H. P.

Lovecraft

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Howard Phillips Lovecraft

(US: /ˈlʌvkræft/; August 20, 1890 – March
15, 1937) was an American writer of
weird fiction and horror fiction, who is
known for his creation of what became
the Cthulhu Mythos.[n 1]
 H. P. Lovecraft

Lovecraft in 1934

Born Howard Phillips

Lovecraft
August 20, 1890
Providence, Rhode
Island, U.S.

Died March 15, 1937

(aged 46)
 Providence, Rhode
Island, U.S.
Resting place Swan Point
Cemetery,
Providence, Rhode
Island, U.S.
41.854021°N
71.381068°W

Pen name Lewis Theobald

Humphrey Littlewit
Ward Phillips
Edward Softly
Percy Simple

Occupation Short story writer,

editor, novelist, poet
Nationality American
Period 1917–1937
Genre Weird fiction, horror
 fiction, science
fiction, gothic fiction,
fantasy fiction,
cosmic horror

Literary movement Cosmicism

Notable works "The Call of Cthulhu"
The Dream-Quest of
Unknown Kadath
At the Mountains of
Madness
The Shadow over
Innsmouth
The Shadow Out of
Time

Spouse Sonia Greene (m. 1924)

Signature
Born in Providence, Rhode Island,
Lovecraft spent most of his life in New
England. He was born into affluence, but
the family's wealth dissipated soon after
the death of his grandfather. In 1913, he
wrote a critical letter to a pulp magazine
that ultimately led to his involvement in
pulp fiction. During the interwar period,
he wrote and published stories that
focused on his interpretation of
humanity's place in the universe. In his
view, humanity was an unimportant part
of an uncaring cosmos that could be
swept away at any moment. These
stories also included fantastic elements
that represented the perceived fragility of
anthropocentrism.
Lovecraft was at the center of a wider
body of authors known as "The Lovecraft
Circle". This group wrote stories that
frequently shared details among them.
He was also a prolific writer of letters. He
maintained a correspondence with
several different authors and literary
proteges. According to some estimates,
he wrote approximately 100,000 letters
over the course of his life.[n 2] In these
letters, he discussed his worldview and
his daily life, and tutored younger
authors, such as August Derleth, Donald
Wandrei, and Robert Bloch.

Throughout his adult life, Lovecraft was

never able to support himself from
earnings as an author and editor. He was
virtually unknown during his lifetime and
was almost exclusively published in pulp
magazines before he died in poverty at
the age of 46, but is now regarded as one
of the most significant 20th-century
authors of supernatural horror fiction.[3]
Among his most celebrated tales are
"The Call of Cthulhu", "The Rats in the
Walls", At the Mountains of Madness, The
Shadow over Innsmouth, and The Shadow
Out of Time. His writings are the basis of
the Cthulhu Mythos, which has inspired a
large body of pastiches, games, music
and other media drawing on Lovecraft's
characters, setting and themes,
constituting a wider subgenre known as
Lovecraftian horror.

Biography

Early life and family tragedies …

Lovecraft c. nine years old

Lovecraft was born in his family home on

August 20, 1890, in Providence, Rhode
Island. He was the only child of Winfield
Scott Lovecraft and Sarah Susan [née
Phillips] Lovecraft.[4]:16 Susie's family
was of substantial means at the time of
their marriage, her father, Whipple Van
Buren Phillips, being involved in business
ventures.[4]:8

In April 1893, after a psychotic episode in

a Chicago hotel, Winfield was committed
to Butler Hospital in Providence. Though
it is not clear who reported Winfield's
prior behavior to the hospital, medical
records indicate that he had been "doing
and saying strange things at times" for a
year before his commitment.[4]:26
Winfield spent five years in Butler before
dying in 1898. His death certificate listed
the cause of death as general paresis, a
term synonymous with late-stage
syphilis.[4]:22 Throughout his life,
Lovecraft maintained that his father fell
into a paralytic state, due to insomnia
and being overworked, and remained that
way until his death. It is not known
whether Lovecraft was simply kept
ignorant of his father's illness or whether
his later remarks were intentionally
misleading.[4]:26

After his father's hospitalization,

Lovecraft resided in the family home with
his mother, his maternal aunts Lillian and
Annie, and his maternal grandparents
Whipple and Robie.[4]:28 According to the
accounts of family friends, Susie doted
on the young Lovecraft to a fault,
pampering him and never letting him out
of her sight.[5]:2 Lovecraft later
recollected that after his father's illness
his mother was "permanently stricken
with grief." Whipple became a father
figure to Lovecraft in this time, Lovecraft
noting that his grandfather became the
"centre of my entire universe." Whipple,
who traveled often on business,
maintained correspondence by letter with
the young Lovecraft who, by the age of
three, was already proficient at reading
and writing.[4]:28 He encouraged the
young Lovecraft to have an appreciation
of literature, especially classical literature
and English poetry. In his old age he
helped raise the young H. P. Lovecraft
and educated him not only in the
classics, but also in original weird tales
of "winged horrors" and "deep, low,
moaning sounds" which he created for
his grandchild's entertainment. The exact
sources of Phillips' weird tales have not
been identified. Lovecraft himself
guessed that they originated from classic
Gothic novelists like Ann Radcliffe,
Matthew Lewis, and Charles Maturin. It
was in this period that Lovecraft was
introduced to some of his earliest literary
influences such as The Rime of the
Ancient Mariner illustrated by Doré, One
Thousand and One Nights, a gift from his
mother, Thomas Bulfinch's Age of Fable
and Ovid's Metamorphoses.[4]:33, 36

While there is no indication that Lovecraft

was particularly close to his grandmother
Robie, her death in 1896 had a profound
effect. By his own account, it sent his
family into "a gloom from which it never
fully recovered." His mother's and aunts'
wearing of black mourning dresses
"terrified" him, and it is at this time that
Lovecraft, approximately five-and-a-half
years old, started having nightmares that
would inform his later writing.
Specifically, he began to have recurring
nightmares of beings he termed "night-
gaunts"; their appearance he credited to
the influence of Doré's illustrations, which
would "whirl me through space at a
sickening rate of speed, the while fretting
& impelling me with their detestable
tridents." Thirty years later, night gaunts
would appear in Lovecraft's writing.[4]:34

Lovecraft's earliest known literary works

began at age seven with poems restyling
the Odyssey and other mythological
stories.[4]:38 Lovecraft has said that as a
child he was enamored of the Roman
pantheon of gods, accepting them as
genuine expressions of divinity and
foregoing his Christian upbringing. He
recalled, at five years old, being told
Santa Claus did not exist and retorting by
asking why "God is not equally a
myth."[4]:42 At the age of eight, he took a
keen interest in the sciences, particularly
astronomy and chemistry. He also
examined the anatomy books available
to him in the family library, learning the
specifics of human reproduction that had
yet to be explained to him, and found that
it "virtually killed my interest in the
subject."[4]:60 In 1902, according to
Lovecraft's own correspondence,
astronomy became a guiding influence
on his world view. He began producing
the periodical Rhode Island Journal of
Astronomy, of which 69 issues survive,
using the hectograph printing
method.[4]:84 Lovecraft went in and out of
elementary school repeatedly, oftentimes
with home tutors making up for those
lost school years, missing time due to
health concerns that are not entirely
clear. The written recollections of his
peers described him as both withdrawn
yet openly welcoming to anyone who
shared his current fascination with
astronomy, inviting anyone to look
through the telescope he prized.[4]:90

By 1900, Whipple's various business

concerns were suffering a downturn and
slowly reducing his family's wealth. He
was forced to let the family's hired
servants go, leaving Lovecraft, Whipple,
and Susie, being the only unmarried
sister, alone in the family home.[4]:97 In
the spring of 1904, Whipple's largest
business venture suffered a catastrophic
failure. Within months, he died due to a
stroke at age 70. After Whipple's death,
Susie was unable to support the upkeep
of the expansive family home on what
remained of the Phillips' estate. Later
that year, she was forced to move herself
and her son to a small duplex.[4]:96
Lovecraft has called this time one of the
darkest of his life, remarking in a 1934
letter that he saw no point in living
anymore.[4]:98 In fall of the same year, he
started high school. Much like his earlier
school years, Lovecraft was at times
removed from school for long periods for
what he termed "near breakdowns." He
did say, though, that while having some
conflicts with teachers, he enjoyed high
school, becoming close with a small
circle of friends and performed well
academically, excelling in particular at
chemistry and physics.[4]:99 Aside from a
pause in 1904, he also resumed
publishing the Rhode Island Journal of
Astronomy as well as starting the
Scientific Gazette, which dealt mostly
with chemistry.[4]:102 It was also during
this period that Lovecraft produced the
first of the types of fiction he would later
be known for, namely "The Beast in the
Cave" and "The Alchemist".[4]:116
It was in 1908, prior to his high school
graduation, when Lovecraft suffered
another health crisis of some sort,
though this instance was seemingly
more severe than any prior. The exact
circumstances and causes remain
unknown. The only direct records are
Lovecraft's own later correspondence
wherein he described it variously as a
"nervous collapse" and "a sort of
breakdown," in one letter blaming it on
the stress of high school despite his
enjoying it. In another letter concerning
the events of 1908, he notes, "I was and
am prey to intense headaches, insomnia,
and general nervous weakness which
prevents my continuous application to
any thing." Though Lovecraft maintained
that he was to attend Brown University
after high school, he never graduated and
never attended school again. Whether
Lovecraft suffered from a physical
ailment, a mental one, or some
combination thereof has never been
determined. An account from a high
school classmate described Lovecraft as
exhibiting "terrible tics" and that at times
"he'd be sitting in his seat and he'd
suddenly up and jump." Harry Brobst, a
psychology professor, examined the
account and claimed that chorea minor
was the most likely cause of Lovecraft's
childhood symptoms while noting that
instances of chorea minor after
adolescence are very rare.[4]:126 Lovecraft
himself acknowledged in letters that he
suffered from bouts of chorea as a
child.[5]:27 Brobst further ventured that
Lovecraft's 1908 breakdown was
attributed to a "hysteroid seizure," a term
that today usually denotes atypical
depression.[4]:127 In another letter
concerning the events of 1908, Lovecraft
stated that he "could hardly bear to see
or speak to anyone, & liked to shut out
the world by pulling down dark shades &
using artificial light."[4]:128

Earliest recognition …
Not much of Lovecraft and Susie's
activities from late 1908 to 1913 are
recorded.[4]:128 Lovecraft mentions a
steady continuation of their financial
decline highlighted by a failed business
venture of his uncle that cost Susie a
large portion of their dwindling wealth. A
friend of Susie, Clara Hess, recalled a
visit during which Susie spoke
continuously about Lovecraft being "so
hideous that he hid from everyone and
did not like to walk upon the streets
where people could gaze on him."
Despite Hess' protest that this was not
the case, Susie maintained this
stance.[5]:66 For his part, Lovecraft said
he found his mother to be "a positive
marvel of consideration".[5]:64 A next-door
neighbor later pointed out that what
others in the neighborhood often
supposed were loud, nocturnal quarrels
between mother and son, she recognized
as being recitations of Shakespeare, an
activity that seemed to delight mother
and son.[6]

During this period, Lovecraft revived his

earlier scientific periodicals.[4]:128 He
endeavored to commit himself to the
study of organic chemistry, Susie buying
the expensive glass chemistry
assemblage he wanted.[7] Lovecraft
found his studies were hobbled by the
mathematics involved, which he found
boring and would cause headaches that
would incapacitate him for a day.[4]:129
Lovecraft's first poem that was not self-
published appeared in a local newspaper
in 1912. Called Providence in 2000 A.D.,
the poem envisioned a future where
people of English heritage were
displaced by immigrants: Irish, Italians,
Portuguese, and Jews.[4]:137 In this period
he also wrote racist poetry such as "New-
England Fallen" and "On the Creation of
Niggers"; there is no indication that either
were ever published in his lifetime.[4]:138

In 1911, Lovecraft's letters to editors

began appearing in pulp and weird fiction
magazines, most notably Argosy.[4]:140 A
1913 letter critical of Fred Jackson, a
prominent writer for Argosy, started
Lovecraft down a path that would greatly
affect his life. Lovecraft described
Jackson's stories as "trivial, effeminate,
and, in places, coarse." Continuing,
Lovecraft said that Jackson's characters
exhibit the "delicate passions and
emotions proper to negroes and
anthropoid apes." This sparked a nearly
year-long feud in the letters section of
Argosy between Lovecraft, along with his
occasional supporters, and the majority
of readers critical of his view of Jackson.
Lovecraft's biggest critic was John
Russell, who often replied in verse, and to
whom Lovecraft felt compelled to reply
because he respected Russell's writing
skills.[4]:145 The most immediate effect of
the feud was the recognition garnered
from Edward F. Daas, then head editor of
the United Amateur Press
Association[5]:84 (also known as the
UAPA). Daas invited Russell and
Lovecraft to the organization and both
accepted, Lovecraft in April 1914.[4]:155

Rejuvenation and tragedy …

With the
Lovecraft immersed himself
advent of in the world of amateur
United I journalism for most of the
obtained following decade.[4]:159
a During this period, he was
renewed an advocate for amateurism
will to versus
live; a
commercialism.[4]:164
renewed
Lovecraft's definition of
sense of
commercialism, though,
existence
as other was specific to writing for,
than a what he considered, low-
superfluo brow publications for pay.
us weight; He contrasted this with his
and found
view of "professional
a sphere
publication," which he
in which I
termed as writing for
could feel
that my journals and publishers he
efforts considered respectable. He
were not thought of amateur
wholly journalism as training and
futile. For practice for a professional
the first career.[4]:165 Lovecraft was
time I appointed to chairman of
could
the Department of Public
imagine
Criticism of the UAPA in late
that my
1914.[4]:168 He used this
clumsy
gropings position to advocate for his,
after art what many considered
were a peculiar, insistence on the
little more superiority of English
than faint
language usage that most
cries lost
writers already considered
in the
archaic. Emblematic of the
unlistenin
g void. Anglophile opinions he
maintained throughout his
—
Lovecraft
life, he openly criticized
in other UAPA contributors for
1921.[4]:159 their "Americanisms" and
 "slang." Often these
criticisms were couched in xenophobic
and racist arguments bemoaning the
"bastardization" of the "national
language" by immigrants.[4]:169 In mid-
1915, Lovecraft was elected to the
position of first vice-president of the
UAPA.[4]:180 Two years later, he was
elected president and appointed other
board members that mostly shared his
view on the supremacy of classical
English over modern American
English.[4]:182 Another significant event of
this time was the beginning of World War
I. Lovecraft published multiple criticisms
of the U.S. government's and the
American public's reluctance to join the
war to protect England, which he viewed
as America's homeland.[4]:210

In 1916, Lovecraft published his early

short story "The Alchemist" in the main
UAPA journal, a departure from his usual
verse. Due in no small part to the
encouragement of W. Paul Cook, another
UAPA member and future lifelong friend,
Lovecraft began writing and publishing
more fiction.[4]:273 Soon to follow were
"The Tomb" and "Dagon".[4]:239 "The
Tomb", by Lovecraft's own admission,
follows closely the style and construction
of the writings of one of his largest
influences, Edgar Allan Poe.[4]:240 "Dagon"
though, is considered Lovecraft's first
work that embraced the concepts and
themes that his writing would later be
known for.[4]:251 In 1918, Lovecraft's term
as president of the UAPA elapsed, and he
took his former post as chairman of the
Department of Public Criticism.[4]:284 In
1919, Lovecraft published another short
story, "Beyond the Wall of Sleep".[4]:260 In
1917, as Lovecraft related to Kleiner,
Lovecraft made an aborted attempt to
enlist in the army. Though he passed the
physical exam,[4]:303 he told Kleiner that
his mother "has threatened to go to any
lengths, legal or otherwise, if I do not
reveal all the ills which unfit me for the
army".[4]:300
In the winter of 1918–1919, Susie,
exhibiting symptoms of a "nervous
breakdown" of some sort, went to live
with her elder sister Lillian. It is unclear
what Susie may have been suffering
from. Neighbour and friend Clara Hess,
interviewed in 1948, recalled instances of
Susie describing "weird and fantastic
creatures that rushed out from behind
buildings and from corners at dark."[8] In
the same account, Hess describes a time
when they crossed paths in downtown
Providence and Susie "was excited and
apparently did not know where she was."
Whatever the causes, in March 1919 they
resulted in Susie being committed to
Butler Hospital, like her husband before
her.[4]:301 Lovecraft's immediate reaction
to Susie's commitment was visceral,
writing to Kleiner that, "existence seems
of little value," and that he wished "it
might terminate".[9] Lovecraft periodically
visited Susie and walked the large
grounds with her[10][11] but, speaking to
Susie's doctors, a month after she
entered Butler, Lovecraft came to the
realization that she was never going to
be released.

Late 1919 saw Lovecraft become more

outgoing. After a period of isolation, he
began joining friends in trips to writer
gatherings; the first being a talk in Boston
presented by Lord Dunsany, whom
Lovecraft had recently discovered and
idolized.[4]:306 In early 1920, at an
amateur writer convention, he met Frank
Belknap Long, who would end up being
Lovecraft's most influential and closest
confidant for the rest of his life.[4]:308 This
period also proved to be the most prolific
of Lovecraft's short-story career.[5]:142
The influence of Dunsany is readily
apparent in his 1919 output, later be to
coined Lovecraft's Dream Cycle, with
stories like "The White Ship", "The Doom
that Came to Sarnath", and "The
Statement of Randolph Carter". In early
1920 followed "The Cats of Ulthar" and
"Celephaïs".[12] It was later in 1920 that
Lovecraft began publishing the earliest
stories that fit into the Cthulhu Mythos.
The Cthulhu Mythos, a term likely coined
by August Derleth, encompasses
Lovecraft's stories that share a
commonality in the revelation of cosmic
insignificance, initially realistic settings,
and recurring entities and texts.[1][13] The
poem "Nyarlathotep" and the short story
"The Crawling Chaos", in collaboration
with Winifred Virginia Jackson, were
written in late 1920.[4]:369 Following in
early 1921 came "The Nameless City",
the first story that falls definitively within
the Cthulhu Mythos. In it is found one of
Lovecraft's most enduring bits of writing,
a couplet recited by his creation Abdul
Alhazred, "That is not dead which can
eternal lie; And with strange aeons even
death may die."[5]:149

On May 24, 1921, Susie died in Butler

Hospital, due to complications from a
gall bladder surgery five days earlier.
Lovecraft's initial reaction, expressed in a
letter nine days after Susie's death, was
that of an "extreme nervous shock" that
crippled him physically and emotionally,
again remarking that he found no reason
he should continue living.[4]:390 Despite
Lovecraft's reaction, he continued to
attend amateur journalist conventions. It
was at one such convention in July that
Lovecraft met Sonia Greene.[4]:400
Marriage and New York …

Lovecraft's aunts disapproved of this

relationship with Sonia. Lovecraft and
Greene married on March 3, 1924, and
relocated to her Brooklyn apartment at
793 Flatbush Avenue;[14] she thought he
needed to get out of Providence in order
to flourish and was willing to support him
financially.[15] Greene, who had been
married before, later said Lovecraft had
performed satisfactorily as a lover,[16]
though she had to take the initiative in all
aspects of the relationship. She
attributed Lovecraft's passive nature to a
stultifying upbringing by his mother.[17]
Lovecraft's weight increased to 200 lb
(91 kg) on his wife's home cooking.[15]

He was enthralled by New York, and, in

what was informally dubbed the Kalem
Club, he acquired a group of encouraging
intellectual and literary friends who urged
him to submit stories to Weird Tales;
editor Edwin Baird accepted many
otherworldly 'Dream Cycle' Lovecraft
stories for the ailing publication, though
they were heavily criticized by a section
of the readership.[18] Established
informally some years before Lovecraft
arrived in New York, the core Kalem Club
members were boys' adventure novelist
Henry Everett McNeil, the lawyer and
anarchist writer James Ferdinand Morton
Jr., and the poet Reinhardt Kleiner.

On New Year's Day of 1925, Sonia moved

to Cleveland for a job opportunity, and
Lovecraft left Flatbush for a small first-
floor apartment on 169 Clinton Street "at
the edge of Red Hook"—a location which
came to discomfort him greatly.[14] Later
that year, the Kalem Club's four regular
attendees were joined by Lovecraft along
with his protégé Frank Belknap Long,
bookseller George Willard Kirk, and
Samuel Loveman. Loveman was Jewish,
but he and Lovecraft became close
friends in spite of the latter's nativist
attitudes.[19]
Financial difficulties …

Not long after the marriage, Greene lost

her business and her assets disappeared
in a bank failure; she also became ill.
Lovecraft made efforts to support his
wife through regular jobs, but his lack of
previous work experience meant he
lacked proven marketable skills. After a
few unsuccessful spells as a low-level
clerk, his job-seeking became desultory.
The publisher of Weird Tales attempted
to put the loss-making magazine on a
business footing and offered the job of
editor to Lovecraft, who declined, citing
his reluctance to relocate to Chicago;
"think of the tragedy of such a move for
an aged antiquarian," the 34-year-old
writer declared. Baird was replaced with
Farnsworth Wright, whose writing
Lovecraft had criticized. Lovecraft's
submissions were often rejected by
Wright. (This may have been partially due
to censorship guidelines imposed in the
aftermath of a Weird Tales story that
hinted at necrophilia, although after
Lovecraft's death, Wright accepted many
of the stories he had originally
rejected.)[18]

Brooklyn …

Greene, moving where the work was,

relocated to Cincinnati, and then to
Cleveland; her employment required
constant travel. Added to the daunting
reality of failure in a city with a large
immigrant population, Lovecraft's single-
room apartment at 169 Clinton Street in
Brooklyn Heights, not far from the
working-class waterfront neighborhood
Red Hook, was burgled, leaving him with
only the clothes he was wearing. In
August 1925, he wrote "The Horror at Red
Hook" and "He", in the latter of which the
narrator says "My coming to New York
had been a mistake; for whereas I had
looked for poignant wonder and
inspiration [...] I had found instead only a
sense of horror and oppression which
threatened to master, paralyze, and
annihilate me." It was at around this time
he wrote the outline for "The Call of
Cthulhu", with its theme of the
insignificance of all humanity. With a
weekly allowance Greene sent, Lovecraft
moved to a working-class area of
Brooklyn Heights, where he subsisted in
a tiny apartment. He had lost
approximately 40 pounds (18 kg) of body
weight by 1926, when he left for
Providence.[20]

Return to Providence …
Lovecraft's final home, May 1933 until March 10,
1937

Back in Providence, Lovecraft lived in a

"spacious brown Victorian wooden
house" at 10 Barnes Street until 1933.[21]
The same address is given as the home
of Dr. Willett in Lovecraft's The Case of
Charles Dexter Ward. The period
beginning after his return to Providence—
the last decade of his life—was
Lovecraft's most prolific; in that time he
produced short stories, as well as his
longest works of fiction: The Dream-
Quest of Unknown Kadath, The Case of
Charles Dexter Ward, and At the
Mountains of Madness. He frequently
revised work for other authors and did a
large amount of ghost-writing, including
The Mound, Winged Death, and The Diary
of Alonzo Typer. Client Harry Houdini was
laudatory, and attempted to help
Lovecraft by introducing him to the head
of a newspaper syndicate. Plans for a
further project were ended by Houdini's
death.[22]

Although he was able to combine his

distinctive style (allusive and amorphous
description by horrified though passive
narrators) with the kind of stock content
and action that the editor of Weird Tales
wanted—Wright paid handsomely to snap
up "The Dunwich Horror" which proved
very popular with readers—Lovecraft
increasingly produced work that brought
him no remuneration. Affecting a calm
indifference to the reception of his works,
Lovecraft was in reality extremely
sensitive to criticism and easily
precipitated into withdrawal. He was
known to give up trying to sell a story
after it had been once rejected.
Sometimes, as with The Shadow over
Innsmouth (which included a rousing
chase that supplied action) he wrote a
story that might have been commercially
viable but did not try to sell it. Lovecraft
even ignored interested publishers. He
failed to reply when one inquired about
any novel Lovecraft might have ready:
although he had completed such a work,
The Case of Charles Dexter Ward, it was
never typed up.[23] A few years after
Lovecraft had moved to Providence, he
and his wife Sonia Greene, having lived
separately for so long, agreed to an
amicable divorce. Greene moved to
California in 1933 and remarried in 1936,
unaware that Lovecraft, despite his
assurances to the contrary, had never
officially signed the final decree.[24]

Last years and death …

Lovecraft was never able to provide for

even basic expenses by selling stories
and doing paid literary work for others.
He lived frugally, subsisting on an
inheritance that was nearly depleted by
the time he died. He sometimes went
without food to be able to pay the cost of
mailing letters.[25] After leaving New York,
he moved to an apartment at 10 Barnes
Street near Brown University with his
surviving aunt; a few years later, they
moved to a slightly less expensive place
at 65 Prospect Street. As a result of the
Great Depression, he shifted towards
socialism. He supported Franklin D.
Roosevelt, but he thought that the New
Deal was not sufficiently leftist.[26][27]
H. P. Lovecraft's gravestone

In late 1936, he witnessed the publication

of The Shadow over Innsmouth as a
paperback book.[n 3] However, Lovecraft
was displeased, as his book was riddled
with errors. It sold slowly and only
approximately 200 copies were bound.
The remaining manuscripts were
destroyed after the publisher went out of
business. By this point, Lovecraft's
literary career had reached its end.
Shortly after having written his last
original short story, "The Haunter of the
Dark", he stated that the hostile reception
of At the Mountains of Madness had
done "more than anything to end my
effective fictional career."[28]

On June 11, Robert E. Howard committed

suicide after being told that his mother
would not awaken from her coma. His
mother died shortly thereafter. This
deeply affected Lovecraft, who consoled
Howard's father. Almost immediately,
Lovecraft wrote a brief memoir titled "In
Memoriam: Robert Ervin Howard".[28][29]
Meanwhile, Lovecraft's physical health
was deteriorating. He was suffering from
an affliction that he referred to as
"grippe".[n 4][28] After seeing a doctor, he
was diagnosed with terminal cancer of
the small intestine. Due to his fear of
doctors, Lovecraft was not examined
until a mere month before his death. He
remained hospitalized during that time.
He lived in constant pain until his death
on March 15, 1937, in Providence. In
accordance with his lifelong scientific
curiosity, he kept a diary of his illness
until he was physically incapable of
holding a pen.[28][31] Lovecraft was listed
along with his parents on the Phillips
family monument (41°51′14″N
71°22′52″W). In 1977, fans erected a
headstone in Swan Point Cemetery on
which they inscribed his name, the dates
of his birth and death, and the phrase "I
AM PROVIDENCE"—a line from one of his
personal letters.[32][33]

Influences
Some of Lovecraft's work was inspired by
his own nightmares.[34] His interest
started from his childhood days when his
grandfather would tell him Gothic horror
stories.

One of Lovecraft's most significant

literary influences was Edgar Allan Poe,
who he described as his "God of
Fiction."[35][36] Like Lovecraft, Poe's work
was out of step with the prevailing
literary trends of his era. Both authors
created distinctive, singular worlds of
fantasy and employed archaisms in their
writings. This influence can be found in
such works as his novella The Shadow
over Innsmouth[37] where Lovecraft
references Poe's story "The Imp of the
Perverse" by name in Chapter 3, and in
his poem "Nemesis", where the "... ghoul-
guarded gateways of slumber"[38]
suggest the "... ghoul-haunted woodland
of Weir"[39] found in Poe's "Ulalume". A
direct quote from the poem and a
reference to Poe's only novel The
Narrative of Arthur Gordon Pym of
Nantucket is alluded to in Lovecraft's
magnum opus At the Mountains of
Madness.[40][41] Both authors shared
many biographical similarities as well,
such as the loss of their fathers at young
ages and an early interest in poetry.[36]

He was influenced by Arthur Machen's[42]

carefully constructed tales concerning
the survival of ancient evil into modern
times in an otherwise realistic world and
his beliefs in hidden mysteries which lay
behind reality. Lovecraft was also
influenced by authors such as Oswald
Spengler and Robert W. Chambers.
Chambers was the writer of The King in
Yellow, of whom Lovecraft wrote in a
letter to Clark Ashton Smith: "Chambers
is like Rupert Hughes and a few other
fallen Titans – equipped with the right
brains and education but wholly out of
the habit of using them." Lovecraft's
discovery of the stories of Lord
Dunsany,[43] with their pantheon of
mighty gods existing in dreamlike outer
realms, moved his writing in a new
direction, resulting in a series of imitative
fantasies in a Dreamlands setting.

Lovecraft also cited Algernon Blackwood

as an influence, quoting The Centaur in
the head paragraph of "The Call of
Cthulhu". He declared Blackwood's story
The Willows to be the single best piece of
weird fiction ever written.[44] Another
inspiration came from a completely
different source: scientific progress in
biology, astronomy,[45] geology, and
physics.[46] His study of science
contributed to Lovecraft's view of the
human race as insignificant, powerless,
and doomed in a materialistic and
mechanistic universe.[47] Lovecraft was a
keen amateur astronomer from his youth,
often visiting the Ladd Observatory in
Providence, and penning numerous
astronomical articles for local
newspapers. His astronomical telescope
is now housed in the rooms of the
August Derleth Society.[48]

Lovecraft's materialist views led him to

espouse his philosophical views through
his fiction; these philosophical views
came to be called cosmicism.
Cosmicism took on a more pessimistic
tone with his creation of what is now
known as the Cthulhu Mythos; a fictional
universe that contains alien deities and
horrors. The term "Cthulhu Mythos" was
likely coined by Lovecraft's
correspondent and protégé, August
Derleth, after Lovecraft's death.[1] In his
letters, Lovecraft jokingly called his
fictional mythology "Yog-
Sothothery."[49][50]

Lovecraft's use of British English owes

much to his father's influence. He
described his father as having been so
anglophilic that he was commonly
presumed to be an Englishman.
According to Lovecraft, his father had
been constantly warned to avoid using
Americanized words and phrases. This
influence stretched beyond Lovecraft's
use of language. His father's anglophilia
had also caused Lovecraft to have a
deep affection for British culture and the
British Empire.[51]

Themes
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Several themes recur in Lovecraft's

stories:

Forbidden knowledge …
Now all my tales are based on the
fundamental premise that common human
laws and interests and emotions have no
validity or significance in the vast cosmos-at-
large. To me there is nothing but puerility in a
tale in which the human form—and the local
human passions and conditions and
standards—are depicted as native to other
worlds or other universes. To achieve the
essence of real externality, whether of time or
space or dimension, one must forget that
such things as organic life, good and evil,
love and hate, and all such local attributes of
a negligible and temporary race called
mankind, have any existence at all. Only the
human scenes and characters must have
human qualities. These must be handled with
unsparing realism, (not catch-penny
romanticism) but when we cross the line to
the boundless and hideous unknown—the
shadow-haunted Outside—we must
remember to leave our humanity and
terrestrialism at the threshold.

— H. P. Lovecraft, in note to the editor of

Weird Tales, on resubmission of "The Call of
Cthulhu"[52]

Forbidden, dark, esoterically veiled

knowledge is a central theme in many of
Lovecraft's works.[53] Many of his
characters are driven by curiosity or
scientific endeavor, and in many of his
stories the knowledge they uncover
proves Promethean in nature, either
filling the seeker with regret for what they
have learned, destroying them
psychologically, or completely destroying
the person who holds the
knowledge.[53][54][55][56][57][58]

Some critics argue that this theme is a

reflection of Lovecraft's contempt of the
world around him, causing him to search
inwardly for knowledge and
inspiration.[59]

Non-human influences on
humanity
…

The beings of Lovecraft's mythos often

have human servants; Cthulhu, for
instance, is worshipped under various
names by cults among both the
Greenlandic Inuit and voodoo circles of
Louisiana, and in many other parts of the
world.

These worshippers served a useful

narrative purpose for Lovecraft. Many
beings of the Mythos were too powerful
to be defeated by human opponents, and
so horrific that direct knowledge of them
meant insanity for the victim. When
dealing with such beings, Lovecraft
needed a way to provide exposition and
build tension without bringing the story
to a premature end. Human followers
gave him a way to reveal information
about their "gods" in a diluted form, and
also made it possible for his protagonists
to win paltry victories. Lovecraft, like his
contemporaries, envisioned "savages" as
closer to supernatural knowledge
unknown to civilized man.

Inherited guilt …

Another recurring theme in Lovecraft's

stories is the idea that descendants in a
bloodline can never escape the stain of
crimes committed by their forebears, at
least if the crimes are atrocious enough.
Descendants may be very far removed,
both in place and in time (and, indeed, in
culpability), from the act itself, and yet,
they may be haunted by the revenant
past, e.g. "The Rats in the Walls", "The
Lurking Fear", "Facts Concerning the Late
Arthur Jermyn and His Family", "The
Alchemist", The Shadow over Innsmouth,
"The Doom that Came to Sarnath" and
The Case of Charles Dexter Ward.

Fate …

Often in Lovecraft's works, the

protagonist is not in control of his own
actions or finds it impossible to change
course. Many of his characters would be
free from danger if they simply managed
to run away; however, this possibility
either never arises or is somehow
curtailed by some outside force, such as
in "The Colour Out of Space" and "The
Dreams in the Witch House". Often his
characters are subject to a compulsive
influence from powerful malevolent or
indifferent beings. As with the
inevitability of one's ancestry, eventually
even running away, or death itself,
provides no safety (The Thing on the
Doorstep, "The Outsider", The Case of
Charles Dexter Ward). In some cases, this
doom is manifest in the entirety of
humanity, and no escape is possible (The
Shadow Out of Time).

Civilization under threat …

Lovecraft was familiar with the work of

the German conservative-revolutionary
theorist Oswald Spengler, whose
pessimistic thesis of the decadence of
the modern West formed a crucial
element in Lovecraft's overall anti-
modern worldview. Spenglerian imagery
of cyclical decay is present in particular
in At the Mountains of Madness. S. T.
Joshi, in H. P. Lovecraft: The Decline of
the West, places Spengler at the center of
his discussion of Lovecraft's political and
philosophical ideas.[60]

Lovecraft wrote to Clark Ashton Smith in

1927: "It is my belief, and was so long
before Spengler put his seal of scholarly
proof on it, that our mechanical and
industrial age is one of frank
decadence."[61] Lovecraft was also
acquainted with the writings of another
German philosopher of decadence:
Friedrich Nietzsche.[62]

Lovecraft frequently dealt with the idea

of civilization struggling against dark,
primitive barbarism. In some stories this
struggle is at an individual level; many of
his protagonists are cultured, highly
educated men who are gradually
corrupted by some obscure and feared
influence. In such stories, the curse is
often a hereditary one, either because of
interbreeding with non-humans (e.g.,
Facts Concerning the Late Arthur Jermyn
and His Family (1920), The Shadow over
Innsmouth (1931)) or through direct
magical influence (The Case of Charles
Dexter Ward).

In other tales, an entire society is

threatened by barbarism. Sometimes the
barbarism comes as an external threat,
with a civilized race destroyed in war
(e.g. "Polaris"). Sometimes, an isolated
pocket of humanity falls into decadence
and atavism of its own accord (e.g. "The
Lurking Fear"). But most often, such
stories involve a civilized culture being
gradually undermined by a malevolent
underclass influenced by inhuman
forces.
Race …

Race is the most controversial aspect of

Lovecraft's legacy, expressed in many
disparaging remarks against the various
non-Anglo-Saxon races and cultures in
his work. As he grew older, his original
Anglo-Saxon racial worldview softened
into a classism or elitism which regarded
the superior race to include all those self-
ennobled through high culture. From the
start, Lovecraft did not hold all white
people in uniform high regard, but rather
esteemed the English people and those
of English descent.[63][64] He praised non-
WASP groups such as Hispanics and
Jews; however his private writings on
groups such as Irish Catholics, German
immigrants and African-Americans were
consistently negative.[65][66] In an early
poem, the 1912 "On the Creation of
Niggers", Lovecraft describes black
people not as human but as "beast[s] ...
in semi-human figure, filled with vice." In
his early published essays, private letters
and personal utterances, he argued for a
strong color line to preserve race and
culture.[28][63][64][67] He made these
arguments by direct disparagement of
various races in his journalism and
letters,[28][63][64] and perhaps allegorically
in his fiction concerning non-human
races.[55][63][68] Lovecraft showed
sympathy to those who adopted Western
culture, even to the extent of marrying a
Jewish woman whom he viewed as "well
assimilated."[28][63][64] Lovecraft's racial
attitude was common in the society of
his day, especially in the New England in
which he grew up.[63][64][69][70]

Risks of a scientific era …

At the turn of the 20th century,

humanity's increased reliance upon
science was both opening new worlds
and solidifying understanding of ours.
Lovecraft portrays this potential for a
growing gap of man's understanding of
the universe as a potential for horror,
most notably in "The Colour Out of
Space", where the inability of science to
comprehend a contaminated meteorite
leads to horror.

In a letter to James F. Morton in 1923,

Lovecraft specifically pointed to Albert
Einstein's theory on relativity as throwing
the world into chaos and making the
cosmos a jest; in a letter to Woodburn
Harris in 1929, he speculated that
technological comforts risk the collapse
of science. Indeed, at a time when men
viewed science as limitless and powerful,
Lovecraft imagined alternative potential
and fearful outcomes. In "The Call of
Cthulhu", Lovecraft's characters
encounter architecture which is
"abnormal, non-Euclidean, and
loathsomely redolent of spheres and
dimensions apart from ours."[71] Non-
Euclidean geometry is the mathematical
language and background of Einstein's
general theory of relativity, and Lovecraft
references it repeatedly in exploring alien
archaeology.

Religion …

Lovecraft's works are ruled by several

distinct pantheons of deities (actually
aliens worshiped as gods by humans)
who are either indifferent or actively
hostile to humanity. Lovecraft's personal
philosophy has been termed "cosmic
indifference" and this is expressed in his
fiction.[72] Several of Lovecraft's stories
of the Old Ones (alien beings of the
Cthulhu Mythos) propose alternate
mythic human origins in contrast to
those found in the creation stories of
existing religions, expanding on a natural
world view. For instance, in Lovecraft's At
the Mountains of Madness, it is proposed
that humankind was actually created as
a slave race by the Old Ones, and that life
on Earth as we know it evolved from
scientific experiments abandoned by the
Elder Things. Protagonist characters in
Lovecraft are usually educated men,
citing scientific and rational evidence to
support their non-faith. "Herbert West–
Reanimator" reflects on the atheism
common in academic circles. In "The
Silver Key", the character Randolph Carter
loses the ability to dream and seeks
solace in religion, specifically
Congregationalism, but does not find it
and ultimately loses faith.

Lovecraft himself adopted the stance of

atheism early in life. In 1932, he wrote in
a letter to Robert E. Howard:

All I say is that I think it is

damned unlikely that anything
like a central cosmic will, a
spirit world, or an eternal
survival of personality exist.
 They are the most
preposterous and unjustified of
all the guesses which can be
made about the universe, and I
am not enough of a hairsplitter
to pretend that I don't regard
them as arrant and negligible
moonshine. In theory, I am an
agnostic, but pending the
appearance of radical evidence
I must be classed, practically
and provisionally, as an
atheist.[73]

Superstition …
In 1926, famed magician and escapist
Harry Houdini asked Lovecraft to
ghostwrite a treatise exploring the topic
of superstition. Houdini's unexpected
death later that year halted the project,
but The Cancer of Superstition was
partially completed by Lovecraft along
with collaborator C. M. Eddy Jr. A
previously unknown manuscript of the
work was discovered in 2016 in a
collection owned by a magic shop. The
book states "all superstitious beliefs are
relics of a common 'prehistoric
ignorance' in humans," and goes on to
explore various superstitious beliefs in
different cultures and times."[74]
Lovecraft Country …

Lovecraft drew extensively from his

native New England for settings in his
fiction. Numerous historical cities and
towns are mentioned, and several
fictionalised versions of them make
frequent appearances in his stories.[n 5]
These municipalities are located in the
western half of a fictionalized
Massachusetts. The exact locations of
these municipalities were subject to
change with Lovecraft's shifting literary
needs. Starting with areas that he
thought were evocative, Lovecraft
redefined and exaggerated them under
fictional names. For example, Lovecraft
renamed the town of Oakham to Arkham,
and expanded it to include a nearby
landmark.[75]

Critical reception

Within the genre …

By 1957 Floyd C. Gale of Galaxy Science

Fiction said that "like R. E. Howard,
Lovecraft seemingly goes on forever; the
two decades since their death are as
nothing. In any event, they appear more
prolific than ever. What with de Camp,
Nyberg and Derleth avidly rooting out
every scrap of their writings and
expanding them into novels, there may
never be an end to their posthumous
careers."[76] According to Joyce Carol
Oates, Lovecraft (and Edgar Allan Poe in
the 19th century) has exerted "an
incalculable influence on succeeding
generations of writers of horror
fiction."[77] Horror, fantasy, and science
fiction author Stephen King called
Lovecraft "the twentieth century's
greatest practitioner of the classic horror
tale."[78] King has made it clear in his
semi-autobiographical non-fiction book
Danse Macabre that Lovecraft was
responsible for his own fascination with
horror and the macabre and was the
largest influence on his writing.[79]
Literary …

Early efforts to revise an established

literary view of Lovecraft as an author of
'pulp' were resisted by some eminent
critics; in 1945 Edmund Wilson sneered:
"the only real horror in most of these
fictions is the horror of bad taste and bad
art." However, Wilson praised Lovecraft's
ability to write about his chosen field; he
described him as having written about it
"with much intelligence."[80] According to
L. Sprague de Camp, Wilson later
improved his opinion of Lovecraft, citing
a report of David Chavchavadze that
Wilson had included a Lovecraftian
reference in Little Blue Light: A Play in
Three Acts. After Chavchavadze met with
him to discuss this, Wilson revealed that
he had been reading a copy of
Lovecraft's correspondence.[n 6][81]
Mystery and Adventure columnist Will
Cuppy of the New York Herald Tribune
recommended to readers a volume of
Lovecraft's stories, asserting that "the
literature of horror and macabre fantasy
belongs with mystery in its broader
sense."[82]

Galaxy Science Fiction reviewer Floyd C.

Gale said that "Lovecraft at his best
could build a mood of horror
unsurpassed; at his worst, he was
laughable."[76] In 1962 Colin Wilson, in his
survey of anti-realist trends in fiction The
Strength to Dream, cited Lovecraft as one
of the pioneers of the "assault on
rationality" and included him with M. R.
James, H. G. Wells, Aldous Huxley, J. R.
R. Tolkien and others as one of the
builders of mythicised realities
contending against the failing project of
literary realism. Subsequently, Lovecraft
began to acquire the status of a cult
writer in the counterculture of the 1960s,
and reprints of his work proliferated.[83]

Michael Dirda, a reviewer for The Times

Literary Supplement, has described
Lovecraft as being a "visionary" who is
"rightly regarded as second only to Edgar
Allan Poe in the annals of American
supernatural literature." According to him,
Lovecraft's works prove that mankind
cannot bear the weight of reality, as the
true nature of reality cannot be
understood by either science or history.
In addition, Dirda praises Lovecraft's
ability to create an uncanny atmosphere.
This atmosphere is created through the
feeling of wrongness that pervades the
objects, places, and people in Lovecraft's
works. He also comments favorably on
Lovecraft's correspondence, and
compares him to Horace Walpole.
Particular attention is given to his
correspondence with August Derleth and
Robert E. Howard. The Derleth letters are
called "delightful," while the Howard
letters are described as being an
ideological debate. Overall, Dirda believes
that Lovecraft's letters are equal to, or
better than, his fictional output.[84]

Los Angeles Review of Books reviewer

Nick Mamatas stated that Lovecraft was
a particularly difficult author, rather than
a bad one. He described Lovecraft as
being "perfectly capable" in the fields of
story logic, pacing, innovation, and
generating quotable phrases. However,
Lovecraft's difficulty made him ill-suited
to the pulps; he was unable to compete
with the popular recurring protagonists
and damsel-in-distress stories.
Furthermore, he compared a paragraph
from The Shadow Out of Time to a
paragraph from the introduction to The
Economic Consequences of the Peace. In
Mamatas' view, Lovecraft's quality is
obscured by his difficulty, and his skill is
what has allowed his following to outlive
the followings of other prominent
authors, such as Seabury Quinn and
Kenneth Patchen.[85]

In 2005, the Library of America published

a volume of Lovecraft's works. This
volume was reviewed by many
publications, including The New York
Times Book Review and The Wall Street
Journal, and sold 25,000 copies within a
month of release. The overall critical
reception of the volume was mixed.[86]
Several scholars, including as S. T. Joshi
and Alison Sperling, have said that this
confirms H. P. Lovecraft's place in the
western canon.[87][88] The editors of The
Age of Lovecraft, Carl H. Sederholm and
Jeffrey Andrew Weinstock, attributed the
rise of mainstream popular and
academic interest in Lovecraft to this
volume, along with the Penguin Classics
volumes and the Modern Library edition
of At the Mountains of Madness. These
volumes led to a proliferation of other
volumes containing Lovecraft's works.
According to the two authors, these
volumes are part of a trend in Lovecraft's
popular and academic reception:
increased attention by one audience
causes the other to also become more
interested. Lovecraft's success is, in part,
the result of his success.[89]

Lovecraft's style has often been subject

to criticism,[42] but scholars such as S. T.
Joshi have shown that Lovecraft
consciously utilized a variety of literary
devices to form a unique style of his own
– these include prose-poetic rhythm,
stream of consciousness, alliteration,
and conscious archaism (largely in his
pre-1921 works).[90]

Philosophical …
Philosopher Graham Harman, seeing
Lovecraft as expressing a unique—
though implicit—anti-reductionalist
ontology, writes: "No other writer is so
perplexed by the gap between objects
and the power of language to describe
them, or between objects and the
qualities they possess."[91] Harman said
of leading figures at the initial
speculative realism conference (which
included philosophers Quentin
Meillassoux, Ray Brassier, and Iain
Hamilton Grant) that, though they shared
no philosophical heroes, all were
enthusiastic readers of Lovecraft.
Speculative realists, Mark Fisher and
other contemporary philosophers, took
Lovecraft seriously, mainly because
Lovecraft's weird fictional world, had
nothing to do with the Gothic's insistence
on the supernatural, but presented
another undeniable but
incomprehensible reality. According to
scholar S. T. Joshi: "There is never an
entity in Lovecraft that is not in some
fashion material."[92] Philosopher Eugene
Thacker echoes this in his "Horror of
Philosophy" series of books, finding in
Lovecraft's ideas a "cold rationalism" or
"cosmic pessimism" that highlights the
limitations of anthropocentric
thinking.[93][94] Thacker at once point
characterizes this as a tension between "I
can't believe what I see" and "I can't see
what I believe."[95]

Retrospective reception …

Several media outlets published articles

discussing Lovecraft's legacy as a horror
fiction writer, with many outlets in the
2010s discussing and criticizing
Lovecraft's racism and
homophobia.[96][97][98] Public Books
connected Lovecraft's upbringing in
Providence to the "racism, homophobia,
misogyny, and general parochialism"
found in his personal beliefs and work,
calling it "unquestionably rooted in
places, aesthetics, and an idiosyncratic
sense of local culture."[97] The African-
American fantasy writer N. K. Jemisin
considers Lovecraft's racial attitudes
essential to his literary world: "his biases
were the basis of his horror. ... He does
some incredible imagery, it's powerful
work, but it's frightening ... because it's a
way to look into the mind of a true bigot,
and realize just how alien their thinking
is, just how disturbing their ability to
dehumanize their fellow human beings
is.[99]

The first World Fantasy Awards were held

in Providence in 1975. The theme was
"The Lovecraft Circle." Until 2015, winners
were presented with an elongated bust of
Lovecraft that was designed by
cartoonist Gahan Wilson, nicknamed the
"Howard."[96][100] In November 2015 it
was announced that the World Fantasy
Award trophy would no longer be
modeled on H. P. Lovecraft.[101] After the
World Fantasy Award dropped their
connection to Lovecraft, The Atlantic
commented that "In the end, Lovecraft
still wins—people who've never read a
page of his work will still know who
Cthulhu is for years to come, and his
legacy lives on in the work of Stephen
King, Guillermo del Toro, and Neil
Gaiman."[96]
In 2020, Lovecraft was awarded the 1945
Retro-Hugo Award for Best Series for the
Cthulhu Mythos.[102]

Legacy

H. P. Lovecraft memorial plaque at 22 Prospect

Street in Providence.

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Lovecraft was relatively unknown during
his lifetime.[103] While his stories
appeared in prominent pulp magazines
such as Weird Tales (eliciting letters of
outrage as often as praise from regular
readers), not many people knew his
name. He did, however, correspond
regularly with other contemporary writers
such as Clark Ashton Smith and August
Derleth,[104] who became his good
friends, even though he never met them
in person. This group became known as
the "Lovecraft Circle," since their writing
freely borrowed Lovecraft's motifs, with
his encouragement: the mysterious
books with disturbing names such as the
Necronomicon, the pantheon of ancient
alien entities such as Cthulhu and
Azathoth, and eldritch places such as the
ill-omened New England town of Arkham
and its Miskatonic University.

After Lovecraft's death, the Lovecraft

Circle carried on. August Derleth in
particular added to and expanded on
Lovecraft's vision, not without
controversy. While Lovecraft considered
his pantheon of alien gods a mere plot
device, Derleth created an entire
cosmology, complete with a war between
the good Elder Gods and the evil Outer
Gods, such as Cthulhu and his ilk. The
forces of good were supposed to have
won, locking Cthulhu and others beneath
the earth, the ocean, and elsewhere.
Derleth's Cthulhu Mythos stories went on
to associate different gods with the
traditional four elements of fire, air, earth
and water — an artificial constraint which
required rationalizations on Derleth's part
as Lovecraft himself never envisioned
such a scheme.[1]

Lovecraft's fiction has been grouped into

three categories by some critics. While
Lovecraft did not refer to these
categories himself, he did once write:
"There are my 'Poe' pieces and my
'Dunsany pieces' — but alas — where are
any Lovecraft pieces?"[105]

Macabre stories (c. 1905–1920);

 Dream Cycle stories (c. 1920–1927);
Cthulhu / Lovecraft Mythos stories (c.
1925–1935).

Lovecraft's writing, particularly the so-

called Cthulhu Mythos, has influenced
fiction authors including modern horror
and fantasy writers. Stephen King,[106]
Ramsey Campbell,[107] Alan Moore,[108]
Junji Ito,[109] Thomas Ligotti,[110] Caitlín
R. Kiernan,[111] William S. Burroughs,[112]
and Neil Gaiman,[113] have cited
Lovecraft as one of their primary
influences. Beyond direct adaptation,
Lovecraft and his stories have had a
profound impact on popular culture.
Some influence was direct, as he was a
friend, inspiration, and correspondent to
many of his contemporaries, such as
August Derleth, Robert E. Howard, Robert
Bloch and Fritz Leiber.[107] Many later
figures were influenced by Lovecraft's
works, including author and artist Clive
Barker,[114] prolific horror writer Stephen
King,[107] Brian Keene has several novels
based on the Old Gods,[115] comics
writers Alan Moore, Neil Gaiman[116] and
Mike Mignola,[117] English author Colin
Wilson, film directors John Carpenter,[118]
Stuart Gordon, Guillermo del Toro,[116]
and artist H. R. Giger.[119]

Japan has also been significantly

inspired and terrified by Lovecraft's
creations and thus even entered the
manga and anime media. Chiaki J.
Konaka is an acknowledged disciple and
has participated in Cthulhu Mythos,
expanding several Japanese versions,
and is credited for spreading the
influence of Lovecraft among the anime
base.[120] Along with Junji Ito,[109] other
influential manga artists have also been
inspired by Lovecraft. Novelist and
manga author Hideyuki Kikuchi
incorporated a number of locations,
beings and events from the works of
Lovecraft into the manga Taimashin.[121]

Argentine writer Jorge Luis Borges wrote

his short story "There Are More Things"
in memory of Lovecraft. Contemporary
French writer Michel Houellebecq wrote
a literary biography, H. P. Lovecraft:
Against the World, Against Life. Prolific
American writer Joyce Carol Oates wrote
an introduction for a collection of
Lovecraft stories. The Library of America
published a volume of Lovecraft's work in
2005, a reversal of the traditional
judgment that there "has been nothing so
far from the accepted canon as
Lovecraft."[122][123] French philosophers
Gilles Deleuze and Félix Guattari refer to
Lovecraft in A Thousand Plateaus, calling
the short story "Through the Gates of the
Silver Key" one of his masterpieces.[124]
Groups of enthusiasts annually observe
the anniversaries of Lovecraft's death at
Ladd Observatory and of his birth at his
grave site. In July 2013, the Providence
City Council designated "H. P. Lovecraft
Memorial Square" and installed a
commemorative sign at the intersection
of Angell and Prospect streets, near the
author's former residences.[125] In 2016,
Lovecraft was inducted into the Museum
of Pop Culture's Science Fiction and
Fantasy Hall of Fame.[126]

Music …

Lovecraft's fictional Mythos has

influenced a number of musicians,
especially in rock music. The psychedelic
rock band H. P. Lovecraft (who shortened
their name to Lovecraft and then Love
Craft in the 1970s) released the albums
H. P. Lovecraft and H. P. Lovecraft II in
1967 and 1968 respectively; their songs
included The White Ship and At the
Mountains of Madness, both titled after
Lovecraft stories. The founders of their
record company, Bill Traut and George
Badonsky, were fans of the author and
gained August Derleth's permission to
use Lovecraft's name for the band.[127]

Metallica recorded a song inspired by

"The Call of Cthulhu", an instrumental
titled The Call of Ktulu, a song based on
The Shadow over Innsmouth titled The
Thing That Should Not Be and another
based on Frank Belknap Long's Hounds
of Tindalos titled All Nightmare Long.
Later, they released the song Dream No
More, which mentions the awakening of
Cthulhu.[128][129] Technical death metal
outfit Revocation (band) frequently write
songs based on Lovecraft's stories and
frequently use him as inspiration in their
original works.[130]

In 2019, the synthwave band Gunship

released a track called Cthulhu that
featured an introductory monologue by
Corin Hardy referring to Lovecraft's
Cthulhu Mythos, directly mentioning the
"Great Old Ones", the cults that
worshipped them, and Cthulhu's city of
R'lyeh.[131]

Games …

Lovecraft has also influenced gaming,

despite having hated games during his
lifetime.[132] Chaosium's tabletop role-
playing game Call of Cthulhu, released in
1981 and currently in its seventh major
edition, was one of the first games to
draw heavily from Lovecraft. Novel to the
game was the Lovecraft-inspired insanity
mechanic, which allowed for player
characters to go insane from contact
with cosmic horrors. This mechanic
would go on to make appearance in
subsequent table top and video
games.[133] 1987 saw the release of one
of the first Lovecraftian board games,
Arkham Horror, which sold extremely
well, and since 2004 is still in print from
Fantasy Flight Games. Though few
subsequent Lovecraftian board games
were released annually from 1987 to
2014, the years after 2014 saw a surge in
the number of Lovecraftian board games,
possibly because of the entry of
Lovecraft's work into the public domain
combined with a revival of interest in
board games.[134]
Few video games are direct adaptations
of Lovecraft's works, but many video
games have been inspired or heavily
influenced by Lovecraft.[133] The
massively-multiplayer online game World
of Warcraft by Blizzard Entertainment has
continually revealed more of the origin
story of the game's playable world to the
players, most of which very closely
mirrors Lovecraft's work or Derleth's
expansion onto the author's original
content.[135] Horror games especially can
incorporate Cthulthean terrors, despite
the conflict between "act-and-prevail"
nature of video games and the cosmic
hopelessness of Lovecraftian horror.
Besides employing Cthulthean
antagonists, games that invoke
Lovecraftian horror have used mechanics
such as insanity effects, or even fourth
wall breaking effects that suggest to
players that something has gone wrong
with their game consoles.[136]

Religion and occultism …

Several contemporary religions have

drawn influence from the works of
Lovecraft. The Satanic Rituals, written
either by Anton LaVey or Michael A.
Aquino, includes an essay which claims
that the works of Lovecraft carry a partial
truth, used in the same symbolic manner
as Satan. Kenneth Grant of the
Typhonian Order incorporated Lovecraft's
Mythos into his ritual and occult system,
but in a more direct and literal sense than
the Church of Satan. However, the
Typhonian Order does not consider the
entities to be directly existent, but rather
a symbol through which people may
interact with something inhuman.[137][138]

There have been several books that have

claimed to be an authentic edition of
Lovecraft's Necronomicon.[139] The Simon
Necronomicon is one such example. It
was written by an unknown figure who
identified themselves as "Simon." Peter
Levenda, an occult author who has
written about the Necronomicon, claims
that he and "Simon" came across a
hidden Greek translation of the grimoire
while looking through a collection of
antiquities at a New York bookstore
during the 1960s or 1970s.[140] This book
was claimed to have born the seal of the
Necronomicon. Levenda went on to claim
that Lovecraft had access to this
purported scroll.[141] A textual analysis
has determined that the contents of this
book were derived from multiple
documents that discuss Mesopotamian
myth and magic. The finding of a magical
text by monks is also a common theme
in the history of grimoires.[142] It has
been suggested that Lavenda is the true
author of the Simon Necronomicon.[143]
Lovecraft as a fictional character …

This section relies too much on references to

primary sources. Learn more

Aside from his appearance in Robert

Bloch's The Shambler from the Stars,[144]
Lovecraft continues to be used as a
character in supernatural fiction. John
Shirley's story When Death Wakes Me To
Myself offers a tale of a therapy patient
slowly remembering a former incarnation
when he was H. P. Lovecraft.[145]

Other notable works with Lovecraft as a

character include Richard Lupoff's
Lovecraft's Book (1985), Cast a Deadly
Spell (1991), H.P. Lovecraft's:
Necronomicon (1993), Witch Hunt (1994),
Out of Mind: The Stories of H. P. Lovecraft
(1998), Stargate SG-1: Roswell (2007),
and Alan Moore's comic Providence
(2015–17). Lovecraft also appears in the
Season 6, Episode 21 episode Let it Bleed
of the TV show Supernatural. A satirical
version of Lovecraft named H. P.
Hatecraft appeared as a recurring
character on the Cartoon Network
television series Scooby-Doo! Mystery
Incorporated. Another character based
on Lovecraft appears in Afterlife with
Archie.[146] He appears as a minor
character in Brian Clevinger's comic book
series Atomic Robo, as an acquaintance
and fellow-scientist of Nikola Tesla,
having been driven insane by his
involvement in the Tunguska event which
exposed him to the hidden horrors of the
wider universe. He is eventually killed
when his body becomes host to an
extradimensional being infecting the
timestream.[147] Lovecraft is a central
plot element, as well as a character in
Paul La Farge's 2017 novel, The Night
Ocean.[148] In the Japanese manga and
anime Bungo Stray Dogs there is a
character known as Howard Phillips
Lovecraft who, like other characters in
the series, is named after great literates.
His power, "The Great Old Ones" pays
homage to his classic short story, "The
Call of Cthulhu" which grants him the
ability of transforming himself into an
octopus-like monster resembling
Cthulhu.[149]

Editions and collections of

works
This section needs additional citations for
verification. Learn more

For most of the 20th century, the

definitive editions (specifically At the
Mountains of Madness and Other Novels,
Dagon and Other Macabre Tales, The
Dunwich Horror and Others, and The
Horror in the Museum and Other
Revisions) of his prose fiction were
published by Arkham House, a publisher
originally started with the intent of
publishing the work of Lovecraft, but
which has since published a
considerable amount of other literature
as well. Penguin Classics has at present
issued three volumes of Lovecraft's
works: The Call of Cthulhu and Other
Weird Stories, The Thing on the Doorstep
and Other Weird Stories, and most
recently The Dreams in the Witch House
and Other Weird Stories. They collect the
standard texts as edited by S. T. Joshi,
most of which were available in the
Arkham House editions, with the
exception of the restored text of The
Shadow Out of Time from The Dreams in
the Witch House, which had been
previously released by small-press
publisher Hippocampus Press. In 2005
the prestigious Library of America
canonized Lovecraft with a volume of his
stories edited by Peter Straub, and
Random House's Modern Library line
have issued the "definitive edition" of
Lovecraft's At the Mountains of Madness
(also including Supernatural Horror in
Literature).

In 2014, Liveright Publishing Corp./W. W.

Norton published The New Annotated H.
P. Lovecraft, edited by Leslie S. Klinger,
containing 22 of Lovecraft's tales, with an
introduction by Alan Moore; in September
2019, the second volume of Klinger's
annotations, The New Annotated H. P.
Lovecraft: Beyond Arkham, containing
another 25 of Lovecraft's tales, was
published, with an introduction by Victor
LaValle.

Lovecraft's poetry is collected in The

Ancient Track: The Complete Poetical
Works of H. P. Lovecraft (Night Shade
Books, 2001), while much of his juvenilia,
various essays on philosophical, political
and literary topics, antiquarian
travelogues, and other things, can be
found in Miscellaneous Writings (Arkham
House, 1989). Lovecraft's essay
Supernatural Horror in Literature, first
published in 1927, is a historical survey
of horror literature available with
endnotes as The Annotated Supernatural
Horror in Literature.

Correspondence …

Although Lovecraft is known mostly for

his works of weird fiction, the bulk of his
writing consists of voluminous letters
about a variety of topics, from weird
fiction and art criticism to politics and
history. Lovecraft's biographer L. Sprague
de Camp estimates that Lovecraft wrote
100,000 letters in his lifetime, a fifth of
which are believed to survive.[150]
Lovecraft was not an active letter-writer
in youth. In 1931 he admitted: "In youth I
scarcely did any letter-writing — thanking
anybody for a present was so much of an
ordeal that I would rather have written a
two hundred fifty-line pastoral or a
twenty-page treatise on the rings of
Saturn." (SL 3.369–70). The initial
interest in letters stemmed from his
correspondence with his cousin Phillips
Gamwell and his involvement in the
amateur journalism movement.
Lovecraft's later correspondence was
primarily to fellow weird fiction writers,
rather than to the amateur journalist
friends of his earlier years. He
sometimes dated his letters 200 years
before the current date, which would
have put the writing back in US colonial
times, before the American Revolution (a
war that offended his Anglophilia). He
explained that he thought that the 18th
and 20th centuries were the "best," the
former being a period of noble grace, and
the latter a century of science.

Lovecraft clearly states that his contact

to numerous different people through
letter-writing was one of the main factors
in broadening his view of the world: "I
found myself opened up to dozens of
points of view which would otherwise
never have occurred to me. My
understanding and sympathies were
enlarged, and many of my social,
political, and economic views were
modified as a consequence of increased
knowledge."[151]

There are five publishing houses that

have released letters from Lovecraft,
most prominently Arkham House with its
five-volume edition Selected Letters
(these volumes severely abridge the
letters they contain). Other publishers are
Hippocampus Press (Letters to Alfred
Galpin et al.), Night Shade Books
(Mysteries of Time and Spirit: The Letters
of H. P. Lovecraft and Donald Wandrei et
al..), Necronomicon Press (Letters to
Samuel Loveman and Vincent Starrett et
al.), and University of Tampa Press (O
Fortunate Floridian: H. P. Lovecraft's
Letters to R. H. Barlow). S. T. Joshi is
supervising an ongoing series of
volumes collecting Lovecraft's
unabridged letters to particular
correspondents.

Copyright and other legal issues …

Despite several claims to the contrary,

there is currently no evidence that any
company or individual owns the
copyright to any of Lovecraft's work, and
it is generally accepted that it has passed
into the public domain.[152][153][154] The
European Union Copyright Duration
Directive of 1993 extended the
copyrights to 70 years after the author's
death. All of Lovecraft's works published
during his lifetime became public domain
in all 27 European Union countries on
January 1, 2008. In those Berne
Convention countries that have
implemented only the minimum
copyright period, copyright expires 50
years after the author's death. Regarding
the United States, all works published
before 1925 are public domain.[155]
Works Lovecraft published during his
lifetime between 1925 and 1937 will
indisputably be out of copyright as they
enter the public domain annually
between 2021 and 2033 (pre-1978 works
do not use the life+70 rule in the
USA).[156]

Lovecraft had specified that the young R.

H. Barlow would serve as executor of his
literary estate,[157][158] but these
instructions were not incorporated into
the will. Nevertheless, his surviving aunt
carried out his expressed wishes, and
Barlow was given charge of the massive
and complex literary estate upon
Lovecraft's death. Barlow deposited the
bulk of the papers, including the
voluminous correspondence, with the
John Hay Library, and attempted to
organize and maintain Lovecraft's other
writing. August Derleth, an older and
more established writer than Barlow, vied
for control of the literary estate. Barlow
committed suicide in 1951.[159]

Lovecraft protégés and part owners of

Arkham House, August Derleth and
Donald Wandrei, often claimed
copyrights over Lovecraft's works. On
October 9, 1947, Derleth purchased all
rights to Weird Tales. However, since
April 1926 at the latest, Lovecraft had
reserved to himself all second printing
rights to stories published in Weird Tales.
Weird Tales may only have owned the
rights to at most six of Lovecraft's tales.
Again, even if Derleth did obtain the
copyrights to Lovecraft's tales, there is no
evidence that the copyrights were
renewed.[160] Following Derleth's death in
1971, his attorney proclaimed that all of
Lovecraft's literary material was part of
the Derleth estate and that it would be
"protected to the fullest extent
possible."[161]

S. T. Joshi concludes in his biography of

Lovecraft that Derleth's claims are
"almost certainly fictitious" and that most
of Lovecraft's works published in the
amateur press are most likely now in the
public domain. The copyright for
Lovecraft's works would have been
inherited by the only surviving heir named
in his 1912 will, his aunt Annie Gamwell.
When Gamwell died in 1941, the
copyrights passed to her remaining
descendants, Ethel Phillips Morrish and
Edna Lewis, who then signed a
document, sometimes referred to as the
Morrish-Lewis gift, permitting Arkham
House to republish Lovecraft's works
while retaining the copyrights for
themselves. Searches of the Library of
Congress have failed to find any evidence
that these copyrights were renewed after
the 28-year period, making it likely that
these works are now in the public
domain.

Chaosium, publishers of the Call of

Cthulhu role-playing game, have a
trademark on the phrase The Call of
Cthulhu for use in game products. TSR,
Inc., original publisher of the Advanced
Dungeons & Dragons role-playing game,
included a section on the Cthulhu Mythos
in one of the game's earlier supplements,
Deities & Demigods[162] (originally
published in 1980 and later renamed to
Legends & Lore). TSR later agreed to
remove this section at Chaosium's
request.[163]

In 2009, Lovecraft Holdings, a company

based out of Providence, filed trademark
claims for clothing graphics of
Lovecraft's name and silhouette.[164]
Regardless of the legal disagreements
surrounding Lovecraft's works, Lovecraft
himself was extremely generous with his
own works and encouraged others to
borrow ideas from his stories and build
on them, particularly with regard to his
Cthulhu Mythos.[165] He encouraged
other writers to reference his creations,
such as the Necronomicon, Cthulhu and
Yog-Sothoth.[166] After his death, many
writers have contributed stories and
enriched the shared mythology of the
Cthulhu Mythos, as well as making
numerous references to his work.

Bibliography
Film adaptations
Films based on the writings of H. P.
Lovecraft include the following.[167]

The Haunted Palace (1963), directed by

Roger Corman, starring Vincent Price,
and with Lon Chaney Jr.. Marketed as
"Edgar Allan Poe's The Haunted
Palace", the film is actually based on
The Case of Charles Dexter Ward, and
also includes elements taken from The
Shadow over Innsmouth and "The
Dunwich Horror".[168]
Die, Monster, Die! (1965), directed by
Daniel Haller, and starring Boris Karloff
and Nick Adams. An adaptation of
"The Colour Out of Space".[169]
The Dunwich Horror (1970), directed by
Daniel Haller, and starring Sandra Dee,
Dean Stockwell, and Ed Begley. Based
on the short story of the same
name.[170]
Re-Animator (1985), directed by Stuart
Gordon, and starring Jeffrey Combs,
Bruce Abbott, Barbara Crampton, and
David Gale. An adaptation of "Herbert
West—Reanimator".[171]
From Beyond (1986), directed by Stuart
Gordon, and starring Jeffrey Combs,
Barbara Crampton, and Ken Foree.
Based on the short story of the same
name.[172]
The Curse (1987), directed by David
Keith, and starring Wil Wheaton. Based
on "The Colour Out of Space".[173]
The Unnamable (1988), directed by
Jean-Paul Ouellette and starring Mark
Kinsey Stephenson. Based on the short
story of the same name.[174]
The Resurrected (1991), directed by
Dan O'Bannon and starring John Terry,
Jane Sibbett, and Chris Sarandon.
Based on The Case of Charles Dexter
Ward.[175]
The Unnamable II: The Statement of
Randolph Carter (1992), directed by
Jean-Paul Ouellette and starring Mark
Kinsey Stephenson. The film combines
story elements from "The Unnameable"
and "The Statement of Randolph
Carter".[176]
Necronomicon (1993), an anthology of
three stories based on "The Rats in the
Walls", "Cool Air", and The Whisperer in
Darkness, with a framing story
featuring a fictionalized H. P.
Lovecraft.[177]
Castle Freak (1995), directed by Stuart
Gordon and starring Jeffrey Combs
and Barbara Crampton. Inspired by
"The Outsider".[178]
Dagon (2001), directed by Stuart
Gordon and starring Ezra Godden,
Francisco Rabal, and Raquel Meroño.
Based on The Shadow over
Innsmouth.[179]
The Call of Cthulhu (2005), a silent
black-and-white featurette designed to
look like it was released in the late
1920s, when the short story "The Call
of Cthulhu" was published.[180]
Cthulhu (2007), directed by Daniel
Gildark, and starring Jason Cottle, Cara
Buono, and Tori Spelling. Based on The
Shadow over Innsmouth.[181]
The Whisperer in Darkness (2011), a
black-and-white film designed to look
like it was released in the 1930s.
Based on the short story of the same
name.[182]
 Color Out of Space (2020), directed by
Richard Stanley and starring Nicolas
Cage. Based on "The Colour Out of
Space".[183]

Documentaries and movie

portrayals
Lovecraft: Fear of the Unknown is a 2008
documentary about the life and works of
H. P. Lovecraft.[184]

Howard Lovecraft and the Frozen

Kingdom (2016), Howard Lovecraft and
the Undersea Kingdom (2017), and
Howard Lovecraft and the Kingdom of
Madness (2018) are animated movies
that are based on graphic novels inspired
by the writings of Lovecraft. An
upcoming series entitled Miskatonic will
take place after the third film.[185]

See also
Category:H. P. Lovecraft scholars

Notes
1. Lovecraft did not coin the term
"Cthulhu Mythos." Instead, this term
was probably coined by August
Derleth.[1]
2. This is according to L. Sprague de
Camp and S. T. Joshi's estimates.[2]
3. This is the only one of Lovecraft's
stories that was published as a book
 during his lifetime.[28]
4. "Grippe" is an archaic term for
influenza.[30]
5. These fictional locations include
Arkham, Dunwich, Innsmouth, and
Kingsport.[75]
6. L. Sprague de Camp also stated that
the two men began calling each
other "Monstro." This is a direct
reference to the nicknames that
Lovecraft gave to some of his
correspondents.[81]

References
1. Tierney, Richard L. (March 12, 2012)
[first published 1972]. "The Derleth
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2.
2. Joshi, S. T. (December 1, 1996). A
Subtler Magick: The Writings and
Philosophy of H.P. Lovecraft .
Wildside Press. p. 236. ISBN 978-1-
880448-61-8.
3. Schweitzer, Darrell (March 12, 2012).
"Introduction: Lovecraft Forever".
Discovering H. P. Lovecraft .
Wildside Press. p. 1. ISBN 978-1-
4344-4912-2.
4. Joshi, S. T. (2013). I Am Providence.
New York: Hippocampus Press.
 ISBN 978-1-61498-053-7.
5. de Camp, L. Sprague (1996).
Lovecraft: A biography. New York:
Barnes & Noble.
ISBN 9781566199940.
6. Bonner, Marian F. (2015).
"Miscellaneous Impressions of
H.P.L.". Lovecraft Annual (9): 52–53.
ISSN 1935-6102 .
JSTOR 26868496 .
7. Joshi, S. T.; Schultz, David E. (2001).
An H.P. Lovecraft Encyclopedia .
Greenwood Publishing Group.
p. 154. ISBN 978-0-313-31578-7.
8. Clara L. Hess, letter to The
Providence Journal newspaper,
 September 19, 1948, later reprinted
as Addenda to H.P.L. (with some
factual additions gleaned from
August Derleth's 1948 interview with
her) in the book Something about
Cats and other Pieces, Arkham
House, 1949. Page 249.
9. Lovecraft, H. P. (2000). "Amateur
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Madison, New Jersey: Fairleigh
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southbrooklynpost.com. South
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Archived from the original on
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0-313-31578-7.
23. Schultz, David E. (2018). " 'Whaddya
Make Them Eyes at Me For?':
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Life. West Warwick, Rhode Island:
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940884-88-7.
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The Shadow Over Innsmouth and
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936-9.
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Life (1935–37)" . A Dreamer and a
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Liverpool University Press. pp. 364–
388. ISBN 978-0-85323-946-8.
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Further reading
Anderson, James Arthur (2011). Out of the
Shadows: A Structuralist Approach to
Understanding the Fiction of H. P.
Lovecraft. Rockville, Maryland:
Wildside Press. ISBN 978-1-4794-
0384-4. OCLC 1127558354 .
Carter, Lin (1972). Lovecraft: A Look Behind
the "Cthulhu Mythos". Ballantine
Books. ISBN 0-586-04166-4.
OCLC 2213597 .
Eddy, Muriel; Eddy, C. M., Jr. (June 2001).
Dyer, Jim (ed.). The Gentleman From
 Angell Street: Memories of H. P.
Lovecraft. Narragansett, Rhode Island:
Fenham Publishing. ISBN 978-0-
9701699-1-4. OCLC 50117923 .
Hill, Gary; Joshi, S. T. (2006). The Strange
Sound of Cthulhu: Music Inspired by
the Writings of H. P. Lovecraft. United
States: Music Street Journal.
ISBN 978-1-84728-776-2.
OCLC 128175889 .
Houellebecq, Michel; King, Stephen (2005). H.
P. Lovecraft: Against the World, Against
Life. Translated by Khazeni, Dorna.
Cernunnos. ISBN 1-932416-18-8.
Joshi, S. T. (2008). "H. P. Lovecraft: Alone in
Space". Emperors of Dreams: Some
Notes on Weird Poetry. Sydney: P'rea
Press. ISBN 978-0-9804625-4-8.
OCLC 271746440 .
Joshi, S. T. (2017). Lovecraft's Library: A
Catalogue (Revised Fourth ed.). New
York: Hippocampus Press. ISBN 978-
1-61498-217-3. OCLC 1018459608 .
Joshi, S. T. (2015). The Rise, Fall, and Rise of
the Cthulhu Mythos. New York:
Hippocampus Press. ISBN 1-61498-
135-3. OCLC 935080393 .
Locke, John (2018). The Thing's Incredible:
The Secret Origins of Weird Tales.
Elkhorn, California: Off-Trail
Publications. ISBN 978-1-935031-25-3.
OCLC 1055413927 .
Long, Frank Belknap (1975). Howard Phillips
Lovecraft: Dreamer on the Nightside.
Sauk City, Wisconsin: Arkham House.
ISBN 0-87054-068-8. OCLC 2034623 .
Ludueña, Fabián; de Acosta, Alejandro (2015).
H.P. Lovecraft: The Disjunction in
 Being. Translated by de Acosta,
Alejandro. United States: Schism.
ISBN 978-1-5058-6600-1.
OCLC 935704008 .
Lovecraft, H. P.; Conover, Willis; Joshi, S. T.
Lovecraft at Last: The Master of Horror
in His Own Words (Revised ed.). New
York: Cooper Square Press. ISBN 0-
8154-1212-6. OCLC 50212624 .
Lovecraft, H. P. (1999). Joshi, S. T.; Cannon,
Peter (eds.). More Annotated H. P.
Lovecraft. New York: Dell. ISBN 0-440-
50875-4. OCLC 41231274 .
Lovecraft, H. P. (1997). Joshi, S. T. (ed.). The
Annotated H. P. Lovecraft. New York:
Dell. ISBN 0-440-50660-3.
OCLC 36165172 .
Lovecraft, H. P. (2012). Joshi, S. T. (ed.). The
Annotated Supernatural Horror in
 Literature (Second ed.). New York:
Hippocampus Press. ISBN 978-1-
61498-028-5. OCLC 855115722 .
Sturgis, Amy H.; Oberhelman, David D., eds.
(2009). The Intersection of Fantasy and
Native America: From H. P. Lovecraft to
Leslie Marmon Silko. Altadena,
California: Mythopoeic Press.
ISBN 978-1-887726-12-2.
OCLC 437115781 .

External links

H. P. Lovecraft
at Wikipedia's sister projects
 Media
from
Wikimedia
Commons
Quotations
from
Wikiquote
Texts from
Wikisource
Data from
Wikidata

Lovecraft Annual
The H. P. Lovecraft Archive
The H. P. Lovecraft Historical Society
 H. P. Lovecraft at the Internet
Speculative Fiction Database
H. P. Lovecraft on IMDb
H. P. Lovecraft discography at Discogs

Library collections …

Howard P. Lovecraft Collection in the

Special Collections at the John Hay
Library (Brown University)
H. P. Lovecraft Collection in the
Distinctive Collections of Falvey
Memorial Library (Villanova
University )
H. P. Lovecraft at Library of Congress
Authorities, with 113 catalog records

Online editions …
 Works by Howard Phillips Lovecraft at
Project Gutenberg
Works by H. P. Lovecraft at Faded
Page (Canada)
Works by or about H. P. Lovecraft at
Internet Archive
Works by H. P. Lovecraft at LibriVox
(public domain audiobooks)

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