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Fellows Find: H. P. Lovecraft letter sheds light on pivotal moment in his career

By James Machin

James Machin is a PhD student at Birkbeck, University of London, working on a thesis on early weird fiction, circa 1880 to 1914. He is also the editor of Faunus, the journal of the Friends of Arthur Machen. His research at the Ransom Center was funded by a dissertation fellowship supported by the Creekmore and Adele Fath Charitable Foundation and The University of Texas at Austin Office of Graduate Studies.

 

One of the joys of archival research in the Ransom Center is wandering off-track to follow hunches or simply indulge one’s curiosity. The subject of my thesis is early weird fiction, and while the bulk of my time at the Center was spent investigating material from the 1890s relating to Arthur Machen, M. P. Shiel, and John Buchan, I couldn’t resist looking up H. P. Lovecraft in the old card catalogue. I found a single item listed on one index card: a letter from Lovecraft to J. C. Henneberger. The name was a familiar one: Henneberger was the publisher who established Weird Tales magazine in the 1920s, the pulp title that is remembered today for publishing several of H. P. Lovecraft’s most influential stories.

 

The letter was several pages of closely packed typescript sent from 598 Angell Street, Providence, Rhode Island—the house the family had moved to in 1904 after the death of Lovecraft’s grandfather—and dated February 2, 1924. The year was to be a significant one for Lovecraft: he was about to uproot himself from his home of 20 years to join his soon-to-be wife Sonia Haft Greene in Brooklyn. Lovecraft struggled to find work, the marriage failed, and some have identified this episode as being the point from which many of his subsequent troubles and frustrations ensued. A common lament is that it all could have been so different: soon after the letter was written, Henneberger offered Lovecraft the editorship of the Chicago-based Weird Tales. If Lovecraft had properly seized this opportunity with both hands, the story goes, he would have established himself as the man of letters he was born to be, and avoided languishing in obscurity and poverty for the rest of his life.

 

Lovecraft scholar and biographer S. T. Joshi has identified some reasons why Lovecraft made the decision that he did: Greene was already established in New York, Lovecraft knew that Weird Tales was already financially hamstrung by a debt of tens of thousands of dollars, and—perhaps most importantly—Lovecraft didn’t think there were enough writers producing weird fiction of a sufficiently high quality to populate the pages of the magazine. There is plenty in the letter of February 2 to further evidence Joshi’s account. It also reveals that Lovecraft’s concerns go considerably beyond his lack of confidence in the availability of suitable material, and beyond even his lack of faith in the tastes of the wider reading public. They even go beyond his negative opinion of the “whole atmosphere and temperament of the American fiction business.” For Lovecraft, the problem was contemporary culture itself:

We have millions who lack the intellectual independence, courage, and flexibility to get an artistic thrill out of a bizarre situation, and who enter sympathetically into a story only when it ignores the colour and vividness of actual human emotions and conventionally presents a simple plot based on artificial, ethically sugar-coated values and leading to a flat denouement which shall vindicate every current platitude and leave no mystery unexplained by the shallow comprehension of the most mediocre reader. That is the kind of public publishers confront, and only a fool or a rejection-venomed author could blame the publishers for a condition caused not by them but by the whole essence and historic tradition of our civilisation.

 

Lovecraft’s frustration with the bland timidity of the mainstream could hardly be expressed in more forthright, if perhaps histrionic, terms.

 

Elsewhere in the letter (which is over 5,000 words long—Lovecraft was one of the most prolific and prolix correspondents of his age), Lovecraft expands on his projected novels Azathoth and The House of the Worm, neither of which were ever to materialize. He ruminates at length about what makes good weird fiction, and is generous and enthusiastic in his recommendations of authors he considers would be an asset to Weird Tales. He also outlines what he regards as the only feasible plan by which Weird Tales could perhaps successfully operate: the engagement of a small pool of appropriately gifted ghost-writers that would enable an editor to accept submissions not of publishable quality but demonstrating the required spark of originality. It’s difficult not to speculate that had Lovecraft accepted the editorship, this pool of writers would have inevitably included members of that ‘Lovecraft Circle’ who are now considered some of the definitive genre writers of the period: Clark Ashton Smith, Robert E. Howard, and Robert Bloch. Alas, it was never to be.

 

Or rather, perhaps not “alas”: Despite its shaky financial beginnings and ongoing precariousness, Weird Tales has survived on and off to this day. Who’s to say that Lovecraft’s determinedly purist and non-commercial editorial policy wouldn’t have sunk the title in double-quick time? Maybe his desk-duties would have hampered his creative productivity even further than his belief that a “real artist never works fast, and never turns out large quantities”:

He can’t contract to deliver so many words in such and such a time, but must work slowly, gradually, and by mood; utilising favourable states of mind and refraining from putting down the stuff his brain turns out when it is tired or disinclined to such work.

 

Counterfactual speculation is both difficult not to indulge in and largely unrewarding. Perhaps those of us who celebrate early twentieth-century pulp writing and its influence on ensuing popular culture should simply be grateful to Henneberger for starting Weird Tales in the first place, for championing Lovecraft’s work (Henneberger lobbied editor Edwin Baird to accept Lovercaft’s submissions), and for providing a platform for weird fiction despite commercial and critical indifference. If it wasn’t for Henneberger’s enthusiasm and efforts, perhaps many of Lovecraft’s stories would never have seen the light of day and long since rotted away in some forgotten drawer.

 

The question of the provenance of the letter still baffled me after my return to the UK. It was a single item in a folder of theatrical ephemera and seemed strikingly anomalous in that context. Rick Watson at the Center kindly investigated further and told me that the letter was likely part of the Albert Davis or Messmore Kendall collections, originally acquired by the University of Texas in 1956–1958, both consisting of performing arts materials. When I learned that the collection of Messmore Kendall (1872–195), a lawyer and theatre entrepreneur, included material collected by Harry Houdini, the mystery seemed to solve itself. At the time Lovecraft wrote the letter, Henneberger had engaged him to ghost-write a story for Houdini called “Imprisoned With the Pharoahs,” published later that year in Weird Tales. It seems a reasonable supposition that Henneberger passed the letter on to Houdini soon after receiving it to evidence Lovecraft’s suitability for the endeavour and the unrivalled perspicacity of his views on weird fiction. Thanks to the Ransom Center, we’re still able to enjoy that insight nearly a century later.

 

With grateful thanks to Bridget Gayle Ground, Rick Watson, and all the Ransom Center staff for their hospitality, time, and expertise.

 

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Collection of Materials by Robert E. Howard, Creator of Conan the Barbarian, is Donated to Ransom Center

By Alicia Dietrich

Robert E. Howard's map of the Hyborian world. © Conan Properties International LLC.
Robert E. Howard's map of the Hyborian world. © Conan Properties International LLC.

The Ransom Center has received a gift of materials related to writer Robert E. Howard (1906–1936), a prominent and prolific writer in the fantasy genre. Though Howard is perhaps best known for creating the character Conan the Barbarian, he wrote more than 100 stories for pulp magazines of his day, though his career spanned only 12 years before he committed suicide at the age of 30.

The collection, which includes more than 15,000 pages of manuscripts, sketches and ephemera, was donated by the estate of Glenn Lord (1931–2011), a Texas literary agent, editor and publisher of Howard’s prose and poetry. Lord is considered the first and most important researcher of Howard’s life and writings.

Howard was born in Peaster, Texas, and he sold his first story at the age of 18 when the magazine Weird Tales published “Spear and Fang” in 1924. Weird Tales would go on to publish many of Howard’s stories during the remainder of his life, including two stories in 1932 that introduced Conan the Barbarian, a character who roams the primitive lands of Earth’s mythical Hyborian Age fighting evil. Howard created other enduring characters such as Puritan duelist Solomon Kane, boxing sailor Steve Costigan, enigmatic Atlantean fugitive King Kull, and great warrior king Bran Mak Morn.

“The Ransom Center has one of the largest collections of classic science fiction novels, as well as the papers of several important science fiction and fantasy writers,” said Richard Oram, associate director and Hobby Foundation Librarian at the Ransom Center. “The Glenn Lord collection of Robert E. Howard will add an additional dimension to these materials.  Everyone is familiar with the Conan the Barbarian books or films, and the franchise originated in Howard’s Underwood No. 5 typewriter. Today, original typescripts of this Texas writer are sought after by collectors around the world, and we are grateful that Mr. Lord decided to place them here.”

Howard maintained a regular correspondence for six years with fantasy writer H.P. Lovecraft, and the two debated the merits of civilization vs. barbarianism, cities and society vs. the frontier, the mental vs. the physical, and other subjects. Some of this correspondence is preserved in the collection.

Lord became a collector of Howard’s work in the 1950s and amassed the world’s largest collection of Howard’s stories, poems and letters. Lord served as the literary agent for Howard’s heirs for almost 30 years, and his collection was used as the source text for almost every published Howard work appearing in books and magazines between 1965 and 1997.

The materials will be accessible once processed and cataloged. Two cases of Howard materials will be on display in the Ransom Center’s lobby through September 3.

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