’s friend and confidant Quamus?) who summoned some kind of “Evill” and “there was no Way to send it back that Thing he summon’d, so ye Wampanaug wise Man had caught and prison’d it where the Ring of Stones had been.”
So obviously what he’s referring to here is the tower on the property and the ring of stones “reminiscent to Stonehenge.” How does one trap an outsider per Derleth’s rules? By placing a flat stone “with ye Elder Sign” on it.
Dewart is interested so he goes to the library and goes through several months of newspapers of both the “Arkham Advertiser” and the “Arkham Gazette.” We get story after story of which we’ve heard over and over again and which don’t particularly add to this tale, but instead are Derleth’s efforts at showing how scary the place is. This is a perfect time to hit on one more facet of the differences between these two writers.
Lovecraft spent much of his pages describing the scenery and atmosphere of the space. This is what conversely makes him a brilliant but difficult author. He’s very dense because he didn’t really care about character development, so each paragraph can span for pages as we get the feel for what’s going on in his story. They are also filled with psychological and philosophical diatribes meant to be the point of the story, but also illicit thought behind the horrors he’d placed in front of us. I’ve recently found something going around social media rounds which (paraphrasing) was that the person who read Lovecraft in their youth would read story after story back to back. They didn’t find each individual story very scary, but they were intrigued by his themes and atmosphere. It’s only a day or so later that those dark corners of your house start to seem menacing as the stories start to get under your skin. Because that’s what Lovecraft does and does so well. He focuses so much on atmosphere and philosophy that he surreptitiously digs down into our subconscious and broadens our way of looking at things.
Derleth, conversely, focuses more on the people and the shock factor. In fact, to prove that point, the vast majority of the stories I started out with Derleth finished the last few paragraphs in italics… because for some reason he thought that would drive home the shock ending that we’d seen coming all along. There is no philosophy in Derleth and there is no real atmosphere (except in The Watcher Out of Time. I really wish he’d gotten a chance to finish that before his death and redeem himself). Derleth instead spends his time giving us back story and red herrings in the shape of Lovecraftian fan offerings. The worst part about this fan service is that they very rarely pan out. I’m excited for the prospect of Nyarlathotep being in this book, but I’m not holding my breath, because that’s what Derleth does. He says hey look at this! You know what it is and I’m going to make you think this story is going to be about something else, but I’m only putting that in the story to distract you from the Deep Ones that will yet again be my antagonists.
This type of background is what we get for page after page. We hear about the Billingtons, about John Druven, a man who jibbed the Billingtons because he saw evidence of evil deeds…and ended up dead for it. There’s even mention of Reverend Ward Phillips (who is the character in the meta-fictional story “The Lamp of Alhazred“) and a letter he received talking about magic happening to both wipe memory and to create a cosmic stir at the “circle of stones.“
After all this information Dewart decides he’s going to go out the tower and the circle of stones and investigate it. He enters the tower and finds a spiral staircase up with a “decoration in the nature of a bas-relief, which he soon saw was a single design repeated as a chain for the entire length of the stair.” This Bas-relief also “appeared on the platform, and he bend to scrutinize it more closely, thus discovering it to be an intricate pattern of concentric circles and radiating lines, which, the more attentively it was gazed at, offered a perplexing maze to the eye in that it seemed at one moment to be of such an appearance, and in the next appeared to change inexplicably.”
He eventually got to the top platform which was hedged in with a large limestone rock, which “It’s decoration, however, did not follow the motif of the bas-relief figures, but was, rather, in the rough shape of a star, in the centre of which there appeared to be a caricature of a single giant eye.“
Oof. Here’s that Elder Sign! Is this where Misquamicus trapped the outsider? Right here in this tower? Man after all of that Dewart must be starting to kind of freak out. All that text which led him here to find that there is a bit of truth to it all. What does he do?
He carves the rock with the Elder Sign out so he can see the land from the top of the tower.
Ok it’s now time to talk about how absolutely and outright STUPID Derleth’s protagonists are.
The worst part is it’s not just stupidity. Carving out the Elder Sign was something Derleth thought had to happen for the storyline to progress (well he did just let out some kind of outsider which I’m really hoping is Nyarlathotep), but there’s no motivation to do so. This happens again and again in Derleth, where the plot drives the characters motives rather than the characters motives driving plot. In past stories like “The Shadow in the Attic” I’d roll my eyes when the main character would stay in a place obviously corrupted for no particular reason, but when Dewart carves out his only protection I actually said out loud, “You Dumbass!” I’m not sure if I was talking about Dewart or Derleth, but with Derleth’s propensity for giving alternatives for names, maybe Dewart is Derleth. Maybe he’s writing about himself!
And that’s where we call it after the first 5th of this novel! Join me next week as we find out what other secrets Billington’s Woods hold, which outsider is released into said woods, and what other stupid things Dewart is going to do while battling that outsider!
“At the same time, his thoughts took an amazing turn; he was less concerned with the glass and its properties, and more with an ambiguous, ill-defined concept of vast dimensions and spaces beyond the terrestrial scenes familiar to him; and he felt himself being drawn into some vortex of dream and speculation that profoundly disturbed him. It was as if he were falling into a bottomless pit.”
Welcome back to another Blind Read! This week we cover Derleth’s most promising, though incomplete, tale and take some time to analyze and speculate on the man’s intentions.
This weeks story is a strange one, but not in a Lovecraftian…or dare I say it, Derlethian way. It’s the longest story in the collection I have (The Watchers out of Time, Carroll & Graf 1991), but it’s also incomplete, and not even in a first draft kind of way. There are grammatical errors in it sure (of which I believe the publisher decided to keep in for purity reasons), but after about 30 pages the story just stops. It apparently was never finished and included in this collection posthumously.
This fact actually makes this a perfect transition because were going to finish up this series by deconstructing “The Lurker at the Threshold” which is one of Derelth’s novels (which he published under Lovecraft’s name), and this story feels more like a novella, or the beginning of a novel, than a short story. Derleth isn’t known for his atmosphere as Lovecraft was, but this novel gives you a great feel for the Dunwich environs in a way that not even Lovecraft established. He takes his time to give the reader a visual of what the country actually looks like. The reader can also tell that this was a story to make an effort to collect all the disparate strands of lineage and place and mythos and tie them all together. I truly get the feeling that this story was supposed to be his Magnum Opus…it’s really a shame he never got a chance to complete it.
Alright, enough waxing…lets get into the story!
The story begins as so many of Derleth’s stories have. Nick Walters is a man living in Surrey, England who received a letter, “couched in rather old-fashioned legal terminology” informing him that he is the recipient of an “Ancestral Property” in Massachusetts backwaters.
We also get a brief description of Walters physiognomy, he has a “wide mouth…curious lobeless ears, or the large pale blue slightly bulging eyes.” This is a dead giveaway that Walters is on the branch of the Marshes and the Whateleys, so when we find out later that the house he inherited is actually the old house of Cyrus Whateley, it’s no surprise.
We’re introduced to the place by Boyle, Walter’s lawyer, who speaks about “Whateley Country” which includes Dunwich. Make no mistake there’s nothing but ridicule and derision as he speaks about the place: “It’ll be like turning into the American past...”
That statement is the transition to a great chapter of Derleth describing place. This is something Lovecraft did so well, and something Derleth just hasn’t spent the time to do thus far in any of his stories. That makes me believe that his novels must be so much better than any of his shorter work, because he slows down and spends the time to bring the reader viscerally into the story.
As Walters drives into the region “many brier-bordered stone walls made their appearance, pressing upon the road; most of these were broken down in places, with field stones scattered along the foot of the walls. The road wound into hills past great old trees, bramble-covered fences, and barren fields and pastures in country that was only sparsely settled.”
I could go on and on with quotes of the section. There’s even a passage where Derleth points out what’s really happening. “He drove slowly.” It’s actually a double entendre because Derleth is talking about Walters driving, but he’s also talking about himself writing. His tales are generally breakneck speed compared to Lovecraft, and this chapter describing place and atmosphere is something so heartachingly absent from his other stories. This meta-fictional phrase feels as though he’s telling us and himself to slow down, so we can get a visual of what this place actually looks and feels like. The payoff is huge. It really does feel like “turning into the American past.”
There are even call backs to his previous stories like “The Horror from the Middle Span” with passages such as: “A quaint covered bridge crossed the river, a relic of that distant past to which the settlement itself obviously belonged.”
This is important because, as I mentioned earlier, it really feels as though Derleth is trying to bring his corner of Lovecraft (namely Dunwich and Innsmouth) together into a cohesive narrative. There are pages and pages with Walters at the library going over genealogy and history of the Whateleys and their cousins. We even get introduced to our favorite grumpy old shop keep, Tobias Whateley, who has shown up in multiple Derleth tales. Always warning foolish “cousins” away from their ancestral estates tended to by the “eddicated” Whateleys (we’ll talk about this more later).
When Walters finally gets to the house there are fun little Easter eggs like, ” Nothing more recent than Dickens stood among the leather-bound tomes, and many of them were in Latin and other languages.” There is even a telescope. But my favorite aspect, and one which you might remember from “Through the Gates of the Silver Key” is the infamous grandfather clock:
“…a curious, obviously hand-carved clock standing almost three feet tall, its face covered with strange designs – of serpentine coils and primitive creatures belonging clearly to some pre-human era, he thought, utterly alien.” which was “intended to tell more than time.“
Walters goes back to get supplies and speak to Tobias who mentioned Increase Brown, who apparently kept up the house, but because the story was never finished, and he isn’t really spoken of again.
We transition to night and get the most supernatural chapter right before the story ends. The night air is filled with strange sounds which seem to come from either “avian or batrachian throats.” but then he noticed that there was something more than that. Out up on a hill (it could it be Sentinel hill where witchcraft was once done?) “He heard voices, which were surely of men crying out…and on the crest of round hill behind Dunwich there was a glow in the now dark heavens, as of a bonfire burning there.”
He decides to ignore this strange fact and goes on studying. He finds a photograph, and within that photo is a carving in the wall with a glass eye which was “strangely clouded.” As he looked closer, “the clouding he had seen was the unmistakable outline of two human faces – the one, of an old man, bearded, looked directly out of the glass; the other, a lean hawklike face, with the skin drawn tight over its bones, looked out from behind the first, his face slightly tilted as if he were deferring to the older man…“
This is obviously supposed to indicate Cyrus and Aberath Whateley. But undeterred by the oddity he decides to research further and heads to the study, where a curious light is glowing. He opens the doors and “he was further surprised to see light flickering in the room as if he had left a lamp burning there...” but in fact “The source of the glow he had seen was the glass eye in the carved triangle above the fireplace.”
He climbs closer and finds some strange Eye of Sauron info…”The carving which framed it was fully as baffling. The eye appeared in what was almost its optical center. The outer frame was a triangular pediment. At first glance, the carving appeared to be classically conventional design. But now, in the light of the lamp Walters held, it bore a disquieting resemblance to a huge octopus-like being, yet unearthly to look upon; in the convex circle of glass lay a huge, central eye, opaque to sight now, but still cloudy with pale light that shifted oddly even now.“
Well hello Cthulhu. It’s like an eye to watch over the place, and to gather any souls necessary for it’s nefarious nature. As he looks into the eye he gets the feeling which is the opening quote of this essay, and the reason I call it the eye of Sauron. It seems to give him a strange compulsion on just the single look. The light goes out and he stands there like Ray from Ghostbusters II looking at Vigo, but eventually he breaks the connection and leaves the room.
He decides he’s going to go back to Springfield in the morning and do more research at the library, but he can’t get over the feeling that the house is somehow occupied with a presence… other than himself.
The final chapter has Walters going to the library and researching more about genealogy. There’s a fascinating section where he finds that a preacher named Hoag talked out against the Whateleys only to go missing, as well as a Reverend Hoadley who did the same thing with the same outcome, yet somehow both of those men had some kind of connection with the Whateleys. He mentions all the last names of the characters he’s used in connection to the area and even goes over Dr. Armitage’s dealings from the original Lovecraft tale “The Dunwich Horror.”
Then right before the end of the story he finds a letter addressed “For Him Who Will Come,”
“Read, that you may know, that you may prepare to wait for Those Who Watch, and fulfill that which is meant to be.”
He’s waiting for those who watch, namely the Ancient Ones. Cthulhu is sleeping and dreaming from his prison in R’lyeh, watching through the golden eye in that carving…and it obviously isn’t the only one. He entraps souls, hence the two previous Whateley’s trapped within the eye… which coincidentally glowed when there was some kind of ritual happening on Sentinel Hill…when the last time we saw that happen Lavinia was pregnant from some Outsider, and a Shoggoth rampaged over the town.
Obviously, since this was published posthumously and not even finished, this was supposed to be Derleth consolidating the pantheon of whom he considered the most important of the Ancient Ones and solidifying his presence in the mythos. Of all the tales, I’ve been the most interested in this one. It’s the most readable (even with it’s grammatical mistakes) and the closest to a Lovecraft tale in feel than anything else he’s written.
It is possible that this closeness is because this tale was meant to be a novel or at least a novella, so maybe his Lovecraftian novel will hold up to the same standards?
Lets find out next week as we begin “The Lurker at the Threshold!”
“He suddenly fixed widening eyes on my companion, his jaw dropped, his hands began to shake; for a moment or two he was frozen into that position; then he shrugged himself up and off the barstool, turned, and in a stumbling run burst out of the building into the street, a long, despairing cry shuddering back through the wintry air.”
Welcome back to another Blind read! This week we break down an entirely trite tale which merely rehashes older material while we conjecture the past’s future of the legacy of Lovecraft.
This story was an immense let down. There was incredible potential for developing something unique and elaborate out of the minute change Derleth layers into the story, but unfortunately he doesn’t do anything with it. We fall back into the same trite patterns which, quite frankly, Lovecraft was leaps and bounds beyond Derleth because of writing ability. Don’t really understand what I mean? Let’s break this down.
The story begins with a bit of promise, though I have to admit I was dreading it a bit when I began. Derleth has a penchant for using Deep Ones as his main antagonists, which is fine, but he doesn’t give them anything beyond what Lovecraft already created. Derleth’s stories of magic, occult, and the strange, were all far more interesting than his Innsmouth based stories.
To start, we are introduced to the focus of the story: “The facts relating to the fate of my friend, the late sculptor, Jeffrey Corey – if indeed “late” is the correct reference…”
Here we have another potentially “unreliable narrator” who is doing the campfire thing and telling us a story. What piqued my interest here was that Corey was a sculptor, that tied with the fact that the title has “clay” in it, made me excited for a possible twist. Derleth even begins taking us to a unique space, but then pulls it back and falls into his old safe trends.
The narrator immediately tells us that Corey’s “distant relatives” are the “reclusive Marshes who still lived in that Massachusetts seaport town (Innsmouth)” and in the next paragraph gives a description of Corey:
“He had very strong blue eyes, and his lantern-jawed face would have stood out in any assemblage of people, not alone for the piercing quality of his gaze, but as much for the rather strange, wattled appearance of the skin back from his jaws, under his ears and down his neck a little way below his ears.”
If you’ve read “The Shadow over Innsmouth” you know what this means. Obed Marsh was a sailor for the East India Company and he took a bride from a remote South Pacific Island. It turns out that the bride was either a Deep One, or a human offspring of a Deep One, so when they came back to Innsmouth, they created “The Order of Dagon” and it was believed they held services to their dark god just off the coast at a place called “Devils Reef.” They did nefarious things until the U.S. Government came and set off depth charges off Devil’s Reef and arrested the Marsh clan.
In Lovecraft this was a unique and creepy tale with some wonderful imagery. We also got a sub-context of paranoia because of the outcome of the story…we understand the government knows more about the goings on in Innsmouth and decides then to snuff it out. Kind of a Big Brother oversight conspiracy theory.
Derleth does his best in the next few pages to recount what happened in “The Shadow over Innsmouth,” but, rightly so, he doesn’t cover any of the contextualization of what was actually going on there because it doesn’t really pertain to his narrator. This is however where we get the only interesting twist, and incidentally we got the direction I was really hoping the story would go.
The depth charges “set off such turmoil in the depths that a subsequent storm washed ashore all manner of debris, of which a peculiar blue clay came in along the waters edge…”
Using that clay, Corey begins work on a new sculpture he entitles “Sea Goddess.”
Predictable things begin to happen. As he begins the sculpture he gives the “Sea Goddess” webbed toes. When asked why, he tells the narrator, “I don’t really know…The fact is I hadn’t planned to do it. It just happened.” Then when the narrator asks about the “disfiguring marks on the neck…” Corey just laughs it off and says “Perhaps a ‘Sea Goddess’ ought to have gills.” Yeah…Ok Corey.
The narrator tells us that after Corey went missing he found his notebooks which normally held notes about his art, but around this time they became more of a journal of his downfall.
Corey talks about his “Compulsion” to “baptize the Sea Goddess” and he begins to have strange dreams. They start innocuous enough, “A dream of swimming accompanied by shadowy men and women.” Then he has erotic dreams of “a woman, naked, slipped into my bed after I had gone to sleep, and remained there all night.” Scandalous!
There is even an entry which is frankly the most eye rolling thing I’ve read in Derleth. “The dream of swimming again. In the sea-depths. A sort of city far below. Ryeh or R’lyeh? Something named ‘Great Thooloo’?”
That passage gives me a visceral reaction. Now to be fair, if I had read this story first, it may have been gripping, but because I’ve gone through Lovecraft’s entire catalog, it just didn’t hold the same gravity as everything else. To top that off this is probably the first time anyone who’d ever read these stories got a phonetic interpretation of Cthulhu, so that potentially could have been very groundbreaking, but ultimately at this point I can tell you exactly what’s going to happen, line for line, with the rest of the story.
The rest of the story follows as you would expect. The narrator and Corey try to do some research into why Corey keeps having these dreams. They find out a bit more about his distant relatives, until they find the drunk at the bar… you know… the absolute best source for any strange knowledge. They wake him up from his drunken stupor and give him more liquor to get the most trustworthy story. They speak for a while discovering new things for the characters, but nothing new for any reader whom is familiar with the Innsmouth story, until eventually Corey’s scarf falls a bit and we get the opening quote for this essay.
Those “curious corrugations” on Corey’s neck begin to hurt, “it isn’t the pain one associates with stiffness or friction or a bruise. It’s as if the skin were about to break outward…” which happens about the same time as, gasp, The sculpture of the Sea Goddess goes missing! Then shortly there after so does Corey!
The narrator wonders about them, until he is out on a boat and sees a couple of fish creatures swimming together. One which was absolutely female and the other which…gasp… looked just like Corey!
The story comes off as droll and tired. There was really no uniqueness to the tale at all, as even in the last few Derleth stories, he re-uses the same themes and ideas without giving us much of anything new to go off of, or even the atmospheric writing which Lovecraft used.
In one final example of Derleth’s forced writing I give you this passage:
“There was some evidence to show that he had gone down to the Atlantic and walked in – whether with the intention of swimming or of taking his life could not be ascertained. The prints of his bare feet were discovered in what remained of that odd clay thrown up by the sea in February, but there were no returning prints.”
Derleth is full of these little phantasms. There is really no way anyone would be able to identify that “evidence” that Corey walked into the Ocean. This is just Derleth trying to give the reader the impact of what’s going on, but it’s lazy writing. I’ve mentioned it many times before, but this is specifically what I’m talking about. Instead of spending the time to get some really well thought out story lines, Derleth focused more on production. He apparently was famous for saying that he could write a “quality” story every week.
Don’t let me scare you away from him. These stories are fun and unique… if you haven’t read Lovecraft. Derleth is actually like a Lovecraft light. Lovecraft himself has unique and fairly difficult language, but once you’re able to break it all down and digest it, they are some of the most unique and terrifying stories written. Derleth’s language is far more accessible, and if I’d have to recommend a pathway, I’d say to read Derleth first. That will give you a sampling of what you can expect in Lovecraft without a worry about the language. Then when you get to Lovecraft, you can understand how wonderful and dense and unique those stories truly are.
We’re at the end of the short stories. We only have one last short story and one novel to dissect, and the next story is technically “unfinished.” Could that be Derleth’s swan song?
Let’s find out next week as we read “The Watchers Out Of Time!”
“In perhaps three quarters of a mile I came to a great wooden door, barred on the inside. I put down the lamp and lifted the bar. Opening the door, I found myself looking into a tangle of growth that effectively concealed the opening into the tunnel from anyone outside. I pushed through this tangle sufficiently to find myself looking down the hill toward the countryside below, where I could see the Miskatonic some distance away, and a stone bridge across it – but nowhere a dwelling of any kind, only the ruins of what had once been isolated farms.”
Welcome back to another Blind Read! This week we tie together some of Lovecraft’s classics while solidifying Derleth’s legacy in the mythos.
We start off our story much the same way as we did in “The Dark Brotherhood,” with a statement. We learn about a document which was found written by one Ambrose Bishop, which turns out the story is the said document:
“The Bishop Manuscript was found by authorities investigating the disappearance of Ambrose Bishop. It was enclosed in a bottle evidently thrown wide into the woods at the rear of the burning house. It is still being held in the office of the sheriff in Arkham, Massachusetts.”
This again is Derleth falling back into his comfortable role. We again know there’s going to be a house burned down. We again are introduced to a disappearance and a mystery. The last few tales have been nice because he’s made a drastic twist towards the end which give us as readers a new experience through his tired tropes. But he has let us down within the pages of this book. Lets find out what he does here, shall we?
The “manuscript” begins as Ambrose approaches his ancestor, Septimus Bishop’s, house. He finds a run down old house, but decides he needs to go into town to get provisions before digging into the old place, so he heads to the general store. There, he speaks to the proprietor Tobias Whateley. They make niceties for a little while until Tobias realizes Ambrose is a Bishop:
“At the mention of the name, Whateley went a shade paler than his normal pallor. Then he made a move to sweep the articles I had brought back from the counter.“
This seems to be an odd thing for a Whateley to do to anyone, knowing what we know about their corrupted family, but, he refuses service to Ambrose. Spurned on by derision Ambrose decides to head to Arkham, to find the local newspaper, The Arkham Advertiser, and try to understand why he was treated in such an abrupt fashion. What did Septimus do?
“Nothing has been heard of Septimus Bishop, who apparently vanished from his home in the country above Dunwich ten days ago. Mr. Bishop was a recluse and a bachelor, to whom the folk of Dunwich were in the habit of ascribing many superstitious abilities, calling him at various times, a ‘healer’ and a ‘warlock.’ Mr. Bishop was a tall, spare man, aged about 57 at the time of his disappearance.“
He also sees an article which gives quite a bit of information regarding a broken down old bridge which leads over the Miskatonic river. It seems as though there was an effort to repair the…middle span…of the bridge years before, even though the bridge is no longer in use.
This is just one of the styles Derleth uses. It’s lazy writing to be sure, because he’s basically just sticking some sort of foreshadowing in the story to lead the reader along. He needed to read more Agatha Christie before he could perfect his red herring work, but it seems as though the only red herrings he’s willing to throw around are to trick the people looking for the Lovecraft connections (I.E. throwing in a Whateley as a good guy), which is incidentally what I’m doing here, so it’s an enjoyable offshoot of the project. I feel like I’m involved in a little mental Tet-a-Tet with Derleth.
Anyway the story progesses and Ambrose finds books about astronomy and astrology and finds a telescope and various other such books. As he keeps digging around he finds a trap door which leads downward into a sub-cellar.
“A brick floor had been erected in it – something very much like an altar, of stone, for one, and benches, also of stone. And on the floor there were those crude drawings similar to the cupola of the house…”
It’s remarkably like the cellar from “The Case of Charles Dexter Ward,” except for here, there’s a tunnel offshoot which seems to go for miles. Ambrose follows it all the way to the end which you can read in the beginning quote of this essay.
Ambrose heads back to the house deciding to try to dig into some of those letters. Here Derleth endeavors to bring together the mythos in a clunky, and ineffective way. He finds a letter with a title (who titles a letter?):
“In the name of Azathoth, by the sign of the Shining Trapezohedron, all things will be known to you when the Haunter of the Dark is summoned. There must be no light, but He who comes by darkness goes unseen and flees the light. All secrets of Heaven and Hell will be made known.”
The signature is blotched but he thinks it said “Asenath Bowen.”
Ok, a few things here in a sentence which on the surface seems to be loaded with Lovecraftian goodness. In Lovecraft, Azathoth is called the “Blind Idiot God” because he’s so old and so apathetic toward the universe that he’s just a immense immovable force. I imagine he causes madness because he’s so large and strange, that it boggles our puny human minds, kind of like when you sit down to contemplate how massive the universe actually is, it’s almost impossible to comprehend. Another example is trying to imagine what a trillion dollars would look like. It might drive you a little mad knowing it exists.
So Azathoth didn’t bring about the Trapezohedron, which is kind of like the Lament Configuration (or puzzle box) from Hellraiser, so connecting the two of them don’t really make sense. In the story “The Haunter of the Dark” a person needs to gaze upon the the Trapezohedron to gain knowledge of the world…knowledge beyond their own ken, not just the insignia of the talisman.
In addition to that, nothing is gained by summoning The Haunter. The Haunter, I believe, is just Mi-Go, one of the flying creatures from Yuggoth, where incidentally, the Shining Trapezohedron is supposedly created.
So to say that “all will be revealed” is either Derleth lazily adding horror elements, or the absolute worst “here drink the cool-aid” moments ever.
Then we finish off with two famous names in Lovecraft. The first is Asenath, who is a character from “The Thing on the Doorstep” where she uses mind control, telepathy, and astral projection to possess people. Bowen is the name of the archaeologist who discovered the Trapezohedron in “The Haunter in the Dark.”
This is, again, just Derleth throwing out fan service. This is the red herring we spoke of earlier that he’s so bad about creating, because as soon as he mentions Asenath, I believed there was going to be some sort of possession in the story…based upon the few previous paragraphs I think you can tell that there isn’t.
Derleth throws out a number of other names “Great Cthulhu” “Hastur the Un-speakable” “Shub-Niggurath” “Dho formula” even “Wilbur Whately” in the research. This is all Derleth trying to throw us off the trail of what’s really going on, but then he just tells us:
“The bridge was very old, and only the middle span stood, supported by two stone piers, one of them thickened with a large outcropping of concrete, upon which whoever had constructed it had etched a large five-pointed star in the center…”
We saw this a few different places but most recently in “Witches’ Hollow” where the star stones or “Elder Signs” were used to hold outsiders, to imprison them. It is no coincidence that the tunnel from the house exits right in front of the broken bridge with the Elder Sign on it.
But then, in a drastic and totally unforeseen event (wink, wink), there’s a terrible storm that destroys the bridge, and Ambrose finds bones that were hidden…or imprisoned underneath.
He takes the bones to turn into the authorities but when he goes to retrieve them after cleaning up…they’re gone! He has dreams which are realistic and potentially strangely prophetic:
“dreams in which I saw the bones I had brought reassemble themselves into a skeleton – and the skeleton clothe itself in flesh – and the whiplike bones grow into something not of this world that constantly changed shape…”
Ambrose wakes up and is startled to find a man in the house with him. A man “lean of face, saturnine in countenance….” with “a squamous thing with the face of a lovely woman.”
Hello Septimus and Asenath. Brought back to life because the Elder Sign barricading their tomb was destroyed.
Soon after, disappearances began to happen again in Dunwich, and the town got together to go after the risen warlocks. Septimus comes to Ambrose and takes him through the tunnels as the folks from Dunwich burn down the manor. There the manuscript ends, but we find right afterwards the middle span of the bridge was re-built, with an Elder Sign imprinted on it…
The ending of this essay might feel a bit rushed, but that’s how the story goes. We go through the whole thing, methodically describing every detail, until Septimus and Asenath are resurrected…then everything happens in a few paragraphs. It feels as though deadlines were rushing Derleth to get the story out, because it feels like such a lost opportunity to capitalize on. There’s so much wealth of character and history, but as we’ve seen in stories like “Witches’ Hollow” action isn’t one of Derleth’s strong suits, so it’s entirely possible he just didn’t know how to write the ending.
This isn’t one of Derleth’s best. The story is interesting, but it felt like he was bored with it and just wanted it to end. But for us, we’re running out of stories. With only two left where will Derleth take us?
Find out next week as we read “Innsmouth Clay.”