“Thus the realm of Finrod was the greatest by far, though he was the youngest of the great lords of the Noldor, Fingolfin, Fingon, and Maedhros, and Finrod Felagund. But Fingolfin was held overlord of all the Noldor, and Fingon after him, though their own realm was but the northern land of Hithlum; yet their people were the most hardy and valiant, most feared be the Orcs and most hated by Morgoth.”
Welcome back to another Blind Read! This week we delve into the realm of Beleriand and gain a greater understanding of where each faction of the Eldar takes as their home.
The book has gone beyond being very dry to transitioning to some fascinating tales. So, unfortunately, this chapter takes a step backward, but for an important reason:
“This is the fashion of the lands into which the Noldor came, in the north of the western regions of Middle-earth, in the ancient days; and here also is told of the manner in which the chieftains of the Eldar held their lands and the leaguer upon Morgoth after the Dagor Aglared, the third battle in the Wars of Beleriand.”
We finally get some reference to the locations and people described.
Tolkien was known to love nature and hate what industry did to the purity of the world. We can see this in The Lord of the Rings movies on full display with the destruction of Fangorn Forest through the industry of Isengard. Here, in the First Age, Morgoth does much the same. First, he makes his fortress in the wastes of the north and calls it Angband, otherwise known as “The Hells of Iron.” He then built a great tunnel leading out of Ered Elgin (Ered is the Elvish name for Mountain. Thus, Ered Elgin is called the Iron Mountains) for his minions to spread throughout Beleriand. At the end of this tunnel, he built a mighty gate, “But above this gate, and behind it even to the mountains, he piled the thunderous towers of Thangorodrim, that were made of the ash and slag of his subterranean furnaces, and the vast refuse of his tunnelings.”
This passage shows the Evil (with a capital E) in Tolkien’s eyes. The destruction of the world in the (false) name of progress.
But since this chapter glosses over events, for want of explaining locals, we switch to the other residents of Beleriand who managed to live with and in the world, just as Yavanna’s song of creation would have them.
“To the West of Thangorodrim lay Hísilómë, the Land of Mist…Hithlum it became in the tongue of the Sindar who dwelt in those regions.“
From my meager knowledge, I believe that the lands of Beleriand make up much of what we know of the landscape of Middle-earth in the Third Age, and based upon the name of the region, could this be what will become the Misty Mountains? There is no direct correlation except through the wording. However, Tolkien was always so specific with his world and language that I will go out on a limb and say it’s so.
Then we come across another little gem hidden in the text. Within Hithlum to the south is a region known as Dor-Lómin:
“But their cheif fortress was at Eithel Sirion in the east of Ered Wethrin, whence they kept watch upon Ard-galen; and their cavalry rode upon that plain even to the shadow of Thangorodrim, for from few their horses had increased swiftly…Of those horses many of the sires came from Valinor,”
I have to wonder if these are the glorious beginnings of the wonderous horses of the Rohirrim, which we see in “The Two Towers” as the riders of Rohan, whose duty it was to guard the fields of that land. Again there is no definitive statement, but it makes quite a bit of sense.
Moving west still, we go to Nevrast, where “for many years was the realm of Turgon the wise, son of Fingolfin.” Nevrast was a marshy land settled between the sea and the mountains where most of the Grey-elves lived.
Directly east of Dor-Lómin, across Ered Wethrin and Tol (Elvish for River) Sirion, lay Dorthonion where “Angrond and Agnor, sons of Finarfin, looked out over the fields of Ard-galen.” and in the west of Dorthonion was the Tol Sirion, where Finrod ruled. It was there, “in the midst of the river he built a mighty watch-tower, Minas Tirith; but after Nargothrond was made he committed that fortress mostly to the keeping of Orodreth, his brother.“
Minas Tirith! I had no idea Minas Tirith was built in the first age! No wonder it is so massive and beautiful! It was created in the “Pass of Sirion,” the largest and most prominent passage to Beleriand from Ard-galen and where Morgoth would most likely take a straight shot to attack that land. Minas Tirith, and Gondolin, which were built on the opposite side of the river, are the two most significant guardians of the land created by the Eldar.
The last region we’ll talk about this week is the March of Maedhros, which was east of Dorthonian. It was here “dwelt the sons of Fëanor with many people, and their riders often passed over the vast northern plain, Lothlann the wide and empty, east of Ard-galen, lest Morgoth should attempt any sortie against East Beleriand.”
This region was known as Himring, the Ever-cold, “and that was wide-shouldered, bare of trees, and flat upon its summit, surrounded by many lesser hills.” I thought about this area quite a bit, and I wonder if this might be Weathertop, where Frodo took the poison of the blade of the nine. The description of the geography seems appropriate, but I’m unsure of the region.
What is so fascinating is that the Gray Elves, or Sindar, had never gone to Valinor. Instead, Thingol married a Maiar named Melian, and they took up residence in Beleriand (look back at the Girdle of Melian here). Still, it was Fëanor and Fingolfin who came after during the departure of the Noldor from Valinor. These two relations took a protective stance against the rest of the realm.
All locations described in this part of the chapter are lookouts or guards surrounding Ard-Galen so that they might protect against Morgoth and his minions. The opening quote of this essay describes their purpose nicely because it’s curious that Thingol, the Elf who had been there the longest, with a Wife who is more powerful than any Eldar, would hide within their girdle. At the same time, the Noldor would be the protectors. But it is because of that hatred Fëanor had for Morgoth that this came to being.
When he died, his sons took up his mantle, and where they didn’t have the fire, he had to go after Morgoth actively; they took it as their duty to guard the land and stop The fallen Valar from further destruction.
Join me next week as we cover the remainder of Beleriand and complete this chapter!
“Behind the walls of the Pelóri the Valar established their domain in that region which is called Valinor; and there were their houses, their gardens, and their towers. In that guarded land the Valar gathered great store of light and all the fairest things that were saved from the ruin; and many others yet fairer they made anew, and Valinor became more beautiful even than Middle-earth in the Spring of Arda; and it was blessed, for the Deathless dwelt there, and there naught faded nor withered, neither was there any stain upon flower or leaf in that land, nor any corruption or sickness in anything that lived; for the very stones and waters were hallowed.“
Welcome back to another Blind Read! This week we begin our pathway into the Quenta Silmarillion and learn of the beginning of the First Age, while getting some very useful backstory into the elves and man.
In the past few weeks we were introduced to the Valar and their predilections and abilities, which is imperative back story as we jump into the Silmarillion.
The story starts with mention of the First War, and if you remember, we don’t really know anything about it, because we’re getting everything from the Eldar, and the First War was before they came into their own in Arda. What we do know is that Melkor fought the Valar for control of the land, until Tulkas the Strong came down and “Melkor fled before his wrath and his laughter.“
With Melkor gone, at least temporarily, the Valar began to build Arda bringing “order to the seas and the lands and the mountains.” Once Yavanna planted seeds, the Valar realized they needed light to help life flourish, so Aulë “wrought two mighty lamps for the lighting of Middle-earth… One lamp they raised near the north of Middle-earth, and it was named Illuin; and the other was raised in the south, and it was named Ormal.”
The land flourished with the Valar and the light of the lamps, but Melkor had spies among the Maiar, “and because of the light of Illuin they did not perceive the shadow in the north that was cast from afar by Melkor.”
Because they didn’t notice Melkor, he came south and “began the delving and building of a vast fortress, deep under the Earth, beneath dark mountains… That stronghold was named Utumno.” His corruption spread from Utumno “and the Spring of Arda was marred.”
Another war broke out and Melkor “assailed the lights of Illuin and Ormal, and cast down their pillars and broke their lamps.” causing “destroying flame (which was) poured out over Earth,” scarring the land. The Valar were able to stop Melkor after this, but it was too late and “Thus ended the Spring of Arda.“
The Valar decided that there was no appropriate place to live, “Therefore they departed from Middle-earth and went to the land of Aman,” and to protect this land “they raised the Pelóri, the Mountains of Aman, highest upon Earth.” Upon the highest mountain Manwë (the Lord of Air and Winds) build his throne. “Taniquetil the Elves name that holy mountain.” Then we get the quote which opens this essay, and we understand that this land of Aman, had now become Valinor.
It was then, once they made their home in Valinor that Yavanna helped grow (through her song) the “Two Trees of Valinor;” Telperion and Laurelin. Telperion bloomed for six hours then stopped, then Laurelin bloomed for another six hours: “And each day of the Valar in Aman contained twelve hours, and ended with the second mingling of the lights, in which Laurelin was waning and Telperion was waxing.” It was a time of great joy for the Valar, to be free of Melkor and to continue to develop Valninor:
“Thus began the Days of the Bliss of Valinor; and thus began also the count of time.”
What significant about this is the aspect of time. The age of the Children of Ilùvatar was coming and the instance of time was it’s catalyst. The Elves are immortal, they “die not till the world dies, unless they are slain or waste in grief.” But men are mortal and they need to have a concept of time to understand what their life capability is. We’ll see more of this later in the essay.
But in this coming of the Children of Ilùvatar, Melkor still dwelt in Middle-earth, which is where the Children took up their home.
The Valar rarely came across Pelóri, but when they did they taught the Elves “the lore of all craftsmen: the weaver, the shaper of wood, and the worker in metals; and the tiller and husbandman also.” But it was the Noldor, the “most skilled of the Elves” whom were “the first to achieve the making of gems; and the fairest of all gems were the Silmarils, and they are lost.” I’m trying to take this one step at a time, but seeing as this history is called “The Silmarillion,” I’m sure they will come into play soon.
The Vanyar Elves were gifted the art of “song and poetry” by Manwë whom was named the “vicegerent of Ilùvatar, King of the world of Valar and Elves and Men, and the chief defense against the evil of Melkor.” he even wields a “scepter of sapphire, which the Noldor wrought for him.”
Then there was also Ulmo of the Oceans and seas. I’m going to give you a long passage and break it down, because to me, this is the most important passage in this chapter:
“In the deep places he gives thought to music great and terrible; and the echo of that music runs through all the veins of the world in sorrow and in joy; for if joyful is the fountain that rises in the sun, its springs are in the wells of sorrow unfathomed at the foundations of the Earth… And thus it was by the power of Ulmo that even under the darkness of Melkor life coursed still through many secret lodes, and the Earth did not die; and to all who were lost in that darkness or wandered far from the light of the Valar the ear of Ulmo was ever open; nor has he forsaken Middle-earth, and whatsoever may since have befallen of ruin or of change he has not ceased to take thought for it, and will not until the end of days.”
Not only is this passage poetic and beautiful, but it also gives form to the philosophy of Middle-earth as the personalities of the Valar form the very fabric of reality. There is and always will be a subset of people whom believe that the ideal of The Lord of the Rings is a power struggle between good and evil. Between happiness and sorrow. Between love and loss.
The end of the books and movies (as Frodo heads to Valinor) there is a certain forlorn sorrow, but infused within that thread is hope, and that’s what strikes me the most in this passage above. There is joyfulness, but that joyfulness is countered by “sorrow unfathomed.” The point is if there were only goodness, there would be no joyfulness. Men and Elves are the Children of Ilùvatar and thus are more open to emotion and feeling. The Valar only have a little bit. So if everything were always joyful, the point of joyfulness disappears because there is no counterpoint. It is only upon feeling sorrow that we understand what Joy truly is.
This sorrow does not mean the terror that Melkor had wrought, or even Sauron in The Lord of the Rings. This is speaking of the normal every day sorrow, and that comes along with the concept of time which the Valar created with the two great trees of Valinor. To burrow this down to brass tacks, it is the sorrow that Men have a finite time on Middle-earth that creates the joyfulness that they flourish off of. What Ulmo does is put the sorrow in “the foundations of earth” meaning both that it was around at earth’s inception, but it’s also deep in a well; deep in the earth; physically and metaphorically tying the song of the sorrow to Middle-earth as a place. Michael Ende used this concept to full effect in his Swamps of Sorrow of The Neverending Story.
But what is the point of having Men and Elves live on Middle-earth? The Elves “shall be fairest of all earthly creatures, and they shall have and shall conceive and bring forth more beauty that all my Children.” So the Elves are there to make Middle-earth a wonderous and beautiful place. But what of Men?
“Therefore he willed the hearts of Men should seek beyond the world and should find no rest therein; but they should have a virtue to shape their life, amid the powers and chances of the world, beyond the Music of the Ainur, which is as fate to all things else; and of their operation everything should be, in form and deed, completed, and the world fulfilled unto the last and smallest.“
For this the Elves fear Men, “for it seems to the Elves that Men resemble Melkor most of all the Ainur, although he has ever feared and hated them, even those that serve him.” The Elves are there for much the same reason the Valar were… to continue to make the world beautiful. Man was there to give direction and purpose. This is a powerful responsibility and it’s why many are corrupted during their journey, but it also gives rise to the joyful sorrow that one feels as they look out across the crashing waves and into the depths of the beautiful Ocean and it’s terrible wine dark composure.
Join me next week as we move onto chapter two and learn more of the Valar Aulë and Yavanna!
I anticipated releasing the conclusion of Lurker at the Threshold today, but due to a WordPress blip, half of the essay was gone when I logged on this morning. So that essay will be coming to you next week while I re-write it, followed by an essay on some final thoughts of H.P. Lovecraft. What I want to spend the rest of this update doing is letting you know what’s coming after that!
Blind Read Series:
I’m going to transition directly from H.P. Lovecraft to J.R.R. Tolkien (I didn’t think there were enough initials in my titles!). I read The Hobbit as a child and loved it, but when I started to read The Lord of the Rings, I was stuck at Tom Bombadil. I eventually read that massive tome in three sections, but I’ve always been interested in Tolkien’s lost tales and histories. I know many people are, but the text itself is daunting, so I intent on continuing the Blind Read series and reading, analyzing, demystifying, and connecting all of Tolkien’s side tales and histories of Middle Earth. In three weeks from today I’ll release the first section of the Silmarillion!
The weather is cooling and the spooky season is coming. I intend to write a number of short shorts (somewhere in the ballpark of 1000 words) to release periodically in the fall months. These are going to be similar to the Universal Monster shorts I did last year, but Halloween will be the connecting factor this year. This is a call back to all those terribly awesome 80’s horror/schlock films such as The Monster Squad, Fright Night, and Hocus Pocus (I know, I know, that one is the 90’s). So come join me for some kinda, maybe not so scary fun!
Elsie Jones Adventures:
Get ready for a new look of Elsie Jones! I’ve been passively looking for a new Illustrator to take over the series, but this fall I’ll continue in earnest. Get ready for a new authors edition of Elsie Jones and the Book Pirates, and a cleaner Elsie Jones and the Captain’s Guard. Twelve of the 15 books are written, so I anticipate a good release schedule! If you’re curious you can purchase any of the first three books here!
Currently in it’s fourth edit. This is my adventure novel I finished last October. Think if Dan Brown partnered with Indiana Jones this is what you’d get! I’ve always loved the intrigue and the adventure of following the clues to discover and uncover a mystery! Inspired by the incredible Oak Island (research it if you don’t know about it). I’m hoping to have this published in some fashion in 2022.
The Monster in the Woods:
This is the first book in my Revolution Cycle. I’ve been stewing on this series for 20 years or so, and I’m finally getting it to where I want it. I’ve already written two novels that’s I’ve been unhappy with and consider exploratory novels into the world, but I’ve been spending quite a bit of time outlining everything that will go into this 10 book series. The first book is very heavily inspired by The Goonies (I’m catching a 80’s inspiration thread here), but the larger story is told with the backdrop of impending war, and how the group from the first book will deal with it. The Monster in the Woods is a Heist/Gooniesesque adventure, with a few twists along the way.
That’s all for now, with much more on the way!
“What happened then is scarcely to be described in words. It is full of those paradoxes, contradictions, and anomolies which have no place in waking life, but which fill our more fantastic dreams, and are taken as matters of course till we return to our narrow, rigid, objective world of limited causation and tri-dimensional logic.”
Welcome back to another mind bending Blind Read! We’ve learned about Randolph Carter in the past, including the indominable Silver Key, but this time we traverse through the doorway this magical talisman produces. Lets dive into a treatise on traversing space, time, dimension, and existence as we traverse through the gates of the Silver Key.
The opening few chapters is basically a rehash of the stories “The Dream-Quest of Unknown Kadath” “The Silver Key” and “The Statement of Randolph Carter.” The story is unique in it’s narration because most of Lovecraft is told from the perspective of a single narrator, but this story begins omniscient and doesn’t more into narration until Swami Chandraputra directly relates the events surrounding Randolph Carter.
“In a vast room hung with strangely figured arras and carpeted with Bokhara rugs of impressive age and workmanship four men were sitting around a document-strown table.” These four men were Etienne-Laurent de Marigny (Later to be a mainstay in Brian Lumley’s Titus Crow Series), the aforementioned Swami, Ward Phillips, and Ernest B. Apinwall, whom is an executor of Carter’s estate and is trying to sell it all off.
Apinwall tells the other three his goal is selling off the Carter estate, because Carter himself has been gone nearly four years and it’s time to move on. The Swami objects and tells the group he has proof that Carter is alive and needs to make sure that Aspinwall doesn’t sell anything. Once we have the abridgement of Carter’s history we jump right into new territory with the quote which opens this essay.
The actual story is too complicated and intricate to tell in short form here, heck, Lovecraft could barely get it out in long form of the story itself, but the basics are that just beyond where Carter had already gone using the Silver Key, there are more gates, and these gates had only been transcended by a few mortals…ever. Carter traversed these gates and gained an understanding far deeper than any human could ever comprehend.
The story covers what we consider to be Lovecraft’s Dreamlands, so we’re not dealing with a horror story as it is, but something that goes so much farther than that. Serendipity comes to mind because I’ve recently been following Marvel and all that they have been working through, with perceptions of thought and reality and multiverse, which makes reading this story at this time seem so very apt. We’ll dig into what I’m talking about in a moment here, but first I would like to discuss the perception of gods and Gods in Lovecraft.
To open it up, I’d like to give you some straight text from this story:
Carter guessed what they were, whence they came, and Whom they served; and guessed, too, the price of their service. But he was still content, for at one mighty venture he was to learn all. Damnation, he reflected, is but a word bandied about by those whose blindness leads them to condemn all who can see, even with a single eye. He wondered at the vast conceit of those who had babbled of the malignant Ancient Ones, as if They could pause from their ever lasting dreams to wreak wrath upon mankind. As well, he thought, might a mammoth pause to visit frantic vengeance on an angleworm. Now the whole assemblage on the vaguely hexagonal pillars was greeting him with a gesture of those oddly carven scepters, and radiating a message which he understood…
There is a whole lot of theology and thought packed into that one little paragraph!
The first portion is the concept of damnation. If you’ve been following along with this blog then you know Lovecraft didn’t adhere to any specific religion; in the sense that the dogma of the church just didn’t make any kind of rational sense to him. This paragraph is the perfect example of that. People who are either willfully ignorant, or just plain blind to reality as Lovecraft saw it, didn’t understand that if there was a God or gods, then they really dont care about you. Rationally it doesn’t make sense for a supreme being to care about lesser beings, thus indicating that these “gods” were mammoths and we were angleworms. Because these beings dont really care about us, then damnation itself must be a construct of religion to keep people in line. Religion, like governance, is about control and comfort. Humans crave structure despite how we act and react sometimes, and to know that there is a heaven and a hell makes people more at ease. If they go to church on Sunday and say their prayers by night, they wont become a wolf when the wolf bane blooms and the autumn moon is bright. Damnation (at least what this story is trying to convey) is a construct of the mind, and for Carter, it isn’t until he breaks the barrier held in check by the Silver Key that he comes to this realization. He moves beyond one universe into multiple and lives countless lives and endless consciousness’ all at once; giving him a greater understanding than that of even the Mad Arab Abdul Alhazred and his ravings in the Necronomicon. Damnation is a state of mind, not a place.
To piggy back on that we have the conception of the gods in Lovecraft’s mythos. It has been played around with in stories such as “The Dream-Quest of Unknown Kadath”, but not elucidated with such clarity as it is right here in this paragraph. With the notable exception of Nyarlathotep, the gods of Lovecraft are omnipotent, they are not malignant. These gods transcended space, time, and universe, occupying all and none at the same time. They have lived for eternities and will live for eternities more. Their consciousness has developed for hundreds of thousands of millennia, and because of this, their scope is so much larger than the few thousand years humans have existed. In fact, the only reason Nyarlathotep has any kind of vengeance is because humans keep trying to invade and go beyond their bubble. He is a god who believes we are a stain on the beautiful tapestry of consciousness and wants to be rid of our parasitic species. When Cthulhu comes out of the sea at the end of “The Call of Cthulhu” he is not trying to destroy the world, but his simple visage shows the magnitude of what we dont know, and that in-and-of itself is enough to drive everyone, with the notable exception of Randolph Carter, insane. Damnation is tied so closely to the malevolence of gods and the insanity caused by them, but that’s just a construct so that mere mortals can understand. This whole story is all about how the life we live is an illusion of our own construct, and there is so much more beyond our ken.
So lets dig into that multiverse, shall we?
“The man of Truth is beyond good and evil…The man of Truth had ridden to All-Is-One. The man of Truth las learnt that Illusion is the only reality, and that substance is an impostor.”
Carter goes through the first Gateway of existence:
“Even the First Gateway had taken something of stability from him, leaving him uncertain about his bodily form and about his relationship to the mistily defined objects around him, but it had not disturbed his sense of unity. He had still been Randoplh Carter , a fixed point in the dimensional seething. now, beyond the Ultimate Gateway, he realized in a moment of consuming fright that he was not one person but many persons.”
I mentioned Marvel earlier, and I’ve just started watching WandaVision, like many of you may have as well. This show seems to be of a similar set up to Carter’s story. We have Wanda living in a dream world of her own construct (or maybe caused by another to keep her under control with those calls of “Who’s doing this to you Wanda?”) The layers are slowly being peeled back to revel a reality that may just be too difficult for her to comprehend, thus fracturing her mind. Or maybe she has already been through the gates of which Carter speaks of, and what we view every Friday night is a perception of her fractured mind? The idea of a multiverse is complicated, and Lovecraft here barely scratches the surface (hopefully, with the help of Rick and Morty writers, we’ll see a bit more cohesion in the Marvel Multi-Verse). Carter has lived many lives and we’ve seen that in previous stories (in “The Silver Key” Carter was both his adult self and his ten year old self), but when he goes beyond the ultimate door we find that there are many worlds which hold his consciousness. There are countless alien beings which have been “Randolph Carter”, just not in human form. These are not parallel universes, but unique and individual universes with single threads of consciousness which hold things together. Deja Vu? Strange memories of places and things you shouldn’t have? Sudden empathy or hate for a creature or thing? These are all because we have lived these experiences either concurrently or in the past…or even in the future.
Think of a cupcake stand. The saucers are the different universes of which there could be infinite, the pole holding them together is your consciouness and on each infinte saucer there is a different being with different experiences, but with your soul as the connector. Lovecraft describes it here as:
They told him that every figure of space is but the result of the intersection by a place of some corresponding figure of one more dimension – as a square is cut from a cube or a circle from a sphere. The cube and sphere, of three dimensions, are thus cut from corresponding forms of four dimensions that men known only through guesses and dreams; and these in turn are cut from forms of five dimensions, and so on up to the dizzy and reachless heights of archetypal infinity.
A slight change of angle could turn the student of today into the child of yesterday; could turn Randolph Carter into that wizard Edmund Carter who fled from Salem to the hills behind Arkham in 1692, or that Pickman Carter who in the year 2169 would use strange means in repelling the Mongol hordes from Australia; could turn a human Carter into one of those earlier entities which had dwelt in primal Hyperborea and worshipped black, plastic Tsathoggua after flying down from Kythanil, the double planet that once revolved around Arcturus; could turn a terrestrial Carter to a remotely ancestral and doubtfully shaped dweller on Kythanil itself, or a still remoter creature of trans-galactic Shonhi; or a four-dimensioned gaseous consciousness in an older space-time continuum, or a vegetable brain of the future on a dark radio-active comet of inconceivable orbit – and so on, in the endless cosmic circle.
In fact Carter did this. He transcended through the Ultimate Gate into Zkauba, the wizard of Yaddith, a strange bird-insect like creature and lived for years in this being, until he found his way to travel in a “thin envelope of electron-activated metal” (early TARDIS?) back to earth.
And then we find ourselves back in the room from the beginning of the story with Swami finishing his story and the group realizing that Swami’s accent was fake. That Swami’s face was a mask. The Swami himself…was not a Swami. To reveal the truth Carter pulls the mask off releveling the physiognomy of the bird-insect Zkauba as he never moved beyond that bodily form. Between everyone in the group only Apinwall, the lawyer, sees and in his madness at seeing beyond the gates of the Silver Key, flees the scene and doesn’t foreclose on Carter’s estate.
It’s a long strange ride and this being a Blind Read (The first time I’ve read it) I’m sure I missed volumes which others could fill in. As I get closer to completing the entire oeuvre of Lovecraft I’m constantly mystified at how intellectual all of the stories are and now fully understand the praise as one of the early incredible horror authors.
What do you think??
Join me next week as we delve into “The Whisperer in Darkness”
I’m going to be diving into the Titus Crow series now that I’ve gotten the Carter books under my belt. They follow Titus Crow and Etienne-Laurent de Marigny from this story (follow me on Goodreads if you want updates). That tale centers around the strange clock which is the center piece of Carter’s house which the four men discussed Carter’s fate.
The reason I bring this up here is because it ties together the dream Lands and the waking world so perfectly, where I thought previously that they were two separate, mutually exclusive things. The strange clock has strange hieroglyphics on it instead of numbers:
To him let me say that the language of those hieroglyphics is not Naacal but R’Lyehian, which was brought to earth by the spawn of Cthulhu countless ages ago.
And in sunken R’lyeah sleeping Cthulhu lie…and with strange aeons even death may die.
I’m taking the week off from the Blind Read series to catch up on work, so I’ll leave you with a Lovecraft inspired story. Here’s a horror short based in the madness of the mind…
The black spot was still there. How many times have I scrubbed that damn thing? It’s always there, in the corner, next to the refrigerator, just above the counter in the kitchen. I used to put my knife block there to cover it. It was a large spot, but there were a lot of knifes in the set. It’s such an embarrassing spot. It makes me feel like people would look at it and think I didn’t clean. I mean, how can I ever have anyone over?
Who am I kidding? It’s not like I know anyone who would come over. Not like I have any friends. I can’t have friends. They might want to come over and then they would see the spot and then they would judge me. I have to get rid of it. Cleaning doesn’t seem to help, so I decide that the best thing that I can do is cut it out. Cut it out of the wall, cut it out of my life.
Ah it worked! I got it out of the wall! I went to the hardware store and I bought a drill and cut the embarrassing stain out of the wall. I bought drywall to cover it up and repainted it. It finally looks like the rest of the wall! I can be a normal person now. I can invite people over, I can have friends. This is the best day of my life!
The best day followed by the worst day. When I woke up today, I found a new spot and it’s larger than the last one. It’s in my living room this time. It’s large and ugly. It looks kind of black, but if you get closer to it, it almost looks brown. Where are these stains coming from? I have to go get the drill.
That one was much harder to get out. It ended up being a much larger hole than I anticipated. I started to cut and red liquid came out from the wall. For a moment I thought it was blood. It can’t be blood. Walls don’t bleed. But the liquid spread the stain. I had to cut out half of the wall. I didn’t have enough dry wall to cover it the spot I cut so I had to go back to the hardware store. The clerks there are friendly. Maybe they could be my friends. Maybe. But I have to get that spot out of the wall first.
It’s gotten worse. There is a human sized spot in my room. It’s deep brown. I’m not fooled by thinking its black anymore. The moment I put the drill to it, blood comes out. I know, I know. It can’t be blood, because walls don’t bleed. But it really seems like it. What’s even stranger is that when I cut, the house seems to groan. You know how old houses shift and they make noises? Creaks, cracks, pops? That’s what happens when I cut. I wish I had a friend who could come over and tell me that it’s just the creaks in the house. That it’s not something more strange. That it’s not blood.
I cut into the wall. I ignore the wall’s cries. I ignore the blood. Behind the drywall is something I can’t ignore though. The house has bones. Bloody bones in the walls. Bones where studs should be.
I got back to the hardware store. I need to get more dry wall. I need to get more paint. I’m so embarrassed though. They are nice to me there. I think they can be friends, but something has changed now. It is as though they know about my house, with its blood and its bones. They ask me why I’m wearing sunglasses and a hat and a large trench coat with the collar turned up. They say it’s good to see me, but I can tell that they’re lying.
I put up the drywall when I got home. I spackled it perfectly, then painted it over. No one would ever guess that there are bones and blood behind the wall.
There’s another spot. Another one! It’s in the shower. The brown spot almost makes it look like the wall is skin. Like it has texture. Like it has movement. I repeat the process. I ignore the groans. I ignore the blood. I ignore the bones. I act like nothing is there. I act like I have a normal house. I act like I’m normal.
There’s a new spot today. I don’t know how they keep appearing. I know how to fix it. I’ve done it so many times before. I know I just need to do it again. This must be what my life is. Just getting rid of these dark spots. Erasing anything that doesn’t seem normal. I will make sure that people think I’m normal.
I grab the drill. I run my hand over the spot. I wonder how I’m going to find the materials to fix the hole I create as I cut out this abnormality. I put the drill to my chest. Once I cut this spot out of me, I’ll be normal. I’ll be able to have friends.
“It’s a beautiful place,” I said, looking out over the bow of the ship at the Amazonian jungle as it passed us by. I wasn’t lying. Such an untouched place brought a warmth to my heart, more so than any city ever could.
“It’s a dangerous place, Kay,” My boyfriend David said, “full of deadly creatures, deadly flora, and superstitious and territorial natives.”
“Which is why you brought me along,” Mark said, cocking his rifle and kicking a box of C4 housed under the windows of the boat. “Now hold on, while I dock this thing.”
We were headed to a sacred pool down in the Amazon jungle, following a lead to the find of the century. The missing link. For years my research kept hearing rumors of a fish man in the depths of the jungle, but it wasn’t until Mark and I found the skeletal hand with webbing on a tributary of the Amazon that brought some credence to those rumors.
“Did anyone else find it strange that those natives told us exactly where to look?” Edwin asked. He was our Anthropologist.
“Enough Edwin! We gave them more supplies than they could use in a year! Of course they were going to tell us where to go!” Mark said.
“I’m just saying. Native Amazonian’s historically aren’t too happy to work so well with others,” Edwin concluded.
“The natives are the last thing we have to worry about, Edwin. Let’s get camp set up, it’s starting to get dark. We don’t want to be caught outside with these deadly mosquitoes!” David laughed.
It didn’t take long to build camp, but David was right. The Mosquitoes were horrible. It was so nice to get inside the tent and block out the bugs.
“You hear that Kay? Sounds like laughter,” David said after we had settled down to sleep.
“David, get away from the side,” I cried.
“But I really think I heard laughter. It was strange, kind of gurgling. I’m gonna to take a look,” He said and left the tent. I sat there with my sleeping bag pulled tight under my chin, I mean I know that’s a stupid childish protective safety thing, but I really couldn’t help myself.
I was right to be worried, because after a few minutes I heard him scream.
“David!” I cried and unzipped my tent. I saw a shadow of someone walking by and my skin went cold. There was a strange earthy, wet smell in the air. It was like ozone blended with moss.
“What’s going on?” Mark called. I let out a little yip, embarrassed at my reaction, because he must’ve been the figure I saw.
“David heard laughter and went out to check it out. I heard him scream,” I said.
“Stay with me,” Mark said. He lifted his rifle. “We’ll move to the edge of the water. That way we can’t get surrounded by anything in the woods.”
“What’s going on guys?” Edwin ran up to join us.
“Stay close,” Mark responded. I couldn’t open my mouth. David had better be kidding, but you’d better believe I was going to kill him whether he was or not.
“Woah!” Edwin cried. “Look at this!”
He was bent over something stuck in the muck at the forest edge. Stuck in the ground was an old wooden pendant, petrified by time. It portrayed some strange bipedal fish creature. I turned it in the moonlight when something out of the corner of my eye made me look up.
Mark was standing on the edge of the water line looking past us into the jungle. The something that caught my eye was walking out of the water towards him. The water was black reflecting moonlight making the water look like oil. I thought the figure was David at first, but it was just my mind wishing for something that wasn’t true. The figure opened its arms. It had a huge arm span and its hands were webbed, its skin was scaly, and its neck had gills.
“Look out!” I cried. I was too late. The creature’s arms wrapped around Mark and its nails dug into him. He screamed as the creature bit into his neck from behind. I could see blood as black as the oily Amazon roll down Mark’s body as the creature ripped a piece of his neck free. He collapsed into the water.
“Run!” I cried.
We ran back to the metal safety of the ship. My heart was pounding and I was having trouble getting breath. Did I really just see that? I had to have imagined it, right? But, God the metallic stink of blood surrounded me, I couldn’t focus, I just wanted to be with David. I wanted him to hold me.
When Edwin and I approached the ship, I saw David on the other side of some bushes. My heart soared!
“David!” I cried. “David, get on the ship!”
We turned the corner and my knees gave out beneath me. It wasn’t David. Or rather, it was only part of him. His head was stuck down on a pole that was thrust into the ground. His eyes bugged out of his head, and his tongue lolled. Bugs crawled in and out of his grotesque mouth. I saw a mosquito feeding on one of his bulging eye balls.
I think I cried out. I think I sobbed, but the next thing I knew, Edwin and I were inside the metal boat. Edwin must have put a mop across the handle of the door, blocking us in. Didn’t he see David outside? How did he think a mere mop would stop that thing? Especially with exposed windows?
“Let’s get out of here. We got what we came for,” Edwin said, he was sobbing. Tears and snot running down his face.
“What? What do you mean we got what we came for?” I cried. We didn’t got anything but death!
Edwin held up the idol he found on the beach.
“Get rid of that fucking thing!” I yelled.
“No!” Edwin wailed. “It’s what we were paid for!”
The mop handle cracked as the creature slammed on the other side of the door.
“It’s coming for the idol! Get rid of it!”
Edwin took a few steps back, nearing one of the many windows in the cabin.
“No! Let’s just get the boat moving… ” Edwin said.
The creature’s hands broke through the window and grasped Edwin’s head. Its claws dug into his cheeks and he was momentarily lifted before his skin gave way and the claws tore up and back, ripping skin from his face, piercing his eyes and spraying blood across the room.
I grabbed the idol from Edwin’s dead hands and threw it out the window. I grabbed the broken mop handle in a futile attempt to defend myself.
Then the creature stepped into the room. It smelled of earth and blood and swamp water. It looked like a piranha, if a piranha was six foot tall. Its teeth were razor sharp and its claws were long and dripping with blood. Its green skin shone in the moonlight and it cocked its head to the side like a dog when it saw me.
“I’m leaving. You can go now. I…I won’t cause you any problems,” I called. I took a step back and my foot hit a box. I glanced down. It was the explosives. I knelt down and grabbed a packet of explosives and the detonator. The creature didn’t like that.
It screeched and opened its arms wide. Blood dripped from its hands and its mouth.
My heart was pounding so hard I thought it was going to leap from my chest. The creature took a step toward me and I threw the explosives at it. Its reflexes were incredible. It caught the C4 in the air and immediately turned to look at it.
“Fuck you,” I said, and depressed the button a split second before diving behind a table.
The echo of the explosion resonated in my ears, but somehow I got up and got to the wheel. I thrust the throttle all the way to the maximum. Fuck this place. I was getting out of here.
I managed a glance at the body of the thing. Its arm was completely gone. Disintegrated. Its head was half gone, the rest a toasted black. I had to get the thing off the boat. There was no way I was going to keep going with its corpse there, but I couldn’t think of that right now. I was shaking too bad, I just had to focus on getting out of the jungle.
I heard distant chanting. It got louder and louder and I felt bile rise in my throat. I peered out the window and I saw Amazonians at the shore line. They were dancing and shaking something in the air. The chant was a dissonant sound that made my skin crawl. I squinted at what they held. It was the same as we saw on the beach. The fish idol.
I went back to the wheel when I heard clicking behind me. Nails on metal.
“He bore the name Charles Dexter Ward, and was placed under restraint most reluctantly by the grieving father who had watched his aberration grow from a mere eccentricity to a dark mania involving both a possibility of murderous tendencies and a profound and peculiar change in apparent contents of his mind.”
Welcome back to another blind read! It feels like it’s been a long drought since the last time we covered one of Lovecraft’s more popular pieces, and I gotta tell you, I was very excited to jump into this one.
Right from the start we enter into familiar territory. The POV is much more omniscient than much of Lovecraft (the majority of his stories seem to be told from a much more limited 3rd person, and much of that is from the perspective of an unreliable narrator), however the omniscient narrator spends this chapter describing the character of Ward, whom is a young man who has gone down a path that has led him to the strange.
We find that Ward is an inquisitive youth. He’s described as “a scholar and antiquarian”, but at some point (specifically at his last year of Moses Brown School, the feeder school to Brown University) “he suddenly turned from the study of the past to the study of the occult.”
Ward, while doing research into his past, found that one of his ancestors had some connection to the occult. One Joseph Curwen, “who had come from Salem in March of 1692, and about whom a whispered series of highly peculiar and disquieting stories clustered.” It was in this research of his ancestor that Ward began to go down the rabbit hole of the occult.
Whatever he did had strange consequences. It changed, not only his mind and the psychology behind it, but his actual physiology. There is a really fascinating section early on in the story where Lovecraft describes Ward’s “Organic processes”. The entire point of this is to show that Ward had tapped into something that changed him, but the brilliance of this section is that it encompasses the horror of Lovecraft perfectly:
“Respiration and heart action had a baffling lack of symmetry; the voice was lost, so that no sounds above a whisper were possible; digestion was incredibly prolonged and minimised, and neural reactions to standard stimuli bore no relation at all to anything heretofore recorded, either normal or pathological. The skin had a morbid chill and dryness, and the cellular structure of the tissue seemed exaggeratedly coarse and loosely knit.”
This was the most fascinating section to me because when you read the passage, something about what he’s describing feels off. You know that Ward has been effected by something, but as a reader, you are uncertain what it is. You know he’s still human, but you know that whatever he got himself into has done something to him, and it’s that word… something… that creates real fear. This ambiguous description is the cornerstone of Lovecraft’s genius of horror. He pontificates, but doesn’t out and out recount what is truly going on.
It wasn’t that Ward had become some creature (although he could… this is only the first chapter), just that there was something wrong with him. I see this all the time in bad horror, where the author tries too hard for the scare, and in doing so, usually describes the creature or describes in lurid detail what is happening to the character. When we actually get to see something our brain is able to put it in a box, and where that box may not be pleasant, it’s the first step in understanding. Lovecraft’s point is that we can never understand these types of horrors. He lets the reader’s mind do the work for them.
Even the titles elicit this with stories like “The Thing in the Moonlight” or “The Unnamable” prove that he understood what’s truly scary to people is what they don’t know, not what they do know. He describes things that are a little strange to unsettle the reader, but not to outright terrify. Lovecraft wants to do what his creations do, he wants to be that insidious pulling at the back of your unconscious that tells you something isn’t right, even though you don’t understand what that is.
The brilliance of this story is he places Ward into such a realistic place. He goes into great detail describing Providence, RI. So much in fact that there is criticism (actually from Lovecraft himself) that the novel is a “cumbrous, creaking bit of self-conscious antiquarianism” because of the detail he uses in describing Providence. Now, where he sees this as self aggrandizing, I find it a wonderful juxtaposition to the oddity that is Ward. The realism of his illustration of Providence grounds us, which makes the possibility of the unseen horrors corrupting that reality all the more… well… horrible.
Come back next week and read along as we cover chapter 2 “An Antecedent and a Horror” in The Case of Charles Dexter Ward!
“It was a key – a guide – to certain gateways and transitions of which mystics have dreamed and whispered since the race was young, and which lead to freedoms and discoveries beyond three dimensions and realms of life and matter that we know.”
Welcome back to another blind read! I was excited to read this one because I thought it might have to do with the Necronomicon, but soon found out that the eponymous book was yet another tome of outlandish sorcery – but more on that later.
This fragment starts out with the old Lovecraft standby – the unreliable narrator. This one doesn’t mince words though, our narrator comes right out and says, “wow this is crazy, I don’t even know where I am, or even who I am half the time!”
Think I’m exaggerating? Here’s the beginning: “My memories are confused…I am not even certain how I am communicating this message…My identity, too, is bewilderingly cloudy.”
I’ve been debating on where to put this critique, but every other story is pretty jam packed with content, whereas this is a shorter fragment, so I think I’ll talk about this here…
I’m not thrilled about this unreliable narrator that Lovecraft loves to use. It’s fine every once and a while, but when you consistently re-use the same themes, it feels more like bad writing than a trend. I understand it for sure. Lovecraft is trying to set the stage and each unreliable narrator tends to have a different reason for their unreliableness (totally a word). This narrator is confused because of “… that worm riddled book…” he discovered. He delved so deep into it’s mysteries that it has altered his reality so that he’s not sure as to which reality he’s actually in.
The issue this creates is that the story is now forever stuck in the fantasy realm. The wonderful nature of Lovecraft is the creepy realism he develops with his mythology. He takes us to real places with dirty people (literally and figuratively) who are just trying to make a living, and these extraordinary things happen to them. By telling the story by an unreliable narrator it takes away some of the stakes. Could all of this insanity all be in their head? Could they just be lying? Are they under the influence of something like Opium of Peyote? All of these choices are fine for a story or two, but when we start out nearly every story with the narrator saying something along the lines of “I don’t even know where I am right now!” It becomes more about fantasy than horror and the stakes are lowered for the reader. Lovecraft dances this line superbly in most of his works, but it would be a better choice had the narrator understood what was happening, rather than telling us at the beginning of each story that it might not be true.
Just had to get that off my chest, but back to the story…
The narrator finds the old “wormy” book in some old book store and the shop keep is grateful to be rid of it (or is this some ploy? Could the shop keep with his “curious sign with his hand” be in on it?). When the narrator reads it he finds that, as the starting quote says, it is a key; a gateway to other worlds. I thought for sure this was the classic Grimoire I mentioned earlier but, “… the hand of some half-crazed monk, had traced these ominous Latin phrases in unicals of awesome antiquity.” So we know it’s not the Necronomicon because that tome was written by the Mad Arab Alhazred and he’d be writing it in either Arabic or Aramaic, so it must be something else. The first few pages are burned away, so no one really knows what the book is, however there are references to many other things within: “But still I read more – in hidden, forgotten books and scrolls to which my new vision led me…” So we know there is more to Lovecraft’s old forgotten mystery tomes than the Necronomicon and the Pnakotic Manuscripts.
This fragment was written just a few years before Lovecraft died, so who knows what he would have created as he expanded his universe (I’m sure other authors, like Clark Ashton Smith and August Derleth did, along with a multitude of others who followed, but I’m not there yet).
We even get a glimpse of some strange square building which terrifies the narrator into giving up his research and becoming a hermit. There’s mention that he has gone back in time, could this strange square building have been a Cthulhu temple in R’lyeh? The narrator doesn’t know, so we wont either.
But that’s all. This one is a fairly contained story, but there isn’t a whole lot to it. It feels like this is actually a character sketch for a future story, or that he was trying to work out what another old tome could be. Who knows? Maybe I’ll read another story during this blind read and come across a book which is a “key” somewhere else! Anyone out there, know which book this story is referencing?
I’ve purposely kept some of the better known Lovecraft stories for last. I wanted to try to get as much experience within the framework of his oeuvre before jumping into larger and more popular stories. To that end, I have just one more fragment to get to, “The Thing in the Moonlight” which will be next week (reading from the beautifully Michael Whelan illustrated Del Rey books), before heading into “The Case of Charles Dexter Ward.”
Come join me! Lets read along!
“But at this time it was all horribly real, and nothing can ever efface the memory of those nighted crypts, those titan arcades, and those half-formed shapes of hell that strode gigantically in silence holding half-eaten things whose still surviving portions screamed for mercy or laughed with madness.”
Wow, what a wild ride this story was. This was probably the scariest and most classic horror of any H.P. Lovecraft that I’ve read up to date.
As the story begins we are introduced to detective Thomas F. Malone who is on extended medical leave for trauma. The first portion of the story describes how he’s living and dealing with this trauma, of which we are still ignorant.
The second portion of the story covers Red Hook. We get a call back to HE, as there is a similar tenement structure our narrator experienced there. This story also takes place in New York, which is absolutely unique for Lovecraft. It does not hold the same atmosphere as much of his work, but from the start of this story the tone has a much darker and sinister feel. The basis in New York gives Lovecraft the ability to explore different themes than the usual fantasy/cosmic horror that he frames in New England.
The third portion of the story is the introduction to Malone’s quarry, Robert Suydam. “Suydam was a lettered recluse of an ancient Dutch family,” and he purchased a space in the run down, twisting alleyways of Red Hook. After a strange trip to Europe, Suydam began to deteriorate. His personal hygiene took a hit, he lost friends, and “When he spoke it was to babble of unlimited powers almost within his grasp, and to repeat with knowing leers such mystical words or names as ‘Sephiroth’, ‘Ashmodai’ and Samael’.” And there it is. We have three demons from the Kabbalah and Christian religions. The text has gone beyond the normal Lovecraft, no longer in the world of the cosmic horror. We are no longer in the dreamlands (though there is a little bit of dream stuff to come), we have now crossed over into religious horror. To me this raised my hackles. I find this subject matter far more terrifying that anything I have yet come by within Lovecraft’s oeuvre.
The fourth section of the story delves into the police work. Trying to uncover just what strange dealings that Suydam has been up to. They raid his home, which is empty, and they come across blasphemous art work and things that Malone simply “did not like”. They also found an inscription:
O friend and companion of night, thou who rejoices in the baying of dogs and spilt blood, who wanderest in the midst of shades among the tombs, who longest for blood and bringest terror to mortals, Gorgo, Mormo, thousand-faced moon, look favourably on our sacrifices!
I had no idea what this meant. Though obviously a atmospheric quote, I believed it had deeper meaning. Lovecraft infuses lots of Greek mythology and heritage within his work. There is a certain amount of admiration he obviously felt for the culture and the artwork. He loves the idea of marble structures and busts and even includes some of that iconography in this story as well. So when I came across this quote, it was no surprise to me that it was about Hecate, the Greek Goddess of the underworld, ghosts, and magic. This story was not going to deal with cosmic horror, it was going to deal with something closer to home. It was about Hell.
The next short section of the story tells of a journey Suydam takes across the sea, where he dies. He instructs that his body be conveyed to the bearer of the note provided.
Then we move into the Horror. Malone goes to Red Hook and investigates, noticing a melee. He goes to allay the fight and finds strange sounds and smells while all the participants of the battle flee. Malone suspects something nefarious behind a large door, so he takes a stool and breaks the door open, “whence poured a howling tumult of ice-cold wind with all the stenches of the bottomless pit, and whence reached a sucking force not of earth or heaven, which, coiling sentiently about the paralysed detective, dragged him through the aperture and down unmeasured spaces filled with whispers and wails, and gusts of mocking laughter.“
Malone is sucked into Hell. He experiences some truly horrific scenes, perfect for any fan of this type of fiction, and much more evocative than anything I’ve experienced from Lovecraft. We see Suydam giving himself over to a demon, finally getting what he was after, and becoming one with hell.
The final section explains how the mysterious group brought Suydam’s body back to that experience and how Malone could hear that same refrain from some “hag” speaking to young children about Hecate. The knowledge of the fate of Suydam and that whatever devious magic caused it is still alive and well in Red Hook is what truly throws Malone over the edge.
When I think of Lovecraft I don’t generally think “disturbing”, but I have to say that this one was up there. That penultimate chapter covering Malone’s experiences in Hell were truly unsettling.
What do you think?
Welcome back to the creeping revision of H.P. Lovecraft’s work! This week I’m delving into Hypnos and it’s duality meaning.
The basic story is that the classic unreliable narrator meets a man who had a god-like face almost as ‘white as the marble of Pentelicus.’ The man had passed out in a train station, and our narrator went to him and when the man opened his eyes the narrator knew ‘he would be thenceforth my only friend.’ They discuss the universe and everything within it, and the narrator sculpts his friend. Our narrators new friend has a secret desire that he dare not speak of, to rule and go past the barriers of our known world. They experiment in drugs and try to get into the sleep world (which I can only imagine is a precursor, or even the beginnings of the dream-cycle pantheon). Then one one of these trips the friend (unnamed…for now), goes past an impassible barrier in the dream world, and comes back terrified and visibly aged. The two then vow to sleep as little as possible, also with the help of drugs. They age horribly and they pass their time in big groups and go to as many parties as possible, until one night as they are sleeping something strange happens as a light glows over his friends head and our narrator can see the disembodied face that looks as his friend once did before he went through the impassible barrier. The police come and gather the narrator and tell him that he has been alone, that all along he has been alone…that there was no friend. the only evidence is a bust of his friend with the name Hypnos.
There is an emerging theme that I had never known about from hearing about Lovecraft and that is the drugs. There have been many stories thus far eliciting that the narrators are using drugs to help them get past the barriers and see what is beyond. One cant help but think of the drug dreams of Irving Welch, and wonder if these are stories of fever dreams. It would be a provocative theory, though probably an unpopular one, but I would need to read more to see if the thread continues.
The connectors in the story are traced back to Greece. The narrator is a sculptor and he says he spends his free time sculpting his friend, who has a forehead as white as the marble of Pentelicus…a mountain in Athens known for it’s marble. Then at the end we find that the friends name was Hypnos, which was the Greek demi-god of sleep. So we come to a crossroads. The story is either telling us that the narrator finds this marble bust, and through his drug or fever dream, thinks that the bust opens its eyes and becomes his friend. Remember that the friend was found asleep in the train station, a place where it would make sense for a bust to be. Our narrator is lost in the HYPNOtic gaze of the bust, steals it and the drugs bring him through the adventures. The strange light over his friend at the end, is actually light over the bust and the cracking of the narrators reality. Remember that the idea was put there by drugs (one can only guess that it was a hallucinogenic), and he then stayed awake with the help of drugs. Sleep deprivation on top of a psychotic break will only deepen psychosis.
The other option, is that the events of the story are unfolded exactly how they are told, but frankly with the evidence that Lovecraft deposits throughout the story, this is not very likely. In any case, this was probably my favorite story thus far, right up there with The Tomb and The Tree.
Join me on Thursday this week (08/17) for one of Lovecraft’s Poems “Nathicana”. and if you want to read along with me I’m reading the Del Rey edition of “The Doom That Came to Sarnath”. ISBN: 0345331052
These two are merely vignettes, minute glimpses into the world that Lovecraft was in the process of creating; the strange and the cosmic.
“Memory” is a look forward and “What the Moon Brings” is a naval gaze of the apocalypse. Both are no more than 2 pages a piece, but both are full of meaning.
In Memory we are shown a shambles of a world. Ruins that are over run and the only inhabitants are apes. Two gods are having a discussion, and where one cant remember the past, asks the other “Daemon” about the beings who built the original ruins. The Daemon says that he is Memory and what he remembers is that they were insignificant and their deeds were forgotten as soon as they were preformed. They built the ruins and their name was Man.
The meaning behind the vignette is that, far in the future, the deeds and actions of humans are forgotten and the only thing that remains is earth. The gods themselves look over everything, but they forget as well, which makes them insignificant as well. The ultimate god, the ultimate truth is the earth. The land holds the longest memory and will outlive and outlast all.
What the Moon Brings flows into a similar vein. The narrator tells of their own death. He (due to Lovecraft’s sexism and racism, I assume that every narrator is a white man) describes what he can see from the light of the moon. The moon (a otherworldly being in and of itself that is the origin of many of Lovecraft’s creatures) shows the death of civilization through the reflection of the lake. He can also see creatures in the water. He decides at the end to go and join them, because he knows that the moon will continue to come and continue to bring the visions of what is coming. In his despair he walks into the waters and either drowns himself or lets the creatures have him.
It is intimated that he is the last of the population and is giving in to despair, as he gazes at the reflection of the “dead, dripping city”. The book I’m reading through (Del Rey 1971 ISBN: 0345331052) should have put them in reverse order, because What the Moon Brings, shows the decline and fall of civilization and Memory shows the aftermath.
What the Moon Brings is much less deep, but by far the creepiest of the stories thus far, because it is more direct (with the exception of The Tomb). Both a lot of fun, but I still feel as though these stories are merely setting up the mythos that are coming.
This is supposedly the first story written by Lovecraft, and it flows perfectly into his predilection for madness. The story follows Jervas Dudley, the quintessential unreliable narrator, in his descent into madness.
Jervas states at the beginning of the story that he loves reading ancient tomes; books that no one else ever reads, who’s subject matter is strange and malignant. He has no social life and he derives much of what he understands about life from these convoluted books.
Then one day he happens upon a tomb. It is in the location of his neighbor’s (The Hydes) burned down house. He begins spending much of his time there, hiding out and sleeping in front of the partially ajar, padlocked tomb.
One day a voice from the tomb tells him to go to his attic, where he finds a key to the padlock and enters the tomb. He spends much of his time there, but at the same time, his father becomes concerned for his mental well being, so he sends a “spy” to watch over him. Listening in on the conversation, Jervas is confused to hear the spy tell his father that he spends all his time sleeping outside of the tomb, not inside as he knows to be true. He also develops a fear of lightning and storms, which is what destroyed the Hyde’s mansion in the first place.
Then while in the tomb he attends a party held by the Hyde’s and everyone seems so realistic and the mansion is back to its former glory, that is until Jervas’ Father and the spy grab him. In the struggle lightning started to flash and it exposed a box on the ground with the initials J.H. and inside was a statue of a young man with an uncanny resemblance to Jervas.
The story ends with one of the servants, supposedly going into the tomb and finding a coffin with the name Jervas on it.
This can be read in two different ways. The first is that the narrator, who is confined to a madhouse, has pushed his brain into thinking about the strange dealings of the netherworld by reading all those tomes instead of interacting with others. Then his half sleep for weeks on end in front of the tomb, his mind played games with him and he imagined everything.
It is easy to correlate that the Hyde’s were his ancestors, and once the mansion was destroyed the family built a new one close by. It stands to reason that during that time there was a young man by the name of Jervas Hyde (J.H.) who’s coffin the servant found at the end of the story. Because of this Jervas Dudley thinks everything is about him, because he has no other basis in reality.
The other way to read it (and the one I quite prefer) is that Jervas found something in the attic, that began to possess him. It made him desire to be with his ancestors, and the spirit of Jervas Hyde had somehow begun to merge with Jervas Dudley. They began to see and experience the same things. One could even conjecture that Jervas’ father knew this was happening, and that is why he was relegated to the asylum.
In either case, it was a fun read, though much shallower than the other Lovecraft I’ve read to date. This was supposedly in his straight horror days, which people say is uninspired, but it has a beautiful reminiscence to Poe and tales like “The Fall of the House of Usher”.