The Complete Fiction of H. P. Lovecraft: 12 (Knickerbocker Classics)

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The Complete Fiction of H. P. Lovecraft: 12 (Knickerbocker Classics)

The Complete Fiction of H. P. Lovecraft: 12 (Knickerbocker Classics)

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In Lovecraftian mythos, the universe contains vast and powerful beings - Gods to some - who are beyond mortal ken. To them, we are but ants, and we draw their attention at our peril. Thus, science is in many ways foolish to so wantonly sift through the mysteries of the universe. What happens when we uncover something that is beyond our comprehension – or, worse, our control? The Shadow over Innsmouth - creepy, creepy, creepy. The tension and dread is built and sustained for the majority of this one, and it also has one of my favourite endings.

Empezaré por lo que no me ha gustado con una metáfora en la que no he podido dejar de pensar mientras leía a Lovecraft. Es una comparación que una vez leí en una reseña sobre otra célebre obra de la literatura estadounidense, escrita por por otro no menos célebre escritor americano, y que también ha vuelto locos a más de uno o dos lectores. En dicha reseña, el autor comparaba la obra que le ocupaba y el estilo de su autor con un castillo abandonado en las higlands escocesas donde te invitan a pasar una temporada: Al principio la idea te parece una pasada, toda una aventura. Pero a medida que pasa el tiempo acabas por ver todos los inconvenientes: las cosas no funcionan, hay mucho polvo, hay corrientes de aire helado, está lejos de todo centro habitado… el simil va al pelo no solo por la temática de Lovecraft, también por como me he sentido muchas veces leyéndolo. The Thing In The Moonlight, Horror in the Museum, Poetry and the Gods, and In the Walls of Eryx are mentioned as missing, but these are collaborations with notes on the Wikipedia bibliography. Dagon: An early hint at the later mythos tales that would capture the public's interest. Obviously the name points to later work. It contains story elements that would later be seen expanded in the iconic The Call of Cthulhu. Not in the visceral way that most modern audiences think of horror, but in the subtleties that lie between the lines. There is every bit as much left unsaid as there is said, and in a world where everyone seems to just want to see the monster and its carnage, these stories are a refreshing change of pace and scenery.We have produced a second audiobook volume which includes the many collaborations and revisions that Lovecraft worked on with other authors. You can find that collection here. While this is contrary to what modern readers will likely have experienced, in Lovecraft's style it actually works surprisingly well. Equally apparent is Lovecraft's love of both the craft of writing and language itself. It's very clear that (within the framework of the grammar and conventions of the time) he put immense thought and care into crafting beautiful sentences with a cadence as pleasing to the ear as it is entertaining to the mind. The Complete fiction of Lovecraft is just under a half-million words. There are twenty instances of use of the n-word in "The Rats in the Walls" and it is used once in the other two stories.

There is also an essay written by Lovecraft on Supernatural Horror in Literature, which was excellent, it clearly showed just how knowledgeable and passionate he was about supernatural literature, reading almost like a who’s who of supernatural Horror leading up to and including his time, which gave me a few more names to add to my ‘to read’ pile. The White Ship: A terrific early contribution to the Dreamlands. The first of many Lord Dunsany-inspired tales. The Lurking Fear: Like Reanimator, written for serial publication in the same magazine, but this story is vastly superior and more to Lovecraft’s usual form. The Other Gods: Short and meh, but builds a “‘Craftverse” by referencing The Cats of Ulthar. We like continuity. LOVECRAFT TALES collects in a single grand volume virtually all of the master's work, over sixty short stories, novellas, and novels, including the classics “At the Mountains of Madness,”“The Dunwich Horror,”“The Call of Cthulhu,” The Dream-Quest of Unknown Kadath, and The Case of Charles Dexter Ward.

Where Do I Start?

Si hay algo que caracteriza el estilo narrativo del bueno de nuestro Howard Philip es su pesadez. Tiene una prosa densa y tupida a más no poder, árida la mayor parte de las veces. Apenas hay diálogos, y la mayor parte de las veces se tratan de largos monólogos o escritos en los que un personaje aporta información a otro. Y esto lo suple con descripciones, con muuuuuuuchísiiiiiiiimas descripciones todas ellas muy detalladas y minuciosas (en ese sentido me ha recordado mucho a su coetáneo Tolkien). Pero que muy detalladas, en serio. De hecho, en muchas de sus obras hay más descripciones que trama propiamente dicha. A todo ello hay que sumarle muy poca variedad en sus personajes: todos son estudiosos interesados en las fuerzas del más allá y con gran bagaje cultural, hombres de pocas palabras y carácter cercano a lo flemático que acaban siendo arrastrados a un mundo de personajes inconcebibles y deidades prehistóricas que conviven con criaturas que parecen sacadas de un bestiario medieval. Y todos ellos acaban siendo un trasunto de del propio Lovecraft (pero en ello nos centraremos un poco más adelante). I found this cosmological horror to be fascinating more than terrifying. To be sure, this work is all at least seventy years old now, and emulation has dulled the impact of Lovecraft's machinations, but that in no way lessens the vitality of the mythos that the man put together: Man is but a mote of dust in the universe, and what we worship as gods are not divine in any way other than the mere fact that, in the grand scheme of things, they are larger motes of dust than we, and are just as impartial to our lives as we are to the dust mites in our pillows. All these things really have little to do with actually reviewing the written content within, but I feel that is unnecessary here. Save it for smaller compilations. The Beast in the Cave: This was written by Lovecraft at age 13-14, and for that is impressive. It only starts to touch the horror of being trapped underground that, say, the film The Descent shows fully, muted by the narrator's early resignation to his fate. Its youthful exuberance is captured in the final words, "... a MAN!!!", bold, caps, and triple-exclamation all original.



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