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the_bookubus's review against another edition
4.0
What a fantastic little book! I had been putting this one off because I stupidly thought it would be dry and boring. (I was wrong!) There is so much crammed into just over 100 pages and it was both informative and enjoyable to read. Lovecraft definitely gives credit where it's due but he also isn't afraid to get a bit sassy regarding particular works that didn't do it for him, which I found very amusing. He discusses so many works within the supernatural genre and it got me so excited to track them down and read them. I flew through this one but definitely need to go back and read it again, this time taking notes.
aksel_dadswell's review against another edition
4.0
Despite the odd splinter of racist nonsense, HP Lovecraft’s seminal study of horror literature is pretty damn good, and one of the most thorough examinations of its time.
This is Lovecraft, so the text is not without the odd bruise of purple prose, but this is a nice and not too cloying touch that marks the essay as his own and, importantly, doesn’t get in the way of the information he is relaying to the reader. In fact, if anything, the subject matter on offer here welcomes HP’s sparing flourishes.
In ST Joshi’s introduction to this edition, explains that Lovecraft’s catalogue of horror writers from antiquity to (his) present inevitably left some names and works out, and that his knowledge in some areas is a little scant. But for all the supposed omissions or oversights here, this is still a text that leaves the reader buzzing with the possibilities of further reading, and a lot of it. Well-known writers like Poe, Machen and Blackwood are given equal airtime along with names I’d not heard of before, like Herbert Gorman and Leonard Cline. I finished the essay with a long list of names and stories to chase up. This edition also has a lengthy appendix of notes and an enormous bibliography of all the authors and works Lovecraft mentions.
A necessity for both fans of horror and those new to the genre.
This is Lovecraft, so the text is not without the odd bruise of purple prose, but this is a nice and not too cloying touch that marks the essay as his own and, importantly, doesn’t get in the way of the information he is relaying to the reader. In fact, if anything, the subject matter on offer here welcomes HP’s sparing flourishes.
In ST Joshi’s introduction to this edition, explains that Lovecraft’s catalogue of horror writers from antiquity to (his) present inevitably left some names and works out, and that his knowledge in some areas is a little scant. But for all the supposed omissions or oversights here, this is still a text that leaves the reader buzzing with the possibilities of further reading, and a lot of it. Well-known writers like Poe, Machen and Blackwood are given equal airtime along with names I’d not heard of before, like Herbert Gorman and Leonard Cline. I finished the essay with a long list of names and stories to chase up. This edition also has a lengthy appendix of notes and an enormous bibliography of all the authors and works Lovecraft mentions.
A necessity for both fans of horror and those new to the genre.
notwellread's review against another edition
4.0
At around 27,000 words the essay is lengthy for the amount of matter covered, though I of course value the opinions given (the subjectivity of the subject is one of the dominant aspects of the piece). Lovecraft, when unedited (as he usually is), admittedly has a tendency to ramble, although this has the advantage of a more natural, conversational feel. Although labelled ‘supernatural horror’, it mostly concerns the gothic, since this provides the most significant precursor to what we would term ‘horror’, and in Lovecraft’s time horror was not yet a recognised category (and never what he termed his own work, despite holding the provocation of fear as its consistent aims).
An important element of the genre that is covered in this essay, but often overlooked today is the minority of horror readers: the genre is designed to appeal to those most willing to entertain the idea of forces diametrically opposed to the logic and normalcy of our everyday lives – this can hardly mean a general audience. In the age of popular horror in literature and rather empty scare content in film, I would consider this one of the most notable aspects of the piece. We have limited other modes of escape from ‘regular’ (material and rational) society, as religion becomes increasingly less relevant and folk beliefs or superstitions become less acceptable in the mainstream. Horror appeals to the same instincts, while withholding the chaotic power of its predecessors through the implicit understanding that these manifestations of our fears are not real, and do not have to be.
As for the discussions of the literary tradition that leads up to the modern era of horror, the overview of authors and movements given is very comprehensive but also relies on Lovecraft’s own judgements (though I think this provides a good litmus test – we can’t all be as well-read as him). However, there are also a lot of plot overviews that are perhaps not the most beneficial for those of us intending to peruse the works on our own, and perhaps the discussions could have done with further analysis of how the themes change, though discussion of the approaches and styles given is usually present: sometimes it seems to give one half of the story and not the other, since horror is equally about the approach taken by the author and the response achieved in the reader. Nonetheless, it provides excellent prompting for a reading list on the subject: although the essay can be read by novices in the genre and those more experienced, perhaps a return to the essay itself could be expedient once the reader has formed their own opinions and is more fully versed in the traditions at hand.
An important element of the genre that is covered in this essay, but often overlooked today is the minority of horror readers: the genre is designed to appeal to those most willing to entertain the idea of forces diametrically opposed to the logic and normalcy of our everyday lives – this can hardly mean a general audience. In the age of popular horror in literature and rather empty scare content in film, I would consider this one of the most notable aspects of the piece. We have limited other modes of escape from ‘regular’ (material and rational) society, as religion becomes increasingly less relevant and folk beliefs or superstitions become less acceptable in the mainstream. Horror appeals to the same instincts, while withholding the chaotic power of its predecessors through the implicit understanding that these manifestations of our fears are not real, and do not have to be.
As for the discussions of the literary tradition that leads up to the modern era of horror, the overview of authors and movements given is very comprehensive but also relies on Lovecraft’s own judgements (though I think this provides a good litmus test – we can’t all be as well-read as him). However, there are also a lot of plot overviews that are perhaps not the most beneficial for those of us intending to peruse the works on our own, and perhaps the discussions could have done with further analysis of how the themes change, though discussion of the approaches and styles given is usually present: sometimes it seems to give one half of the story and not the other, since horror is equally about the approach taken by the author and the response achieved in the reader. Nonetheless, it provides excellent prompting for a reading list on the subject: although the essay can be read by novices in the genre and those more experienced, perhaps a return to the essay itself could be expedient once the reader has formed their own opinions and is more fully versed in the traditions at hand.
thegothiclibrary's review against another edition
3.0
In “Supernatural Horror in Literature,” Lovecraft seeks to provide a comprehensive overview of the horror genre from its very beginnings to the modern masters. After acknowledging horror’s roots in folklore, Lovecraft spends a section on the early Gothic novel, highlighting such authors as Horace Walpole, Clara Reeve, Ann Radcliffe, and Charles Brockden Brown. He follows that up with a discussion of Matthew Lewis’s The Monk and Charles Maturin’s Melmoth the Wanderer as the “apex of Gothic Romance.” In a section titled “The Aftermath of the Gothic,” he covers authors that are today usually lumped in with the Gothic, including William Beckford, Mary Shelley, and Emily Brontë. From there, he devotes a section each to the continuation of literary tradition on the European continent, in the British Isles, and in America—though Edgar Allan Poe gets a whole section to himself. Lovecraft ends his essay with an in-depth discussion of his recent contemporaries, including Arthur Machen, Algernon Blackwood, Lord Dunsany, and M. R. James.
This annotated edition comes with an introduction by Lovecraft scholar S. T. Joshi, an extensive bibliography, and plenty of explanatory footnotes. Reading Lovecraft’s essay combined with this supplemental material was a truly informative experience.
See my full review at: https://www.thegothiclibrary.com/lovecrafts-supernatural-horror-in-literature/
This annotated edition comes with an introduction by Lovecraft scholar S. T. Joshi, an extensive bibliography, and plenty of explanatory footnotes. Reading Lovecraft’s essay combined with this supplemental material was a truly informative experience.
See my full review at: https://www.thegothiclibrary.com/lovecrafts-supernatural-horror-in-literature/
davicalpa's review against another edition
4.0
No sabría bien como valorar un libro como este más que a través de las emociones que experimentamos los que sentimos debilidad por la literatura de terror. Los que se sienten reconfortados bajo el cobijo de las narraciones oscuras, de las historias que nos acompañan desde que uno era pequeño, fascinándonos con criaturas de pesadilla que nos impedían conciliar el sueño. Y es que nos encontramos ante uno de esos tratados en los que uno de los grandes genios de la literatura se dedica a hacer un repaso a lo largo de la creación y el desarrollo de esta corriente literaria en la que la fantasía, lo sobrenatural y, sobre todo, lo terrorífico encontró su mejor expresión.
A lo largo de los capítulos de este libro es fácil reconocer la presencia de más de una sonrisa en la cara de quien lo lee, de quien se sabe afortunado por realizar un viaje acompañado de este genio. La manera que tiene Lovecraft de narrarnos este tratado se acerca mucho a una conversación informal entre amigos en el que se puede apreciar el peculiar carácter de este controvertido autor. El creador de muchas de las historias que guardamos en la memoria no tiene reparos a la hora de criticar, y sobre todo alabar, a sus predecesores en cuanto a su manera de enfocar el terror, a la vez que se le nota agradecido por haberles enseñado tanto el camino.
Y es que lo de menos en este libro es la valoración personal del genio de Providence. No deja de ser una crítica personal a todos los autores y las obras que han ido conformando la literatura de terror a lo largo de los siglos. Una crítica fundamentada y llena de sus propias filiaciones, en donde se aprecia la enorme cultura literaria de este autor. Pero es que este libro podría servir a la perfección como una enciclopedia de referencia para los amantes del género. Un tratado al que acudir cada cierto tiempo y en el que descubrir a todos esos autores que han ido desarrollando nuestros miedos a lo largo de la historia, a recordar sus fascinantes logros y, en definitiva, a admirar a quienes convirtieron la literatura de terror en un género con entidad propia.
Leer como Lovecraft admite el innovador genio de Shelley, como se rinde a lo largo de todo un capítulo a la contribución al género de Poe o como admira a contemporáneos suyos como Machen o Blackwood...leer como disecciona sus obras más emblemáticas y como coloca a cada uno de los autores en el lugar que corresponde es toda una muestra de amor por un género al que él mismo dotó del prestigio que merecía. De todo eso va este ensayo. De amor por los libros y de amor por el terror.
Este tratado no es más que eso. Y si eres de los que ama una buena historia de terror, nada mejor que aquellas que te contará el viejo loco de Providence.
A lo largo de los capítulos de este libro es fácil reconocer la presencia de más de una sonrisa en la cara de quien lo lee, de quien se sabe afortunado por realizar un viaje acompañado de este genio. La manera que tiene Lovecraft de narrarnos este tratado se acerca mucho a una conversación informal entre amigos en el que se puede apreciar el peculiar carácter de este controvertido autor. El creador de muchas de las historias que guardamos en la memoria no tiene reparos a la hora de criticar, y sobre todo alabar, a sus predecesores en cuanto a su manera de enfocar el terror, a la vez que se le nota agradecido por haberles enseñado tanto el camino.
Y es que lo de menos en este libro es la valoración personal del genio de Providence. No deja de ser una crítica personal a todos los autores y las obras que han ido conformando la literatura de terror a lo largo de los siglos. Una crítica fundamentada y llena de sus propias filiaciones, en donde se aprecia la enorme cultura literaria de este autor. Pero es que este libro podría servir a la perfección como una enciclopedia de referencia para los amantes del género. Un tratado al que acudir cada cierto tiempo y en el que descubrir a todos esos autores que han ido desarrollando nuestros miedos a lo largo de la historia, a recordar sus fascinantes logros y, en definitiva, a admirar a quienes convirtieron la literatura de terror en un género con entidad propia.
Leer como Lovecraft admite el innovador genio de Shelley, como se rinde a lo largo de todo un capítulo a la contribución al género de Poe o como admira a contemporáneos suyos como Machen o Blackwood...leer como disecciona sus obras más emblemáticas y como coloca a cada uno de los autores en el lugar que corresponde es toda una muestra de amor por un género al que él mismo dotó del prestigio que merecía. De todo eso va este ensayo. De amor por los libros y de amor por el terror.
Este tratado no es más que eso. Y si eres de los que ama una buena historia de terror, nada mejor que aquellas que te contará el viejo loco de Providence.
raechel's review against another edition
4.0
This is a short book, but worth the read if you're a HP Lovecraft or horror fan.
Supernatural Horror in Literature is HP Lovecraft's essay on...well, supernatural horror in literature. He breaks his essay into chapters covering The Dawn of the Horror Tale, The Early Gothic Novel, The Apex of Gothic Romance, The Aftermath of Gothic Fiction, Spectral Literature on the Continent, Edgar Allan Poe, The Weird Tradition in America, The Weird Tradition in the British Isles, and The Modern Masters.
While a lot of what he has to say is accurate even today, a fair bit of this essay is Lovecraft discussing specific works of horror fiction and giving away the entire plot so...spoiler alert. I'm also jealous from all the works of weird and horror fiction he name-drops that he must have read to research this essay. It's awesome!
Yes, there is a little smidge of that Lovecraft Racism, but if "Lovecraft was a racist" is all you know about HP Lovecraft, then this essay isn't for you. Go read some of his short stories first and form an actual opinion on his work.
One of the most amusing things about this essay, besides gaining about a down more titles to my TBR list, is that Lovecraft rates cosmic horror as the highest form of horror. But if you're so much of a fan of Lovecraft that you want to read 100+ pages of him talking about cool horror, you probably agree.
Supernatural Horror in Literature is HP Lovecraft's essay on...well, supernatural horror in literature. He breaks his essay into chapters covering The Dawn of the Horror Tale, The Early Gothic Novel, The Apex of Gothic Romance, The Aftermath of Gothic Fiction, Spectral Literature on the Continent, Edgar Allan Poe, The Weird Tradition in America, The Weird Tradition in the British Isles, and The Modern Masters.
While a lot of what he has to say is accurate even today, a fair bit of this essay is Lovecraft discussing specific works of horror fiction and giving away the entire plot so...spoiler alert. I'm also jealous from all the works of weird and horror fiction he name-drops that he must have read to research this essay. It's awesome!
Yes, there is a little smidge of that Lovecraft Racism, but if "Lovecraft was a racist" is all you know about HP Lovecraft, then this essay isn't for you. Go read some of his short stories first and form an actual opinion on his work.
One of the most amusing things about this essay, besides gaining about a down more titles to my TBR list, is that Lovecraft rates cosmic horror as the highest form of horror. But if you're so much of a fan of Lovecraft that you want to read 100+ pages of him talking about cool horror, you probably agree.
jgkeely's review against another edition
3.0
Sometimes called 'the most important piece of literary criticism in the Horror genre', Lovecraft's essay on the history and method of supernatural horror is a great resource for readers and writers alike, as it mostly consists of a list of his favorite authors and their most notable and unusual stories. Really, an editor should go through the text, collect all the stories and authors Lovecraft mentions, and then make them into a shot story collection, with this essay as an introduction--hard to think of a more effective primer to the genre than that.
Unfortunately, I wish that Lovecraft had gone into greater depth about the style and methods of horror writers, particularly when he was going through all the example authors. If he had taken certain stories and passages and used them as illustrations for how to achieve this or that effect, then this would be an indispensable analysis. As it is, you get a lot of plot outlines along with generalized bits of praise or condemnation from Lovecraft, himself.
He includes many of those longer Gothic works, talking about certain moments which manage to rise above the formulaic melodrama and tacked-on romance that tend to dominate such lengthy, ambling tales, but it's hard to feel that it's worthwhile to wade through all that just to get to the few superlative instances. His discussion of Hawthorne's longer works, in particular, made them sound much more appealing than my actual experience with them, years ago. Then again, Lovecraft, himself is known to indulge in verbose exposition, so he may find that style less off-putting than I do.
Likewise, Lovecraft's chapter on Poe is much more laudatory than what I would write, as I find most of his work to be uneven and repetitive to the point of narrowness in terms of images, ideas, themes, and tone. Lovecraft, himself, does acknowledge some of these problems, but as with the rest of the essay, it could have done with more specific examples and laying out of ideas. It looks like I'll have to return to the stories, themselves for instruction, and hope that proves to be enough.
Amusing that Lovecraft outright rejects the 'Gothic Explique'--when an author tacks on a bit at the end that tells the reader how all the apparently supernatural events actually have a reasonable explanation such as mass hypnotism, a dog covered in phosphorescent mushroom spores, or a full-sized human skeleton rigged up as a marionette--also known as the 'Scooby Doo Ending'. Then again, I'm not fond of it, myself, especially in a profoundly supernatural tale where the explanation must become absurd in order to account for everything that has happened.
But so far, I'm happy to report that my book seems to lie within the guidelines set down by Lovecraft, so that, at least, is a promising sign.
Unfortunately, I wish that Lovecraft had gone into greater depth about the style and methods of horror writers, particularly when he was going through all the example authors. If he had taken certain stories and passages and used them as illustrations for how to achieve this or that effect, then this would be an indispensable analysis. As it is, you get a lot of plot outlines along with generalized bits of praise or condemnation from Lovecraft, himself.
He includes many of those longer Gothic works, talking about certain moments which manage to rise above the formulaic melodrama and tacked-on romance that tend to dominate such lengthy, ambling tales, but it's hard to feel that it's worthwhile to wade through all that just to get to the few superlative instances. His discussion of Hawthorne's longer works, in particular, made them sound much more appealing than my actual experience with them, years ago. Then again, Lovecraft, himself is known to indulge in verbose exposition, so he may find that style less off-putting than I do.
Likewise, Lovecraft's chapter on Poe is much more laudatory than what I would write, as I find most of his work to be uneven and repetitive to the point of narrowness in terms of images, ideas, themes, and tone. Lovecraft, himself, does acknowledge some of these problems, but as with the rest of the essay, it could have done with more specific examples and laying out of ideas. It looks like I'll have to return to the stories, themselves for instruction, and hope that proves to be enough.
Amusing that Lovecraft outright rejects the 'Gothic Explique'--when an author tacks on a bit at the end that tells the reader how all the apparently supernatural events actually have a reasonable explanation such as mass hypnotism, a dog covered in phosphorescent mushroom spores, or a full-sized human skeleton rigged up as a marionette--also known as the 'Scooby Doo Ending'. Then again, I'm not fond of it, myself, especially in a profoundly supernatural tale where the explanation must become absurd in order to account for everything that has happened.
But so far, I'm happy to report that my book seems to lie within the guidelines set down by Lovecraft, so that, at least, is a promising sign.