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Philip Eil, writing in Salon, has a good article on “the genius and repugnance of H.P. Lovecraft”. It’s an issue that I think every Lovecraftian author has had to face at some point: how can we reconcile admiration of the “cosmic horror” genre that Lovecraft did so much to pioneer with his horrifying racial views?

It’s the old dilemma of separating art from the artist; similar to having to come to grips with the fact that Richard Wagner could on the one hand be enough of a genius to write “Ride of the Valkyries”, and on the other be an anti-Semitic bigot.  There are too many examples to count of cases where somebody is an absolute genius in their field, but a wretched person otherwise.

But there’s another, even more troubling question in the case of Lovecraft: what if the reason for his racism was also the reason for his talent for writing horror?

Racism, after all, is inherently based on fear of “The Other”.  Lovecraft was afraid of any and all non-WASPs, and it was probably that same xenophobia that made him able to concoct weird and terrifying creatures like Cthulhu.

Before anybody decides to quote me out of context: no, I’m not saying you have to be a racist to write horror.  I’m just saying Lovecraft’s racial fears and his horror often seem inseparable.  “The Horror at Red Hook” is, technically speaking, a good horror story,  but it also turns into one of Lovecraft’s most appalling racial screeds.

S.T. Joshi, the prominent Lovecraft biographer, is quoted in the Salon article as saying “There are perhaps only five stories in Lovecraft’s entire corpus of 65 original tales (‘The Street’ ‘Arthur Jermyn,’ ‘The Horror at Red Hook,’ ‘He,’ and ‘The Shadow over Innsmouth’) that have racism as their central core.”

Well, let’s not forget that in Lovecraft’s best-known story, “The Call of Cthulhu”, the evil cultists are invariably swarthy, unlike the Anglo-Saxon or Nordic “good” characters.  I don’t know how you define the “central core”, but racism is certainly present in huge swaths of “Cthulhu”.

However, while Lovecraft’s general fear of everything that wasn’t born and raised white and in Providence may have sparked him to be a horror writer, I do think his best stories (“The Haunter of the Dark” and “The Music of Erich Zann”) are the ones that don’t have racism.  (“Haunter” has a little bit of condescension towards Italians, though they are ultimately proven right in their superstitious views.)

Whenever Lovecraft’s racial views crop up in his stories, it has the effect of bringing the reader “back to Earth”–sometimes literally, since it puts the focus on the transient prejudices of a 20th-century writer, rather than on the timeless, cosmic sense of alien fear Lovecraft sought to evoke.

So while it may be that Lovecraft’s xenophobic mindset put him on the road to writing horror, I take comfort in the fact that his most effective stories were the ones that he didn’t corrode with his racism, and stuck to exploring universal human fears of unimaginable and unearthly monsters.

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The statue spoke with a voice that echoed for centuries
As we stood in that dread cosmic citadel.
Surrounded by the dying celestial bodies,
It pronounced its sentence upon me.

Was it all predetermined? said I,

And was answered only by silence.
I gazed again into the eerie twilight of infinity.
For minutes verging on eons, we drifted
Into the quiet certainty of decay.

I spoke again, knowing the question at last:

Could I have changed it?

A bell chimed in the blackness.
The Statue Spoke,
and all that remained of Creation spoke with it:

Would you?

I looked at the darkness without
That was as Sol itself compared
To the darkness within.
I had known what it all meant
When I made my decisions.
I may have hoped otherwise–
But I had known.

No, I said finally.

All at once, the Fortress began to collapse,
And my Stony companion and I
Were left to the pitiless void.
And before the Universe and I felt each other snuffed out
That awful voice said to me:

Then it was you who predetermined it.