Fascinating lists!

Saturday, July 19, 2008

Guest Speaker: Robert Bloch

Poe & Lovecraft

Robert Bloch, author of Psycho

Comparisons between Edgar Allan Poe and Howard Phillips Lovecraft are, I suppose, inevitable; seemingly, in recent years they are also interminable.

I shall not, therefore, repeat the usual recital of similarities to be found within their work--there will be no mention of black cats, revenants, or Antarctic settings per se.

But at the same time I have no intention of making a calculated bid for attention by deliberately asserting, as some have also declared, that no real resemblance exists aside from superficial employment of stock characters and themes common to virtually all stories in the genre.

To me, this is an untenable statement: Lovecraft, like every writer of fantasy and horror fiction subsequent to Poe, was necessarily influenced by the work of his predecessor--and to certain extent his work needs must be derivative in some slight sense. Actually, Lovecraft's homage to Poe in his essay "Supernatural Horror In Literature," indicates a degree of appreciation and admiration which leaves no doubt as to the profound impression made upon him by the earlier master.

But to me the most fruitful area of comparison lies within an examination of the backgrounds and personalities of the writers themselves.

Consider the facts. Both Poe and Lovecraft were New England born. Both were, to all intents and purposes, fatherless at an early age. Both developed a lifelong affinity for poetry and the elements of a classical education. Both utilized archaisms in their writing styles and affected personal eccentricities which in time became consciously cultivated.

Although Poe spent a part of his youth in England and traveled along the Atlantic seaboard in later life--and while Lovecraft ventured up into Canada and down into Florida on vacations a few years prior to his death--neither man ever ventured west of the Alleghenies. Lovecraft, on one occasion, did skirt them to visit E. Hoffman Price briefly in his New Orleans home, but essentially he and Poe were Easterners. Their outlook was, to a marked degree, provincial; even parochial.


Both men distrusted "foreigners" in the mass: both retained a profound admiration for the English. These attitudes are plainly evident in their work, which is many particulars removed and remote form the main current of American life.

A reader attempting to capture some glimpse of the United States in the 1830-1850 period would gain small enlightenment from the poetry and fiction of Poe.

At a time when the entire nation was engaged in a westward thrust, beginning with the peregrinations of the mountain men and ending with the Gold Rush in the year of Poe's death, one searches in vain for a wet which does not seemingly even exist in his literary compass.

Byronic heroes sequestered in British and continental locales scarcely reflect the American attitudes or aptitudes in the era of Old Hickory, Davy Crockett, the fall of the Alamo, the Mexican War and the growing turmoil over slavery.

Nor would a reader find more typically American protagonists amongst the pendants, professors and regionally-oriented recluses of Lovecraft's tales, in which there's scarcely a hint of the manners and mores of the Roaring Twenties or the Great Depression which followed in the ensuing decade. Aside from a few remarks regarding the influx of immigrants and concomitant destruction of old folkways and landmarks, plus brief mentions of the (intellectually) "wild" college set, Lovecraft ignores the post WW1 Jazz Age in its entirety: Coolidge, Hoover, FDR, Lindbergh, Babe Ruth, Al Capone, Valentino, Mencken and the prototypes of Babbit have no existence in HPL's realm. It is difficult to believe that Howard Phillips Lovecraft was a literary contemporary of Ernest Hemingway.

And yet a further comparison between Lovecraft and Poe remains; one of profound importance in any consideration of their work, because it softens any charge that two writers were totally unaware of the actual world and unrealistic in their treatment of their times.

I refer, of course, to their mutual interest in science. Both Poe and Lovecraft were acute observers of the scientific and pseudo-scientific developments of their respective days, and both men utilized thee latest theories and discoveries in their writing. It is only necessary to cite Poe's use of mesmerism, his employment of the balloon hoax, his detailing of data in the Arthur Gordon Pym novella, to prove the point.

Lovecraft, for his part, relies on scientific background material in his Pym-like At the Mountains of Madness, "The Shadow Out of Time" and other efforts; notable is his immediate adoption of the newly discovered "ninth planet" in "The Whisperer in Darkness."

Lovecraft's interest in astronomy undoubtedly led to his increasing interest in other fields of scientific endeavor, just as Poe's early experiences at West Point must have fostered his preoccupation with codes an ciphers. And both men, as professional writers, were well and widely-read in the contemporary work of their day: Poe as a working critic, demonstrates his knowledge in his nonfictional efforts and Lovecraft, in his correspondence, proves himself no stranger to Proust, Joyce, Spengler and Freud.

But the point is that Poe and Lovecraft deliberately chose to turn their backs on contemporary styles and subject-matter and created their own individual worlds of fantasy. In this above all else they were similar.

And in this, above all else, we readers of Poe and Lovecraft are fortunate indeed.

We shall never know, and never care, what Edgar Allan Poe though of Andy Jackson's "kitchen cabinet" or how H. P. Lovecraft regarded the Teapot Dome scandal. Small loss, when both have given us glimpses of worlds peculiarly and provocatively their very own.

For the final similarity is this--Poe and Lovecraft are our two American geniuses of fantasy, comparable each to the other, but incomparably superior to all the rest who follow in their wake.


This article was first published in Ambrosia #2 (August, 1973), © 1973 Alan Gullette and Robert Bloch. It was subsequently revised slightly by the author and reprinted in H.P. Lovecraft: Four Decades of Criticism, ed. S. T. Joshi (Athens, OH: Ohio University Press, 1980), pp. 158-160, © 1980 Ohio University Press.

No comments:

Paranormal vs. Supernatural: What’s the Diff?

Copyright 2009 by Gary L. Pullman

Sometimes, in demonstrating how to brainstorm about an essay topic, selecting horror movies, I ask students to name the titles of as many such movies as spring to mind (seldom a difficult feat for them, as the genre remains quite popular among young adults). Then, I ask them to identify the monster, or threat--the antagonist, to use the proper terminology--that appears in each of the films they have named. Again, this is usually a quick and easy task. Finally, I ask them to group the films’ adversaries into one of three possible categories: natural, paranormal, or supernatural. This is where the fun begins.

It’s a simple enough matter, usually, to identify the threats which fall under the “natural” label, especially after I supply my students with the scientific definition of “nature”: everything that exists as either matter or energy (which are, of course, the same thing, in different forms--in other words, the universe itself. The supernatural is anything which falls outside, or is beyond, the universe: God, angels, demons, and the like, if they exist. Mad scientists, mutant cannibals (and just plain cannibals), serial killers, and such are examples of natural threats. So far, so simple.

What about borderline creatures, though? Are vampires, werewolves, and zombies, for example, natural or supernatural? And what about Freddy Krueger? In fact, what does the word “paranormal” mean, anyway? If the universe is nature and anything outside or beyond the universe is supernatural, where does the paranormal fit into the scheme of things?

According to the Online Etymology Dictionary, the word “paranormal,” formed of the prefix “para,” meaning alongside, and “normal,” meaning “conforming to common standards, usual,” was coined in 1920. The American Heritage Dictionary defines “paranormal” to mean “beyond the range of normal experience or scientific explanation.” In other words, the paranormal is not supernatural--it is not outside or beyond the universe; it is natural, but, at the present, at least, inexplicable, which is to say that science cannot yet explain its nature. The same dictionary offers, as examples of paranormal phenomena, telepathy and “a medium’s paranormal powers.”

Wikipedia offers a few other examples of such phenomena or of paranormal sciences, including the percentages of the American population which, according to a Gallup poll, believes in each phenomenon, shown here in parentheses: psychic or spiritual healing (54), extrasensory perception (ESP) (50), ghosts (42), demons (41), extraterrestrials (33), clairvoyance and prophecy (32), communication with the dead (28), astrology (28), witchcraft (26), reincarnation (25), and channeling (15); 36 percent believe in telepathy.

As can be seen from this list, which includes demons, ghosts, and witches along with psychics and extraterrestrials, there is a confusion as to which phenomena and which individuals belong to the paranormal and which belong to the supernatural categories. This confusion, I believe, results from the scientism of our age, which makes it fashionable for people who fancy themselves intelligent and educated to dismiss whatever cannot be explained scientifically or, if such phenomena cannot be entirely rejected, to classify them as as-yet inexplicable natural phenomena. That way, the existence of a supernatural realm need not be admitted or even entertained. Scientists tend to be materialists, believing that the real consists only of the twofold unity of matter and energy, not dualists who believe that there is both the material (matter and energy) and the spiritual, or supernatural. If so, everything that was once regarded as having been supernatural will be regarded (if it cannot be dismissed) as paranormal and, maybe, if and when it is explained by science, as natural. Indeed, Sigmund Freud sought to explain even God as but a natural--and in Freud’s opinion, an obsolete--phenomenon.

Meanwhile, among skeptics, there is an ongoing campaign to eliminate the paranormal by explaining them as products of ignorance, misunderstanding, or deceit. Ridicule is also a tactic that skeptics sometimes employ in this campaign. For example, The Skeptics’ Dictionary contends that the perception of some “events” as being of a paranormal nature may be attributed to “ignorance or magical thinking.” The dictionary is equally suspicious of each individual phenomenon or “paranormal science” as well. Concerning psychics’ alleged ability to discern future events, for example, The Skeptic’s Dictionary quotes Jay Leno (“How come you never see a headline like 'Psychic Wins Lottery'?”), following with a number of similar observations:

Psychics don't rely on psychics to warn them of impending disasters. Psychics don't predict their own deaths or diseases. They go to the dentist like the rest of us. They're as surprised and disturbed as the rest of us when they have to call a plumber or an electrician to fix some defect at home. Their planes are delayed without their being able to anticipate the delays. If they want to know something about Abraham Lincoln, they go to the library; they don't try to talk to Abe's spirit. In short, psychics live by the known laws of nature except when they are playing the psychic game with people.
In An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural, James Randi, a magician who exercises a skeptical attitude toward all things alleged to be paranormal or supernatural, takes issue with the notion of such phenomena as well, often employing the same arguments and rhetorical strategies as The Skeptic’s Dictionary.

In short, the difference between the paranormal and the supernatural lies in whether one is a materialist, believing in only the existence of matter and energy, or a dualist, believing in the existence of both matter and energy and spirit. If one maintains a belief in the reality of the spiritual, he or she will classify such entities as angels, demons, ghosts, gods, vampires, and other threats of a spiritual nature as supernatural, rather than paranormal, phenomena. He or she may also include witches (because, although they are human, they are empowered by the devil, who is himself a supernatural entity) and other natural threats that are energized, so to speak, by a power that transcends nature and is, as such, outside or beyond the universe. Otherwise, one is likely to reject the supernatural as a category altogether, identifying every inexplicable phenomenon as paranormal, whether it is dark matter or a teenage werewolf. Indeed, some scientists dedicate at least part of their time to debunking allegedly paranormal phenomena, explaining what natural conditions or processes may explain them, as the author of The Serpent and the Rainbow explains the creation of zombies by voodoo priests.

Based upon my recent reading of Tzvetan Todorov's The Fantastic: A Structural Approach to the Fantastic, I add the following addendum to this essay.

According to Todorov:

The fantastic. . . lasts only as long as a certain hesitation [in deciding] whether or not what they [the reader and the protagonist] perceive derives from "reality" as it exists in the common opinion. . . . If he [the reader] decides that the laws of reality remain intact and permit an explanation of the phenomena described, we can say that the work belongs to the another genre [than the fantastic]: the uncanny. If, on the contrary, he decides that new laws of nature must be entertained to account for the phenomena, we enter the genre of the marvelous (The Fantastic: A Structural Approach to a Literary Genre, 41).
Todorov further differentiates these two categories by characterizing the uncanny as “the supernatural explained” and the marvelous as “the supernatural accepted” (41-42).

Interestingly, the prejudice against even the possibility of the supernatural’s existence which is implicit in the designation of natural versus paranormal phenomena, which excludes any consideration of the supernatural, suggests that there are no marvelous phenomena; instead, there can be only the uncanny. Consequently, for those who subscribe to this view, the fantastic itself no longer exists in this scheme, for the fantastic depends, as Todorov points out, upon the tension of indecision concerning to which category an incident belongs, the natural or the supernatural. The paranormal is understood, by those who posit it, in lieu of the supernatural, as the natural as yet unexplained.

And now, back to a fate worse than death: grading students’ papers.

Product Cloud

You Tube Player

Loading...
There was an error in this gadget

My Cup of Blood

Anyone who becomes an aficionado of anything tends, eventually, to develop criteria for elements or features of the person, place, or thing of whom or which he or she has become enamored. Horror fiction--admittedly not everyone’s cuppa blood--is no different (okay, maybe it’s a little different): it, too, appeals to different fans, each for reasons of his or her own. Of course, in general, book reviews, the flyleaves of novels, and movie trailers suggest what many, maybe even most, readers of a particular type of fiction enjoy, but, right here, right now, I’m talking more specifically--one might say, even more eccentrically. In other words, I’m talking what I happen to like, without assuming (assuming makes an “ass” of “u” and “me”) that you also like the same. It’s entirely possible that you will; on the other hand, it’s entirely likely that you won’t.

Anyway, this is what I happen to like in horror fiction:

Small-town settings in which I get to know the townspeople, both the good, the bad, and the ugly. For this reason alone, I’m a sucker for most of Stephen King’s novels. Most of them, from 'Salem's Lot to Under the Dome, are set in small towns that are peopled by the good, the bad, and the ugly. Part of the appeal here, granted, is the sense of community that such settings entail.

Isolated settings, such as caves, desert wastelands, islands, mountaintops, space, swamps, where characters are cut off from civilization and culture and must survive and thrive or die on their own, without assistance, by their wits and other personal resources. Many are the examples of such novels and screenplays, but Alien, The Shining, The Descent, Desperation, and The Island of Dr. Moreau, are some of the ones that come readily to mind.

Total institutions as settings. Camps, hospitals, military installations, nursing homes, prisons, resorts, spaceships, and other worlds unto themselves are examples of such settings, and Sleepaway Camp, Coma, The Green Mile, and Aliens are some of the novels or films that take place in such settings.

Anecdotal scenes--in other words, short scenes that showcase a character--usually, an unusual, even eccentric, character. Both Dean Koontz and the dynamic duo, Douglas Preston and Lincoln Child, excel at this, so I keep reading their series (although Koontz’s canine companions frequently--indeed, almost always--annoy, as does his relentless optimism).

Atmosphere, mood, and tone. Here, King is king, but so is Bentley Little. In the use of description to terrorize and horrify, both are masters of the craft.

A bit of erotica (okay, okay, sex--are you satisfied?), often of the unusual variety. Sex sells, and, yes, sex whets my reader’s appetite. Bentley Little is the go-to guy for this spicy ingredient, although Koontz has done a bit of seasoning with this spice, too, in such novels as Lightning and Demon Seed (and, some say, Hung).

Believable characters. Stephen King, Douglas Preston and Lincoln Child, and Dan Simmons are great at creating characters that stick to readers’ ribs.

Innovation. Bram Stoker demonstrates it, especially in his short story “Dracula’s Guest,” as does H. P. Lovecraft, Edgar Allan Poe, Shirley Jackson, and a host of other, mostly classical, horror novelists and short story writers. For an example, check out my post on Stoker’s story, which is a real stoker, to be sure. Stephen King shows innovation, too, in ‘Salem’s Lot, The Shining, It, and other novels. One might even argue that Dean Koontz’s something-for-everyone, cross-genre writing is innovative; he seems to have been one of the first, if not the first, to pen such tales.

Technique. Check out Frank Peretti’s use of maps and his allusions to the senses in Monster; my post on this very topic is worth a look, if I do say so myself, which, of course, I do. Opening chapters that accomplish a multitude of narrative purposes (not usually all at once, but successively) are attractive, too, and Douglas Preston and Lincoln Child are as good as anyone, and better than many, at this art.

A connective universe--a mythos, if you will, such as both H. P. Lovecraft and Stephen King, and, to a lesser extent, Dean Koontz, Bentley Little, and even Douglas Preston and Lincoln Child have created through the use of recurring settings, characters, themes, and other elements of fiction.

A lack of pretentiousness. Dean Koontz has it, as do Douglas Preston and Lincoln Child, Bentley Little, and (to some extent, although he has become condescending and self-indulgent of late, Stephen King); unfortunately, both Dan Simmons and Robert McCammon have become too self-important in their later works, Simmons almost to the point of becoming unreadable. Come on, people, you’re writing about monsters--you should be humble.

Longevity. Writers who have been around for a while usually get better, Stephen King, Dan Simmons, and Robert McCammon excepted.

Pacing. Neither too fast nor too slow. Dean Koontz is good, maybe the best, here, of contemporary horror writers.

Popular Posts