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A Gothic, Cosmic, and Psychological Lifetime of Horror: The 16 Greatest Short Stories from Robert Bloch

Robert Bloch wrote literature that ranged from the psychologically terrifying to the downright “weird” horror; his inspiration stemmed both from watching his first scary film on his own as a child—and his subsequent nightmares—and his admiration for the stylistic horror of H.P. Lovecraft. His stories, however, are and always will be uniquely Robert Bloch, a genius in psychological horror with a splash of the supernatural. His deep interest in serial killers brought back anti-heroes like Norman Bates and Jack the Ripper.

“The Shambler From The Stars” (1935)

This particular short story first appeared in the September issue of Weird Tales, in 1935—later on, it was included as a part of his first published book, The Opener of the Way (1945). It was one of the many works that bore the influence of H.P. Lovecraft and can be considered part of the genre of cosmic horror. More than just another author following the footsteps of Lovecraft, Bloch still included elements of Lovecraftian influence, such as the inclusion of The Necronomicon, and The Book of Eibon. Deliciously self-indulgent, Bloch’s story is about a writer of weird fiction obsessed with learning all things occult when he looks to find the aforementioned esoteric tomes of forbidden knowledge. As we all know when it comes to Eldritch cosmic horror, this writer inevitably summons something disastrous.

“The Secret in the Tomb” (1935)

Another instance of cosmic horror in the early days of Bloch’s writing career, it has been compared directly to the stylistic literature of the father of cosmic horror himself—to the point that, if the author of this had been unknown, it would have been assumed to have been a product of Lovecraft. This dark, dank tale of eldritch horror and dread is lurking, just beyond sight, and awaiting the arrival of the last descendant of a long line of sorcerers.

“The Mannikin” (1937)

Another Weird Tales original, published in the April edition in 1937, we get a tale of a strange reclusive and a disfigured, hunchbacked man named Simon, whom the locals all despise. As a short story, of course, it doesn’t take long to find that this cosmic horror is based all around the diabolical hump on Simon’s back—just wait until you find out what the hump really is.

“The Sorcerer’s Jewel” (1939)

This is a story that Bloch originally published under the pen name Tarleton Fiske in Strange Stories Magazine, in 1939; in this story we see a similarity to “A Shambler in the Stars” when we follow a photographer who takes incredibly bizarre photos as his life’s passion. While he doesn’t believe in the occult, his assistant happens to be a devotee of a peculiar occult practice and everything changes when the photographer is brought an ancient jewel.

“Yours Truly, Jack The Ripper” (1943)

Over the years, Robert Bloch’s short story “Yours Truly, Jack The Ripper” has been adapted to various mediums following its publication—the story is about a man from Chicago who is approached by a gentleman from England who tells him that he’s looking for Jack the Ripper. This, of course, is strange on its own as the infamous serial killer should have died years before. The Englishman believes that Jack the Ripper has become immortal through occult means and that his serial murders are actually ritual sacrifices that restore his youth. The man from Chicago is enlisted to help to bring the Ripper to light.

“Satan’s Phonograph” (1946)

A slow burn for a short story, this haunting tale follows the narrator down memory lane as he tells the reader about the ingenious, but wildly mad piano teacher that helped him to reach Carnegie Hall—but when the pupil returns from his tours across Europe with his new wife in tow, he finds that his old teacher had been institutionalized—when his insane old teacher shows up in his house with a seemingly innocent phonograph and his wild theories, the narrator believes his teacher is simply delusional.

“Sweets To The Sweet” (1947)

Bloch spins the thread of a sinister six-year-old girl, following the narrative of the housekeeper as she speaks to her former boss’s brother, who happens to be a lawyer. The housekeeper encourages the lawyer to look into what she believes to be a brutally abusive situation between father and daughter. She tells the brother about all of the signs of alcoholism and beatings, while the child is accused of witchcraft. When the lawyer finally goes to investigate what is happening in his brother’s home, he finds out that the truth may be more disturbing than he expects.

“Floral Tribute” (1949)

An eerie tale of a young boy being raised by his grandmother brings her fresh flowers home every day—it’s not until the inhabitants of the local cemetery come to speak with the grandmother that she finds out that he has been taking them from the graves of the nearby graveyard, where he plays among the tombstones.

“The Shadow From The Steeple” (1950)

Yet another story based in the Lovecraft universe, Bloch starts the story off with the friend of a character Lovecraft had killed in his short story “The Haunter in the Dark” whom Lovecraft had modeled after Bloch himself. A convoluted and dark fictional tale based on Lovecraft and his circle of writers, we get to see the authors appearing as characters of their own making. As another story within the Cthulhu Mythos, we see how involved Bloch was still within the Lovefcraft style even at this point in his career.

“Head Man” (1950)

An interesting spin on Nazi Germany’s obsession with the occult and paranormal, a SS executioner puts everything on the line to keep possession of the heads of a man and woman who had been charged with witchcraft and executed as a result.

“The Hungry House” (1951)

A tale that will once again make you fear your own reflection in a mirror; “The Hungry House” takes place after a couple moves into their new home. As they try to get comfortable in their new house they begin to see spooky inexplicable reflections around the house and dismiss it as being an overactive imagination. It’s not until the husband finds the locked closet in the attic that they realize something is incredibly wrong with their house—in it are all of the mirrors that the previous owners had removed from the walls of the house.

“Notebook Found in an Abandoned House” (1951)

This story is told from a notebook found in an abandoned house, which was written by a twelve-year-old boy by the name of Willy Osborne who is trapped within the house by the sinister beasts, or “them ones,” that stalk him from within the woods and swamps that surround the house. “Them ones,” that Willy is scared might come and get him are monstrous, Lovecraftian elder creatures who used to be take sacrifices to be appeased.

“The Light-House” (1953)

This particular short story took special influence from a story that Edgar Allan Poe began before his death in 1849, but was never able to finish; in 1953 Bloch took this unfinished short story, finished it, polished it up, and then had it published. As such, it is considered a posthumous collaboration. It follows the pursuits of a nobleman who takes a job as a lighthouse keeper, so he may write in solitude. His loneliness gets the better of him in this weird and satisfyingly dark tale, when he tries to psychically summon a companion.

“House of the Hatchet” (1955)

A couple with a relationship on the rocks decides to take their a second honeymoon on the road—on their trip they end up stopping at a haunted tourist attraction, where the story goes that a husband had killed his wife with a hatchet in one of the rooms. When they decided to take a tour of this haunted house, the husband begins to feel a heavy dark presence in the room where the murder was said to have occurred…

“Terror In Cut Throat Cove” (1958)

Considered a horror adventure tale, “Terror In Cut Throat Cove” follows the tale of an American writer who is approached by a treasure-hunting duo; they end up recruiting him to help them locate this long-lost legendary ship that sunk with a massive fortune aboard because the writer has an undeniable fondness for the girlfriend of the treasure hunter. A crazy adventure ensues until they find the ship and one of the divers returns from the ship’s wreckage without his head.

“The Animal Fair” (1971)

This story of a drifter who ends up in the small town of Medley, Oklahoma while the carnival is in town—where he enters the a tent that houses a gorilla who happens to be the main attraction—not to mention seriously abused by his trainer. This horrifying weird tale ends in a shocking twist and is well worth the read.

Works Cited:

Cowan, Matt. “FIFTEEN HORROR TALES BY ROBERT BLOCH.” Horror Delve, 4 Apr. 2016, horrordelve.com/2016/04/04/robert-bloch/.

HorrorBabble. “The Shambler from the Stars” by Robert Bloch. Youtube/”The Shambler from the Stars” by Robert Bloch, HorrorBabble, 12 Mar. 2018, youtu.be/0Q6xA0f9SNk.

HorrorBabble. “The Secret in the Tomb” by Robert Bloch. Youtube/”The Secret in the Tomb” by Robert Bloch, HorrorBabble, 20 Aug. 2018, youtu.be/vodqchPxgCoyoutu.be/vodqchPxgCo.

Thomas, G. W. “The Early Robert Bloch.” Dark Worlds Quarterly, 6 Aug. 2020, darkworldsquarterly.gwthomas.org/the-early-robert-bloch/.

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Featured Horror Books

A Look into the Life of Horror Writer Dennis Etchison

Possibly one of the most well-received writers and unfortunately, one of the most recently deceased within the horror writing community, Dennis Etchison made his waves in the world of writers at large. As an American writer and editor of fantasy and horror fiction, he has been hailed as, “one hell of a fiction writer,” by his peer in horror, Stephen King. Etchison himself described his work as, “rather dark, depressing, almost pathologically inward fiction about the individual in relation to the world,” which is fair–writing horror is a pretty grim business. It could be argued that The Viking-Penguin Encyclopedia of Horror and the Supernatural, which described him as, “the most original living horror writer in America,” really did recognize the genius and inspirational talent of him as a writer. At the end of this month, we’re coming up on the first anniversary of the death of this highly regarded writer of horror fiction. So join us as we celebrate the life and work of Dennis Etchison for our Dead Author Dedication of May.

Growing Up…

Born Dennis William Etchison on March 30, 1943 in Stockton, California and he grew up as an only child when World War II was still ravaging the globe. He, therefore, didn’t have any men in his home and as a result believed he was spoiled greatly as a child where he spent most of his time without normal exposure to children his own age. It’s said that this sense of isolation from his peers, as well as the need to interact with society, was reflected later as parts of the themes of many of his work. His father regularly took him to attend shows at the Olympic Auditorium where he developed a fascination in the fight between good and evil–and gave him the ability as a young boy to become a fan of wrestling as a sport.

During his teenage years he wrote for his school papers and was a decidedly good writer for his age, having discovered Ray Bradbury and emulated his style before he had developed his own. This was the time that he began writing short stories, but upon submitting them for publication was rejected every time–that is until he remembered Ray Bradbury, who had suggested that a writer should look to a market that would be the least likely to publish their work. After heeding the advice of his source of inspiration, he was promptly accepted for publication in a gentlemen’s magazine entitled Escapade.

Career

While we’re going to focus more on the literary career of Dennis Etchison in our next installment of the Dead Author Dedication for the month of May, we feel it’s important to recognize here some of the highlights of his achievements. Dennis Etchison had a prolific writing career when it came to short story fiction, something utterly unheard of for an author who was actually quite popular during their lifetime–considered a king of anthologies, he began with publications of his short stories in the 1960s.

At UCLA he sought a higher education in the 1960s, Etchison studied film and eventually became highly knowledgable on the subject; he wrote various screenplays, many of which were never produced. He even became a consultant to Stephen King for his non-fiction volume Danse Macabre (1981) and also wrote for television. In his expansive five-decade career, his range included short stories, movie novelizations, original novels, anthologies, essays, editorials, and radio work.

Not surprisingly, Etchinson also served as the President of the Horror Writers Association from 1992 to 1994. At the turn of the century, in 2002, he adapted almost one hundred episodes of the original Twilight Zone television series for a CBS radio series which was hosted by Stacy Keach. Over the course of his career, he won the British Fantasy Award three times for fiction, as well as two World Fantasy Awards for anthologies he was responsible for editing. In 2017, Etchison was recognized by the Horror Writers of America when they bestowed the honor of the Bram Stoker lifetime achievement award upon him.

Much of Etchison’s work can be found under his pen name, Jack Martin, One thing that Etchison can be credited for aside from all of his other achievements is his excessive humility when regarding his own work. Inspiration can be found from his relatability for aspiring writers and we think that this can be summarized by one quote in particular.

I know a short story or a book that I’ve written much better than anybody else in the world. I’ve read it a hundred times. And just because it’s published doesn’t mean I think it’s perfect. You don’t write in a vacuum. You write on a schedule, professionally, and something may be published that I know is flawed. I understand the weaknesses of the work better than anybody else.

I could give you an annotated version of one of my stories that would point out not only the references and the origins of the lines and thoughts, but what I was trying to do – what I wished there were more of, what I now think there’s too much of. After you’ve written it and set it aside, you can come back to it and you see it in a different light. So I now look back at any story of mine more than a couple of years old and it does not look good to me. I could go through it and make it better, but I don’t do that. It represents the best I could do at that time, under those circumstances, and it’s representative of the person I was. I am embarrassed by some of the early stories, which continue to come back in reprint anthologies around the world.

It’s nice to be paid for work I did in my teens! But I can look at it as if someone else had written them and say, “My God! Is he aware of how these words look on the page?” I have a more acute sense of style than I did then; a better understanding of myself and human relationships. Two years from now I’ll look back at the present stories and be appalled. But it’s like life: what you do is the best you can do on that day. You have to finish your job at the end of the day and say, given the circumstances, this was the best that I could do. But tomorrow’s a new day. I can try to do better.

Dennis Etchison on his own writing.

Throughout his career Etchison gave back to the next generation of aspiring writers, by teaching classes in creative writing at his alma mater, UCLA. The most admirable trait of this horror master, is that he inspired many to write down their stories and accept that our flaws as writers actually contribute to our ability to evolve and improve.

Death

Although his cause of death has still been relatively unreported upon, we do know that Etchison was reported to have died during the night on May 28, 2019, at the age of 76. This was a tremendous blow to the modern horror community, as it lost one of the most influential modern writers who brought originality and life to such an exciting genre of fiction.

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Featured Horror Books Horror Mystery and Lore

From Traumatized to Terror Creator, the Life of Robert Bloch

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

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Horror Mystery and Lore

Lovecraft and His Creations

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.

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Featured Horror Books Women in Horror

Shirley Jackson: Novels, Short Stories, and Other Works

The Lottery (1948)

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The Lottery is a short story that Shirley Jackson wrote in 1948—it was written within the month of its first publication. It appeared within the June 26, 1948 issue of The New Yorker and describes a fictional account of a small town that participates in a lottery of sorts. This particular short story has often been described as “one of the most famous short stories in the history of American literature.”

Conceptually, two creative stories come to mind immediately after reading this story–no doubt the authors of which were inspired greatly by the Jackson original. The cult classic film The Wicker Man (1973), then later the novelization and The Hunger Games franchise both echo the idea of a ritual where the town comes together and holds what they call a lottery.

This lottery is, unfortunately, not the type that anyone hopes to win, but mirrors the dystopian attitude where the losers rejoice in the winner’s predicament. Without spoiling the entire story for anyone, let’s just say it’s most definitely worth the read (or simply listen below). What is truly interesting with this story–one that leaves the reader with a feeling of utmost terror and despair–is that Jackson apparently wrote within the confines of a single morning. The agreed-upon account of its creation is that Jackson came up with the idea for the story while she was shopping for groceries in the morning, came home, set her two-year-old daughter in her playpen to play, and had it finished before her son came home from kindergarten for lunch.

Talk about a whirlwind turn-around for something so utterly and terribly fantastic. Along with other myths that surround the creation of The Lottery, there was a time when people actually believed that the story was a factual report–this is in part due to the fact that at the time The New Yorker didn’t distinguish between fact and fiction when it came to the stories within its publications. As a result of the misunderstanding, much to the chagrin of Jackson, subscribers sent her several hundred letters that in her words could be summed up to, “bewilderment, speculation, and plain old-fashioned abuse.” It was especially alarming to her that some of the letters were from people who wanted to know where such lotteries were being held and whether they would be allowed to watch.

The Haunting of Hill House (1959)

The Haunting of Hill House (1959)
The Haunting of Hill House (1959)

This gothic horror novel stands in the same class as those by Edgar Allan Poe, Arthur Conan Doyle, and Bram Stoker—to the point of even being a finalist for the National Book Award in the category for best literary ghost stories published during the 20th century. While Shirley adhered more to the thrilling psychological aspects, which successfully elicited stronger emotions in her readers. It has since been adapted into two feature films, a play, radio theater, as well as a Netflix series which premiered in 2018, although considerable liberties were taken with Shirley’s original story.

Shirley’s initial idea for this particular novel came to her after she read about a real-life group of researchers from the nineteenth century who had spent time in a reportedly haunted house and then published their experiences while investigating the site. She spent quite a bit of time researching and studying floor plans of large, potentially haunted houses around the country, and also spent time reading several volumes on hauntings and ghost stories before she sketched out the grounds of Hill House, as well as the floor plan for the house itself. Suffice it to say, she took her time considering how the characters might move about the house and made sure she had a clear vision of how a haunting would play out in such a house.

Check out this trailer of the Netflix series of The Haunting of Hill House and see how this novel translated to a television series.

We Have Always Lived in the Castle (1962)

We Have Always Lived in the Castle (1962)
We Have Always Lived in the Castle (1962)

Shirley Jackson’s We Have Always Lived in the Castle was published in 1962—just a few years before the radical social movement of the 1960s and 1970s—and served as her reaction to the movement of traditionalism that followed the Second World War. The fifties was an exceptional decade when women were transitioning from having jobs that supported the war effort while the men were overseas, to being expected to stay at home in order to support their husbands by cooking, cleaning, and rearing children.

This novel takes place in a small New England town where the remaining members of the Blackwood family stay in their ancestral home—they seem to live a peaceful, if not removed life from the rest of the town and its oppressive atmosphere. The initial perception of the people in town is one of apprehension when the main character Mary Katherine admits the anxiety she feels when having to pass the general store when the men are sitting out front. The mood of the novel changes to reflect what many literary scholars believe might have been Jackson’s own response to the changing social climate of the fifties and how stifling it would have been to be a housewife with a job. It also bears mentioning that it brings attention to the ways women had been oppressed in the past, referencing witch hunts where women would be killed for even the slightest misstep.

We Have Always Lived in the Castle echoed a lot of the same themes that were found in her profoundly popular short story The Lottery, with special emphasis on the strange and hostile townspeople who take on the type of mob mentality that allows otherwise sensible people to commit horrible acts with little to no impact on their conscience. It is said that this particular novel served as inspiration to many writers—including authors like Neil Gaiman and Joyce Carol Oates—who, after reading Shirley’s work, felt liberated in taking leaps with horror, speculative fiction, and just enough realism to create creepy atmospheres within their own novels.

Take a look at the trailer for We Have Always Lived in the Castle (2019) and let us know what you think between the differences you’ve found between it and the original novel.

Looking back on a career like Shirley’s it’s widely believed that despite the fact that raising four children is an extremely difficult task, Shirley couldn’t have been such a literary success without them—after all, her first success, The Lottery came only a few months before Shirley was set to deliver her third child. A cringe-worthy moment came when the clerk asked Shirley her occupation, when she responded that she was a writer, the clerk responded that he was going to put down the occupation of housewife instead. While it was true that being a mother was one of her jobs, Shirley was more than just a mere housewife—in fact, she was the breadwinner of the family.

Shirley Jackson happened to be both a housewife and a “talented, determined, ambitious writer in an era when it was still unusual for a woman to have both a family and a profession.” The appearance of a conventional American household generated material for this sassy mother of four—who thrived on the tensions that it created between both roles. The expectations of herself, her husband, family, publishers, and readers gave life to her writing since what was normal for her was unspeakably abnormal for the time. She made this clear during the early years of her career, when she drew, “a muscular woman, looking disgruntled, [dragging] her husband off by his hair as another couple [looked] on worriedly. ‘I understand she’s trying to have both a marriage and a career,’ one says to the other.” The truth of the matter was, that Shirley’s career only really took off after she became a mother, having gained an empathetic view of developing minds and the well of imagination that she drew therein. In this respect, Shirley was not only a sensational author, she was an admirable role model for any woman who may have wanted to follow in her footsteps.

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