The Dunwich Horror
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H.P. Lovecraft
H. P. Lovecraft (1890-1937) was an American author of science fiction and horror stories. Born in Providence, Rhode Island to a wealthy family, he suffered the loss of his father at a young age. Raised with his mother’s family, he was doted upon throughout his youth and found a paternal figure in his grandfather Whipple, who encouraged his literary interests. He began writing stories and poems inspired by the classics and by Whipple’s spirited retellings of Gothic tales of terror. In 1902, he began publishing a periodical on astronomy, a source of intellectual fascination for the young Lovecraft. Over the next several years, he would suffer from a series of illnesses that made it nearly impossible to attend school. Exacerbated by the decline of his family’s financial stability, this decade would prove formative to Lovecraft’s worldview and writing style, both of which depict humanity as cosmologically insignificant. Supported by his mother Susie in his attempts to study organic chemistry, Lovecraft eventually devoted himself to writing poems and stories for such pulp and weird-fiction magazines as Argosy, where he gained a cult following of readers. Early stories of note include “The Alchemist” (1916), “The Tomb” (1917), and “Beyond the Wall of Sleep” (1919). “The Call of Cthulu,” originally published in pulp magazine Weird Tales in 1928, is considered by many scholars and fellow writers to be his finest, most complex work of fiction. Inspired by the works of Edgar Allan Poe, Arthur Machen, Algernon Blackwood, and Lord Dunsany, Lovecraft became one of the century’s leading horror writers whose influence remains essential to the genre.
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The Dunwich Horror - H.P. Lovecraft
The Dunwich Horror
Howard Phillips Lovecraft
Published: 1928
Categorie(s): Fiction, Horror, Short Stories
About Lovecraft:
Howard Phillips Lovecraft was an American author of fantasy, horror and science fiction. He is notable for blending elements of science fiction and horror; and for popularizing cosmic horror
: the notion that some concepts, entities or experiences are barely comprehensible to human minds, and those who delve into such risk their sanity. Lovecraft has become a cult figure in the horror genre and is noted as creator of the Cthulhu Mythos,
a series of loosely interconnected fictions featuring a pantheon
of nonhuman creatures, as well as the famed Necronomicon, a grimoire of magical rites and forbidden lore. His works typically had a tone of cosmic pessimism,
regarding mankind as insignificant and powerless in the universe. Lovecraft's readership was limited during his life, and his works, particularly early in his career, have been criticized as occasionally ponderous, and for their uneven quality. Nevertheless, Lovecraft’s reputation has grown tremendously over the decades, and he is now commonly regarded as one of the most important horror writers of the 20th Century, exerting an influence that is widespread, though often indirect. Source: Wikipedia
Chapter 1
Gorgons and Hydras, and Chimaeras - dire stories of Celaeno and the Harpies - may reproduce themselves in the brain of superstition - but they were there before. They are transcripts, types - the archetypes are in us, and eternal. How else should the recital of that which we know in a waking sense to be false come to affect us all? Is it that we naturally conceive terror from such objects, considered in their capacity of being able to inflict upon us bodily injury? O, least of all! These terrors are of older standing. They date beyond body - or without the body, they would have been the same… That the kind of fear here treated is purely spiritual - that it is strong in proportion as it is objectless on earth, that it predominates in the period of our sinless infancy - are difficulties the solution of which might afford some probable insight into our ante-mundane condition, and a peep at least into the shadowland of pre-existence.
- Charles Lamb: Witches and Other Night-Fears
When a traveller in north central Massachusetts takes the wrong fork at the junction of Aylesbury pike just beyond Dean's Corners he comes upon a lonely and curious country.
The ground gets higher, and the brier-bordered stone walls press closer and closer against the ruts of the dusty, curving road. The trees of the frequent forest belts seem too large, and the wild weeds, brambles and grasses attain a luxuriance not often found in settled regions. At the same time the planted fields appear singularly few and barren; while the sparsely scattered houses wear a surprisingly uniform aspect of age, squalor, and dilapidation.
Without knowing why, one hesitates to ask directions from the gnarled solitary figures spied now and then on crumbling doorsteps or on the sloping, rock-strewn meadows. Those figures are so silent and furtive that one feels somehow confronted by forbidden things, with which it would be better to have nothing to do. When a rise in the road brings the mountains in view above the deep woods, the feeling of strange uneasiness is increased. The summits are too rounded and symmetrical to give a sense of comfort and naturalness, and sometimes the sky silhouettes with especial clearness the queer circles of tall stone pillars with which most of them are crowned.
Gorges and ravines of problematical depth intersect the way, and the crude wooden bridges always seem of dubious safety. When the road dips again there are stretches of marshland that one instinctively dislikes, and indeed almost fears at evening when unseen whippoorwills chatter and the fireflies come out in abnormal profusion to dance to the raucous, creepily insistent rhythms of stridently piping bull-frogs. The thin, shining line of the Miskatonic's upper reaches has an oddly serpent-like suggestion as it winds close to the feet of the domed hills among which it rises.
As the hills draw nearer, one heeds their wooded sides more than their stone-crowned tops. Those sides loom up so darkly and precipitously that one wishes they would keep their distance, but there is no road by which to escape them. Across a covered bridge one sees a small village huddled between the stream and the vertical slope of Round Mountain, and wonders at the cluster of rotting gambrel roofs bespeaking an earlier architectural period than that of the neighbouring region. It is not reassuring to see, on a closer glance, that most of the houses are deserted and falling to ruin, and that the broken-steepled church now harbours the one slovenly mercantile establishment of the hamlet. One dreads to trust the tenebrous tunnel of the bridge, yet there is no way to avoid it. Once across, it is hard to prevent the impression of a faint, malign odour about the village street, as of the massed mould and decay of centuries. It is always a relief to get clear of the place, and to follow the narrow road around the base of the hills and across the level country beyond till