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Daniel Dilger dareglid — "There are my 'Poe' pieces and my 'Dunsany pieces' – but alas – where are any Lovecraft pieces?" -H.P. Lovecraft, 1929 What really makes Lovecraft interesting is the degree to which he was a student of the Horror genre. As his influential essay Supernatural Horror in Literature shows, Lovecraft was a voracious reader who went far afield in his search for interesting Horror authors. If Lovecraft hadn't been such an odd recluse, and instead pursued an academic career, we might not have had to wait a century for scholar S.T. Joshi to drag the genre into the sphere of literary criticism. Due to his vast knowledge, Lovecraft was able to pick through influences and styles when he wrote his stories, but instead of synthesizing all of those disparate inspirations into a new vision of his own, Lovecraft was more likely to work in bits and pieces, creating recognizable, sometimes formulaic story types in which we can easily trace the ideas he drew from Dunsany, Blackwood, Hodgson, Chambers, or Bierce. Beyond that, his style was not always engaging, relying as he did on rather purple prose and extended explanations of his characters' innermost thoughts, instead of letting the actions and subtle cues speak for themselves. As such, his stories tended to lack the power and poetry of the great Horror authors who influenced him, but Lovecraft was such a prolific author, and so invested in his genre on a conceptual level that he did create a number of classics. He also had a considerable influence on other writers through the vast correspondence which he kept up throughout his whole life with lasting, notable authors such as R.E. Howard, Fritz Leiber, Derleth, Clarke Ashton Smith, and numerous others, not only introducing them to the many ideas and authors Lovecraft had collected, but opening himself up to the thoughts and experiences of all those young, up-and-coming authors. Then there is the lasting effect of the 'Mythos' (sometimes called the 'Cthulhu Mythos'), that interconnected set of ideas and approaches that became a sort of 'shared world' for other authors to explore--whit are still being explored in an unabated string of short-story collections published every year despite the fact that all the stories in them tend to be terrible. But the Mythos was not quite Lovecraft's original invention, it was instead an attempt to take the worlds of the previous great Horror authors and combine them into one grand setting. Probably the most unique aspect of Lovecraft's work was his combination of the chilling, aloof alienness of Dunsany's elves with the otherworldly, interdimensional terrors explored by Hodgson to produce that characteristic 'Cosmic Horror' which, while not invented by Lovecraft, was brought to a higher lustre in his works. Though the Lovecraft stories that I find most interesting are not his 'Poe pieces', his straight Horror works--which should not be surprising, since I'm not especially fond of Poe--but his Dunsany-inspired Fantasies, such as The Silver Key and several other entries in his Dream Cycle, which tend to be rather less formulaic recreations of the styles and forms of earlier authors, than explorations of the mind, and of possibility. Beyond that, Lovecraft's very deliberate, thoughtful style seems to work better in a world of waking dreams than one of world-hopping adventure and monster attacks. However, in the end, I would suggest that the most lasting effect of Lovecraft's work was born in his intense dislike of seafood, which gave his monsters and beasties their shapes, and proved a much more effective choice than Hodgson's odd distaste for pig. Indeed, Lovecraft's disgust must surely rank among the most influential gustatory preferences in the history of literature.

Won Shim misterx953f39 — Jimmy Carter uses this book to help relate scripture to everyday life, and how he and his wife have related scripture to events that have happened in their lives. Depicts the true compassion of a humble man.