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A review by notwellread
Supernatural Horror in Literature by H.P. Lovecraft
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.