Departing From the Mind of H.P. Lovecraft

Categories
Featured Lifestyle
Colour Out of Space by Ludvik Skopalik
Artwork by Ludvik Skopalik

During this month’s Dead Author Dedication of H.P. Lovecraft, we have talked about his life, death, literature, his own personal inspirations, and how he has inspired authors and artists all over the world since his death. The question on this writer’s mind is, “how did a master crafter of the written word end up poor and barely able to make ends meet doing what he loved?” and what that means for aspiring writers.

The Legacy of Lovecraft

Last week we delved into the topic of why and how the work of Lovecraft never really successfully makes it into the film medium; since he was such an influential writer for the horror genre. Other authors in this genre have had their work be adapted into films–sometimes these stories are so popular they have even been remade, to update the story with more modern age techniques and higher quality film in order to see if they could do a better job capturing the original source. Stephen King has been one author who has been successful and lucky enough to be able to boast this honor, the productivity of his own lifetime of writing is something of a celebrity amongst aspiring writers. Any writer would be so lucky to capture even a fraction of the renowned that someone like Stephen King has managed, but the kind of reputation that Lovecraft has grown to develop as a writer since his death has a deeper and more concealed appeal.

H.P. Lovecraft Interview (1933)

The thought of having a cult following has an enchanting draw for artists, one that evokes the concept of an inextinguishable legacy; an artist who may have struggled from their creative inception can’t help but entertain the fantasy of their work not only lasting long after their life has ended but becoming more appreciated with time. There have been so many artists inspired by the chaotic and terrifying concepts that Lovecraft helped to create, that we were able to construct a list of books for people interested in learning more.

Even Lovecraft himself never expected to live to see his own stories adapted into film and like all good authors and literary critics, he agrees that while the film industry is a great and complex art form, it cannot and will not ever hope to replace literature entirely. His argument here, and we’re inclined to agree, is that literature is far too complex a beast to ever be matched by the artistic avenues of film. One cannot hope to accomplish the intricacies of the written word with mere dialogue and action, where words effectively capture our innermost thoughts, desires, fears, and secrets.

Out of Mind: The Stories of H.P. Lovecraft
H.P. Lovecraft statue in Providence, RI
H.P. Lovecraft Statue in Providence, RI
Artwork by Gage Prentiss; Photography by David Lepage

Out of Mind: The Stories of H.P. Lovecraft comes across as a fairly low budget short film, which lies more in the mystery genre, but it’s a brilliant show of how Lovecraft inspired minds to create a more complex, tangled, and generally incomprehensible universe–one that alludes to far greater, far darker, far more ancient and terrible things in comparison to the world that man knows. Lovecraft’s legacy was what can really bring hope to aspiring creatives, his legacy of work speaks to the complexity of the overflowing river that is the human imagination. This is a river that can never truly run dry, but it is only the limits of our own mundane experiences that can place our creativity within constraints.

It’s important to understand that while we here at Puzzle Box Horror greatly appreciate the body of work that Lovecraft added to the horror genre, we recognize his biases and do not endorse them or agree with them. We were more than ecstatic when we found that there were actually literary responses to these particular issues and hope that such responses continue to appear within the literary community.

Now that we’ve spent a month looking into the creative, yet dark and hellish mind of H.P. Lovecraft, it’s safe to say we know a fair amount about him–but there is always more to learn about his work that helped the horror genre become what it is today?

Is there anything you’d like to add about this mad and mysterious mind? Comment below!

blank

Advertisements

Join "The Horror List" for Weekly Horror in your inbox






Edgar Allan Poe, the Father of Gothic Horror

Categories
Featured Horror Books
Edgar Allan Poe
Edgar Allan Poe

Dark and mysterious in life and in death, Edgar Allan Poe is most famous for the Gothic horror genre, was a master of macabre poetry and short stories that are the stuff of nightmares. As an American writer, he made a surprising number of enemies through his harsh literary critique of their work. His abundant well of imagination and creative abilities directly enabled him to create a new genre and he has long been considered the father of the modern detective story. While that alone is impressive enough, he is also often regarded in literary history as the architect of the modern short story. As a creative individual, he was also a principle forerunner of the Art for Art’s Sake movement within nineteenth-century European literature.

Edgar’s life, just like his profound short stories, is largely shrouded in mystery to this day. The substantial confusion between the facts and the falsehoods is a direct result of the blatant misrepresentation in a biographical piece written by one of his enemies—in an attempt to smear the dead author’s name. As a result of these widely distributed beliefs, Poe’s image has formed into one that is a morbid, macabre, and mysterious figure who dabbles and lurks in spooky cemeteries has contributed to his legend.

This horror icon grew to become such a renowned author due to his ingenious and profound stories, poems, and critical theories, which proved in time to be influential within their respective fields. He began to be the author everyone associated with tales of murderers and madmen, the prospect of being buried alive, and revenants returning from the dead. He is most widely known for poems like “The Raven,” “The Black Cat,” and “The Tell-Tale Heart,” but that’s not even close to the extent of his most famous works.

Poe managed to produce such compelling literature that he has remained in print since 1827. A man who led an incredibly dark and dreary life and somehow managed to produce these works of literary horror art that was consistently beautiful and haunting.

Early Life

Edgar Allan Poe was born in Boston, Massachusetts on January 19, 1809; his parents were both traveling actors who Edgar was never able to truly get to know. His father was David Poe Jr. Who was originally from Baltimore, his mother Elizabeth Arnold Poe was British in descent. Both died before Poe was even three years old, while his father’s cause of death is unknown, we do know that his mother succumbed to tuberculosis which officially left Poe and his siblings as orphans. At that point, Poe was separated from his brother William and sister Rosalie and he alone was sent to live with John and Frances Allan—a successful tobacco merchant and his wife who lived in Richmond, Virginia. While Edgar seemed to develop a bond with Frances Valentine Allan, Poe’s relationship with John remained unsteady. Allan would never legally adopt his foster son Edgar, but he did send him to the best schools available where he was always a good student.

Despite butting heads, Allan raised Poe to be a Virginian gentleman, as well as a businessman; unfortunately for Allen, Poe was drawn to writing. By the time Poe was a mere thirteen years old, he was already a prolific poet, inspired by the British poet Lord Byron. Unfortunately for Poe, his efforts and literary talents were highly discouraged by his foster father and his headmaster at school. Since Allan raised Poe to be a businessman, he of course did not approve of the fact that Poe preferred to write poetry. He would also allegedly draft poetry on the back of some of Allan’s business papers—needless to say, this was frowned upon by Allan.

Adulthood

Education

Poe was admitted to the University of Virginia at Charlottesville in 1825, where he once again demonstrated his scholarly abilities. Unfortunately, a miserly John Allan sent Poe to his university with less than a third of the funds he would have needed to finish and he quickly accumulated debt. As a result, Poe turned to gambling to raise the money he needed to pay his expenses. By the end of his first term, Poe was rumored to have been so poor, that he had to burn his furniture to keep himself warm. This left him humiliated for being impoverished and furious with Allan for putting him in that position.

Forced to drop out of school, Poe returned to Richmond, Virginia where things went from bad to worse. When he arrived in Richmond, he went to visit his fiancée Sarah Elmira Royster, to the shocking discovery that she had become engaged to another man. After hearing this dismal news, a heartbroken Poe returned to Boston,

Military Service

Poe decided to join the U.S. Army in 1827, the same year he had published his first book—after serving for two years, Poe received news that Frances Allan, his foster mother, was dying of tuberculosis. Sadly, Frances passed away before Poe was able to return home to say his goodbyes. Heartbroken once more, he moved a few hostile months spent living with Allan drove him back to Baltimore to follow his dreams of writing, but also because he was able to call upon relatives for assistance. One cousin ended up robbing him blind, but fortunately for Poe, he met Maria Clemm, another relative who welcomed him with open arms and became a surrogate mother to him. In 1929, Poe was honorably discharged from the army, after having attained the rank of regimental sergeant major.

West Point Military Academy

Two years after meeting Clemm, he entered the United States Military Academy at West Point and continued to write and publish poetry. Poe once again demonstrated his ability to excel in any class but was thrown out after only eight months of attendance. It’s speculated that Poe intentionally got himself expelled to spite his foster father, by ignoring his duties and violating regulations.

In 1831, after moving to New York City, Poe published his third collection of poems, then to Baltimore to live with Clemm, before finally ending up back in Richmond, where the relationship between Poe and Allan had finally deteriorated.

Career

Poe began to follow his dream of being a writer when he published his first book Tamerlane (1927) at the age of eighteen. Later on, Poe was in Baltimore when his foster father passed away, leaving him completely out of the will and instead, witnessed an illegitimate child whom Allan had never met inherit everything. Poe was still living in poverty, but publishing his short stories when he could. One of these submissions won him a contest which was sponsored by the Saturday Visiter. Poe made valuable connections through winning this contest, which allowed him to publish more stories, and eventually, he grabbed an editorial position at the Southern Literary Messenger in Richmond. This would be the first of several journals that Poe would direct over the following decade, through which he would rise in prominence as a critical writer within America.

While his writing continued to gain attention in the late 1830s and the early 1840s, his income from this work remained minimal and he was only able to truly support himself through his work editing Burton’s Gentleman Magazine and Graham’s Magazine in Philadelphia as well as the Broadway Journal in New York City.

Short Stories & Poetry

In 1935, Poe began to sell short stories to magazines—this was also when he began to establish himself as a poet—his best-known works and poems were made during these years, the years when he was happily married despite already being a depressed alcoholic.

Literary Critic

The Southern Literary Messenger was the magazine where he ultimately obtained his goal to become a magazine writer. Before a year had passed, Poe helped to make the Messenger the most popular magazine in the south—it was his sensational short stories and his absolutely ruthless book reviews. Poe ended up developing a reputation for being a ruthless critic who would not only attack an author’s work but also insult the author themselves as well as the northern literary establishment. This job led to Poe writing reviews that were meant to target some of the most famous authors in America—one of which was Rufus Griswold, the anthologist who would become Poe’s worst enemy in life and death!

Married to his Cousin

Clemm’s daughter, Virginia, began carrying letters to Poe’s love interest at the time, but soon after became the object of his desire. He began to devote his time and attention to her and when Poe finally moved back to Baltimore he brought both his aunt Clemm as well as his twelve-year-old cousin, Virginia. The couple was married in 1836 while she was still only thirteen and Poe was twenty-seven. The age difference, as well as the marrying of a cousin, was still considered a normal thing during this era, even though by modern standards, it would be inappropriate for a child to become a bride. The marriage proved to be a joyful one and it’s likely that it was one of the happiest times during his life, but finances were fairly tight throughout despite Poe’s gain in acclaim as a writer.

Taken by Tuberculosis

Virginia was tragically taken in 1947, at the young age of 24, which happened to be the age that Poe’s mother was when she also died of tuberculosis. Poe was devastated by Virginia’s death, so much so that he was unable to write for months—his critics assumed he would die soon after and they weren’t wrong. Yet, it’s also rumored that he became involved in a number of romantic affairs before he was engaged for the third time. This time to his original fiancée, Elmira Royster Shelton, who had recently become a widow just as Poe had become a widower.

Mysterious Death

While in preparation for his second marriage, Poe arrived in Baltimore in late September of 1849. He was discovered in a semi-conscious state on October 3 and was taken to a hospital. He ended up dying four days later of “acute congestion of the brain,” without regaining consciousness to explain what had happened to him during his last days on earth. Neither Poe’s mother-in-law Mrs. Clemm nor his fiancée Elmira knew what had become of him until they read about it in the papers. Medical practitioners later reopened his case and hypothesized that Poe could have been suffering from rabies at the time of his death, but the exact cause still remains a mystery.

Libelous Obituary

Only days after Poe’s death, one of his main literary rivals—he had several due to his moniker “The Tomahawk Man,” when he wrote his scathing literary reviews—Rufus Griswold, decided to write a libelous obituary about the dead author. This was done in a misguided attempt to get his revenge against Poe for some offensive things that Poe had written and said about him. Griswold attempted to smear Poe’s image by labeling him a drunken, womanizing, madman, who possessed neither morals nor friends; his hope was that these attacks on Poe would cause the public to dismiss his works and cause Poe to be forgotten completely. Unfortunately for Griswold, his libelous attack on Poe had the opposite effect on audiences and immediately caused the sales of Poe’s books to skyrocket, higher than they had ever been during his lifetime. The joke was truly on Griswold, however, who instead of being recognized as a writer is only recognized (if vaguely) as Poe’s first biographer, even if he intentionally botched the whole thing.

Work Cited

Edgar Allan Poe. (2020, September 03). Retrieved November 14, 2020, from https://www.biography.com/writer/edgar-allan-poe

“Edgar Allan Poe.” Poetry Foundation, Poetry Foundation, www.poetryfoundation.org/poets/edgar-allan-poe.

Poe’s Biography: Edgar Allan Poe Museum. (n.d.). Retrieved November 14, 2020, from https://www.poemuseum.org/poes-biography

blank

Advertisements

Join "The Horror List" for Weekly Horror in your inbox






From Traumatized to Terror Creator, the Life of Robert Bloch

Categories
Featured Horror Books Horror Mystery and Lore
Robert Bloch (1979)
Robert Bloch (1979)

His Youth and Education

Robert Albert Bloch was born in Chicago, Illinois on April 5 in 1917, to two German Jews, Raphael Bloch and Stella Loeb who, despite their Jewish heritage, had the family attend a Methodist Church. When Bloch was only eight years of age, he attended a screening of Lon Chaney Sr.’s The Phantom of the Opera (1925) on his own, where he was traumatized by his first horror scene—where Chaney removes his mask to reveal the Phantom’s horrific face. According to Bloch, “it scared the hell out of [him] and [he] ran all the way home to enjoy the first of about two years of recurrent nightmares.” Like many fans of horror who see their first horror flick too young, this trauma and subsequent nighttime hauntings sparked his interest in horror. He became an avid reader at eight, reading books well above his own level of schooling, as well as experimenting with pencil sketches and watercolor art. While he very much had a love for artwork, but he was diagnosed with myopia in his youth and it deterred him from pursuing it professionally.

At the age of twelve, Robert’s father lost his job at the bank and the family moved to Milwaukee, Wisconsin, where he grew up throughout the Great Depression. During his youth, he delighted in the Golden Age of horror films that played in the picture houses, and the magazine Weird Tales, which he scrimped and saved for each month from his allowance so as to purchase a copy of this pulp magazine. Bloch’s favorite childhood short story was one of Lovecraft’s first-person narratives about an artist whose disturbing creations lead to his disappearance, entitled “Pickman’s Model,” and he would also end up doing flattering imitations of his mentor’s style later on. When Bloch was just seventeen years old he wrote to his highly regarded idol, H.P. Lovecraft, to proclaim his admiration for the writer’s short stories. It is said that he greatly preferred Lovecraft’s particular flavor of genre—cosmic or as it’s often regarded, Lovecraftian horror—over what he was being taught in his own high school English classes.

To the unending joy of Bloch, Lovecraft wrote him back and sent him copies of earlier stories he had written and asked Robert if he himself had written any weird fiction. This is when he would be admitted into The Lovecraft Circle as well as when he began writing some of his first (of many) short stories that would be published in Weird Tales. He would be the youngest member of The Lovecraft Circle, which were a group of writers who followed H.P. Lovecraft and published their short fiction in Weird Tales—a pulp horror magazine that circulated during the Great Depression.

Career

With the early influence of Lovecraft and his cosmic horror, Bloch’s earliest short stories took place in Lovecraft’s Cthulhu Mythos fictional universe. Not too long later, Bloch would begin to associate with the Milwaukee Fictioneers, a group of writer’s dedicated to pulp fiction where he began to deviate and develop his own style, instead of relying upon the Lovecraft influence. When Lovecraft died in 1937, Robert was deeply affected by the loss of his mentor, but used it as a reason to keep writing.

Despite my ghoulish reputation, I really have the heart of a small boy. I keep it in a jar on my desk.”

Robert Bloch

Novels

Bloch’s first novel to be published was The Scarf (1947) and was very reminiscent of the style he had developed when he was involved with the Lovecraft circle, but also marked the beginning the development of a style he would explore later that would be considered pulp fiction. Like most other horror writers, Bloch had a certain kind of story that inspired him—for some writers it’s urban legends, supernatural monsters, or wicked folklore; but Robert’s inspiration didn’t come from folklore so much as it did true-crime serial killers from all throughout history. Jack the Ripper, Marquis de Sade, and Lizzie Borden were amongst those whom Robert created stories based on their legacies, which included short stories such as “A Toy for Juliette” and “Lizzie Borden Took an Ax….”

When Ed Gein was arrested in his home in Plainsfield, Wisconsin for the murders of two women in 1957, authorities discovered that Gein had been stealing corpses from fresh graves of local women and then using their flesh to create furniture, silverware, and clothing. Bloch only lived about thirty-five miles away from where Gein had lived, so after the discovery of this serial so close to home, he became obsessed. The idea of his next door neighbor being a monster, but going undetected even in such a small town is what he considered his largest inspiration for Norman Bates, the anti-hero of Psycho (1959). The story of Ed Gein was sensational at the time, but what really translated Bloch’s Psycho into an instant classic both in text and Alfred Hitchcock’s adaptation for the big screen, was due to the psychological not-so-undertones of the story.

While Bloch had enjoyed some critical and commercial success before he produced Psycho, it wasn’t until the novel was published that his life changed forever. With Psycho and its instant success, he was approached by a Hollywood production company with an offer to purchase the rights to the film. He made a whopping $9,500 which through inflation would equate to $84,472 and some change.

The world of horror would be forever changed by Norman Bates, the sensitive mama’s boy, whose domineering mother corrupted him—which brought an interesting air to the 1960s as the field of psychoanalysis and the research of the Oedipus Complex which coincided with a crisis in contemporary American masculinity which followed the women’s movement of liberation. When Norman psychologically becomes his mother at the end of the novel it was representative of Freudian horror in the utmost of extreme cases. Psycho wasn’t Bloch’s only success and he continued on with his creative writing, winning awards and accolades for his talent.

Death

Bloch was seventy-seven when he passed away on September 23, 1994—he had long battled with cancer and it finally took him at his home in Los Angeles. Before he passed, however, he wrote what was considered an unauthorized autobiography, which was titled Once Around the Bloch (1993) and while he didn’t speak of his illness, it was clear that it was written with the realization that he was not long for this world.

Index of Sources

blank

Advertisements

Join "The Horror List" for Weekly Horror in your inbox






Inspiration for Van Helsing and Vampire Hunters

Categories
Featured Horror Books
Van Helsing
Van Helsing by BagoGames

This week, for the third installment of our Dead Author Dedication in honor of Bram Stoker. We’re going to be discussing one of his characters who doesn’t get quite as much attention as the vampire king Dracula, but is still a character that blossomed beyond the original story by Stoker. The mysteriously knowledgeable and most famous vampire hunter, Dracula’s nemesis, Abraham Van Helsing.

Polish journalist Adam Węgłowski has claimed he has finally solved the mystery of our favorite good guy and that the Stoker character is actually based on the real-life of a historically documented vampire hunter. While it has been understood that Stoker may have originally modeled Van Helsing after a real individual, it wasn’t until Węgłowski’s research that a name could actually be attributed as the main source of inspiration.

Who Was the Inspiration for Van Helsing?

Born December 14, 1666, in Angerburg (known as Węgorzewo today)–Georg Andreas Helwing (or Helwig in some places), was a part of the Duchy of Prussia–a fief of the Crown of Poland. Helwing was an incredibly learned man of letters and a reportedly brilliant scientist. In Koenigsberg, Helwing studied philosophy and theology and pursued his education while traveling; eventually, Helwing ended up in Venice and Leida where he collaborated very closely with Herman Boerhaave, a Dutch Botanist.

Georg Andreas Helwing
Georg Andreas Helwing

It wasn’t until 1691 that he returned to his hometown; shortly following his father’s death, Helwing took up employment as a Lutheran pastor. Aside from his religious line of work, he was also a physician who took a great deal of interest in studying botany and other natural sciences while doing his duty as a clergyman. What is really interesting about Helwing though, is that despite his fairly mundane line of work, he was also a student of the paranormal and supernatural. This, of course, led him to study vampires and werewolves in particular and even went so far as to talk about how the inhabitants of Masuria fought supposed vampires by decapitating them during the bubonic plague epidemic. Węgłowski’s research shows that peasants of the time also had a “habit of stabbing the corpses with stakes.”

From Helwing to Van Helsing

So with what we now know about Georg Andreas Helwing and the little we know of the mythology of Van Helsing, are the two really connected in a meaningful way? Well, within the books and papers that Helwing wrote, many of those had to do with vampires; Węgłowski makes the link not only with the similarity of surnames but also with the kinds of education that both Helwing and Van Helsing pursued. Scholars believe that Stoker also had the fortune to find out about Vlad the Impaler–his inspiration for Dracula–from his friend Ármin Vámbéry, so it is speculated that he found out about Helwing from the same source.

While Helwing may have not hunted vampires in the sense that we might think today–he didn’t actually believe in vampires–he did hunt the folklore which led people to believe in them and therefore display the practices they did. In Helwing’s homeland, the bubonic plague (1708-1711) brought the height of vampire hysteria, where he was able to describe an incident where the people of the village found a monster; he reported that “after singing a song for the dead, the head was chopped off with a spade and thrown back into the tomb together with a live dog.” This was due to the widespread belief that the dead could rise from their graves as vampires and further spread the disease which was exterminating the population. Like Van Helsing though, Helwing risked his life to save those in danger, according to Węgłowski. The only difference is that Van Helsing attempted to kill monsters, and Helwing attempted to eradicate disease.

Dracula (1931)
Dracula (1931)

Abraham Van Helsing

Interestingly enough, Van Helsing has gone through a transformation in his appearance in television and cinema; in Dracula (1931) with Bela Lugosi as well as Bram Stoker’s Dracula (1992) with Anthony Hopkins, Van Helsing makes his appearance as a man who is more advanced in age. Television and cinema of the modern age are more likely to have Van Helsing be portrayed as a younger, rogueish looking, strong but not violent man in an effort to capture the hearts of women and spark a fan base. There are of course pros and cons to both portrayals of this character, an older Van Helsing while knowledgable seems frail, where a younger Van Helsing seems physically capable, but perhaps a bit less wise.

Popular Vampire Hunter Culture

Van Helsing is not the only vampire hunting character we have seen throughout vampire movies, because it seems that with every horror and adventure story involving vampires we get another hunter or slayer to rely on to save us from the monsters. Van Helsing’s status as a vampire hunter inspired such characters as Buffy Summers in Buffy the Vampire Slayer (1997 – 2003), Angel (1999 – 2004), the Blade franchise where we see the vampire-human hybrid Blade try to eradicate the vampire threat. Then we also have the underdog heroes, like the Frog Brothers in Lost Boys (1987) who represent those of us who don’t have super powers, but still have a powerful need to protect people from evil.

blank

Advertisements

Join "The Horror List" for Weekly Horror in your inbox






Lovecraft and His Creations

Categories
Horror Mystery and Lore

H.P. Lovecraft was a creator of torturous terrors that realized his talents of dark, serious mythos that he provided to a world that would never truly appreciate his visions until far too long after his passing.

Lovecraft’s Otherworldly Monsters

Cthulhu and R'lyeh
Artwork by BenduKiwi

As we discovered last week H.P. Lovecraft was a creator of some of the most influential horror fiction that is still causing waves today. In fact, in the past decade, there has been a major uptick of people who have found inspiration within the creations that were birthed from his dark creative mind. For those of you who may not be aware, Cthulhu is by far the most well-known of Lovecraft’s monsters and for good reason, The Call of Cthulhu is arguably the story that best serves the terror that he was able to bring into the world. It’s also true that Cthulhu is not the end-all-be-all of Lovecraft’s many monsters, despite serving as the introduction to forgotten races, elder gods, and all types of mind-altering monsters. Lovecraft provided his readers with many delightfully dreadful and detestable demons and beasts.

Shub-Niggurath

Possibly the least referenced Lovecraftian monster or god, Shub-Niggurath is only referenced in passing in stories that Lovecraft wrote under one of his many pseudonyms. He refers to this she-beast as both “the Black Goat of the Woods with a Thousand Young,” as well as an “evil cloud-like entity,” which doesn’t exactly paint a clear picture of her as far as her visual form, but it certainly leaves us with an impressively terrifying feeling of awe.

Nyarlathotep

Unlike most of the gods of Lovecraft’s godly creations, Nyarlathotep doesn’t live in cosmic exile, nor has it made its home within the dreams and more often nightmares of humans, or the other intangible and non-physical places that Lovecraft’s gods tend to inhabit. Instead, Nyarlathotep often walks to realms of Earth in one of his many different guises, the most famous is that of an Egyptian Pharaoh. Nyarlathotep’s true form is possibly one of the most obscure things that could be imagined and just like many of Lovecraft’s other creations, there are vasts numbers of tentacles and of course leathery batwings that are thrown into the mix.

Mi-go

Mi-go are not gods, like most of Lovecraft’s other monsters, nor are Mi-go god-like entities. The Migo-go are actually simply aliens, but in the most alien way imaginable; the Mi-go are made of substances that could never be conceived of upon Earth and are best visualized as a cross between a fungus and a lobster, with bat-like wings that allow them to fly from one planet to another. The Mi-go revere Nyarlathotep and Shub-Niggurath and are vicious and vile creatures that waged a massive war against the Elder Things eons before humans ever walked the face of the Earth.

Ghast

The humanoid Ghast is not exactly the first monster that people conjure when they think of one of Lovecraft’s monsters, which is a shame since Lovecraft gave us a huge collection of awful beasts to choose from. The Ghast has no nose or forehead but boasts a pair of kangaroo legs with hooves, with which they hop around and scoop up all of the delicious Gugs they can eat.

Gug

Banished to the underworld for appalling offenses done against the Great Ones, these giant monsters live in huge towers in their underworld home. Their arms split into multiple forearms with massive talons and razor-sharp tooth-filled mouths that open vertically. Despite this terrifying description of these horrible monsters, they’re still Ghast food.

Brown Jenkin

Within the tale of The Dreams in the Witch House, we see the character Keziah Mason, an old witch who was subjected to the Salem Witch Trials. Mason’s familiar, Brown Jenkin is a hairy, rattish creature with hands and a face that are eerily human in nature. Brown Jenkin fed on the blood of Mason and some readers speculated Jenkin’s mother was Mason who had been impregnated by Nyarlathotep, in which case, I would like to be a fly on the wall of those family reunions.

Elder Things

Creators of the monstrous Shoggoth race, the Elder Things aren’t actually all that evil–in consideration of some of the other monsters present in the Lovecraftian universe–despite the fact that just laying eyes upon their starfish-plant hybrid alien forms will drive the viewer to madness. Just like the Mi-go, the Elder Things are actually aliens who built colossal cities and societies that predated all human civilizations; the Elder Things had a history of chaos and war between the Mi-go and the Great Race of Yith.

Shoggoth

Despite not being entirely evil, the Elder Things did create the Shoggoth as a race of slaves, hypnotizing them to build their massive underwater societies. The Shoggoth, a race of huge amorphous blobs of protoplasmic slime really just looked like a big pile of eyeballs, but are surprisingly strong and can form their blobby, slimy bodies into whatever limbs they require for any given task. The hypnotism didn’t last for long though, as they threw off the bonds of slavery and developed consciousness in order to turn against their masters.

Dagon

A story that is named after the Caananite fish-god, Dagon, Lovecraft’s Dagon was one of the first stories that he created as an adult. It was the predecessor for some of the most popular fiction he created. Dagon started the idea that gods, as known by human beings, were actually malevolent extraterrestrial or extraplanar entities. The creature of the Dagon story is a massive fish-like humanoid that crawls out of the ocean and embraces a holy monolith.

The Great Race of Yith

Another great race (quite literally in their name) of aliens created by Lovecraft, the Great Race of Yith is a foe that battles with the Mi-go and the Shoggoths. The Planet Yith was set to be destroyed billions of years ago, but the inhabitants used their psychic powers to install their consciousness into the hardiest race of creatures they could find. So the Great Race of Yith became a four-armed, conical Earth-bound race; one set of arms had claws, the other a set of horns and then their head had eyes, ears, and of course, the Lovecraftian-famous tentacles.

Kassogtha

Kassogtha is one of the lesser-known terrors of Lovecraft’s Great Old Ones, she’s a huge pile of writhing tentacles and is both Cthulhu’s sister and mate. Their female offspring, Nctosa and Nctolhu, were equally terrifying and awful monsters, because how could they not be?

Cthulhu

Finally, we have Cthulhu–the most renowned monster within the Lovecraftian universe–our descriptions of him come from Lovecraft, as well as the artistic renditions of him that have arisen since his creation. He was said to be a mashup of an octopus, a dragon, and humanoid, with a “pulpy, tentacled head surmounted [by] a grotesque and scaly body with rudimentary wings.” Another description of him, also given to us by Lovecraft in The Call of Cthulhu is that he, “represented a monster of a vaguely anthropoid outline, but with an octopus-like head whose face was a mass of feelers, a scaly, rubbery-looking body, prodigious claws on hind and fore feet, and long, narrow wings behind.”

That is not dead which can eternal lie.
And with strange aeons even death may die.

H.P. Lovecraft in The Call of Cthulhu

Where Are All of the Lovecraft Movies?

In a world of horror inspired by minds like H.P. Lovecraft, I’m often left wondering where all of the Lovecraft movies are–after all, I’d love to see some of my favorites being reinvented on the big screen, but the truth is the ones that have been created often fly under the radar because of their minuscule budgets and more often than not, dissatisfying results.

It’s important to understand that while we here at Puzzle Box Horror greatly appreciate the body of work that Lovecraft added to the horror genre, we recognize his biases and do not endorse them or agree with them. We were more than ecstatic when we found that there were actually literary responses to these particular issues and hope that such responses continue to appear within the literary community.

blank

Advertisements

Join "The Horror List" for Weekly Horror in your inbox






Join The Horror List