As the title suggests, this paper aims at pointing out the major characteristics of the literature of the fantastic and combining this theoretical approach with a study of the work of one of the most significant representatives of said genre, the American writer Howard Phillips Lovecraft (1890-1937). Consequently, the first major part of this paper is dedicated to a brief study of the genre of fantastic literature in general, particularly the very problematic task of defining its distinctive characteristics. By looking at the fantastic tradition in America (particularly that of New England), including the prevalent features and themes marking the American variety of the fantastic, and highlighting the contribution some eminent American authors have made to the genre, the second part then focuses on the fantastic in American literature. Finally, the third major section of this paper provides a detailed study of the life and work of one of the chief American writers of fantastic prose fiction, H. P. Lovecraft. After an account of Lovecraft’s life and personality (including some of the countless misconceptions circulating since his death), a critical evaluation of his literary achievement and influences, and a short discussion of his impact on modern popular culture, a large part of this section is dedicated to a thorough analysis of his unique concept of fantastic fiction: while certain aspects of his work inevitably link him to his literary precursors, there are others clearly setting him apart from any writer of the fantastic that came before him. The paper is concluded by brief case studies of three of Lovecraft’s most popular short stories.
Table of Contents
1. Introduction
2. The Fantastic: Defining a Literary Genre
2.1 The Problem of Terminology
2.2 Minimalistic Concepts of the Fantastic
2.2.1 Tzvetan Todorov’s Einführung in die fantastische Literatur
2.2.2 Uwe Durst’s Theorie der phantastischen Literatur
2.3 Maximalistic Concepts of the Fantastic
2.3.1 H. P. Lovecraft’s Supernatural Horror in Literature
2.3.2 Florian Marzin’s Die phantastische Literatur
2.4 Summary
3. The Fantastic in American Literature
3.1 The Fantastic Tradition in America
3.1.1 Monsters from the Sea
3.1.2 Fear of the Unknown
3.1.3 The Puritan Way of Life
3.1.4 Witchcraft
3.1.5 An Obsession with Death
3.1.6 The Decline of a Region
3.2 Some American Writers of the Fantastic
3.2.1 Washington Irving
3.2.2 Nathaniel Hawthorne
3.2.3 Edgar Allan Poe
3.2.4 Henry James
3.2.5 Stephen King
4. Weird Tales of Cosmic Fear: The Fantastic in H. P. Lovecraft
4.1 Recluse, Dreamer, Racist, or Genius: The Life of H. P. Lovecraft
4.2 H. P. Lovecraft’s Literary Achievement
4.3 H. P. Lovecraft’s Literary Influences
4.4 H. P. Lovecraft as Cult Figure and His Impact on Modern Popular Culture
4.5 Literature of Cosmic Fear: H. P. Lovecraft’s Concept of Fantastic Fiction
4.6 A Brief Study of Three of H. P. Lovecraft’s Short Stories
4.6.1 The Dunwich Horror
4.6.2 The Horror at Red Hook
4.6.3 The Call of Cthulhu
5. Conclusion
6. List of Works Cited and Consulted
Research Objectives and Themes
This thesis examines the literary genre of the fantastic, with a specific focus on how its characteristics are defined and how they manifest within the American literary tradition, particularly through the work and philosophical outlook of H. P. Lovecraft.
- Analysis of theoretical definitions of "the fantastic" (minimalistic vs. maximalistic).
- Investigation of the New England cultural and historical origins of the American fantastic tradition.
- Evaluation of H. P. Lovecraft’s life, literary influences, and unique contribution to the genre.
- Examination of how Lovecraft’s "cosmic" philosophy shaped his approach to fantastic fiction.
- Exploration of Lovecraft’s lasting influence on modern popular culture.
Excerpt from the Book
4.1 Recluse, Dreamer, Racist, or Genius: The Life of H. P. Lovecraft
Lovecraft’s life, although it appears to be rather uneventful on the outside, is in fact highly interesting, and owing to the existence of tens of thousands of letters, he may be one of the most self-documented individuals in human history. Howard Phillips Lovecraft was born on August 20, 1890 at his family’s home at 454 (then 194) Angell Street in Providence, Rhode Island. He came from distinguished ancestry, which is something he always took great pride in. His mother Sarah Susan Phillips Lovecraft could trace her ancestry almost back to the days of the Mayflower, and the paternal line, from his father Winfield Scott Lovecraft, who worked as a traveling salesman for a silversmith in Providence, was of English origin, the name Lovecraft or Lovecroft reaching back as far as well into the fifteenth century. At the time of his birth Lovecraft’s family was relatively prosperous, most of the wealth being derived from the extensive business interests of his maternal grandfather, the successful industrialist Whipple Van Buren Phillips. When Lovecraft was three his father suffered a nervous breakdown in a hotel room in Chicago, and after remaining in a hospital for five years, he died on July 19, 1898, supposedly of paresis, a form of neurosyphilis. The raising of the young Lovecraft was then entrusted to his mother, his two aunts, and especially his grandfather (cf. Schultz and Joshi 1991, pp. 16 ff.).
The family’s fortunes suffered a reversal in 1904 with the death of Whipple Phillips. Since Phillips’ fortune had largely been squandered by his business associates, the Lovecrafts were forced to leave their spacious Victorian mansion at 454 Angell Street and move into a smaller home in Providence. Lovecraft never fully recovered from the loss of his birthplace, and he is said to have contemplated suicide for a while. This sense of loss and displacement was reflected in his early readings, which can be classified in three broad areas: antiquarianism (he developed a particular affection for classical antiquity and the eighteenth century), fantasy and horror (he discovered Poe at the age of eight), and science (first chemistry, then astronomy).
Summary of Chapters
1. Introduction: The author outlines his personal fascination with the fantastic and explains the structure of the paper, which combines a theoretical genre definition with a case study of H. P. Lovecraft.
2. The Fantastic: Defining a Literary Genre: This chapter explores the terminological challenges of the fantastic, discussing both minimalistic (Todorov, Durst) and maximalistic (Lovecraft, Marzin) approaches to defining the genre.
3. The Fantastic in American Literature: This section investigates the roots of the fantastic in America, focusing heavily on New England’s regional history, Puritan culture, and prominent writers like Irving, Hawthorne, Poe, James, and King.
4. Weird Tales of Cosmic Fear: The Fantastic in H. P. Lovecraft: This comprehensive section details Lovecraft’s life, his literary influences, his status as a cult figure, his unique "cosmic" philosophy, and provides case studies of three of his short stories.
5. Conclusion: The author summarizes his findings, acknowledging that while Lovecraft’s work is controversial and peripheral, his artistic contribution is significant and worthy of serious study.
6. List of Works Cited and Consulted: A comprehensive bibliography of primary and secondary sources used in the research.
Keywords
H. P. Lovecraft, Fantastic Literature, American Literature, New England, Gothic Fiction, Cosmic Fear, Supernatural Horror, Weird Tale, Puritanism, Literature of the Fantastic, Literary Theory, Tzvetan Todorov, Literary Influences, Pulp Fiction, Cthulhu Mythos
Frequently Asked Questions
What is the primary subject of this academic paper?
The paper explores the literary genre known as "the fantastic," with a central focus on its definition and its specific expression within American literature, particularly through the work of H. P. Lovecraft.
What are the central thematic areas covered?
The core themes include the theoretical definition of the fantastic, the historical and regional influences of New England on American fantastic fiction, the life and philosophy of H. P. Lovecraft, and his significant impact on modern popular culture.
What is the main objective or research question?
The research aims to identify the distinctive characteristics of fantastic literature and to illustrate how H. P. Lovecraft—by shifting horror from terrestrial to cosmic settings—made a highly original contribution to the genre.
Which scientific method is utilized in this study?
The paper employs a literary-analytical approach, combining theoretical discourse analysis with historical context and textual interpretation of short stories.
What is covered in the main body of the work?
The main body is divided into a theoretical section discussing genre definitions, a historical-cultural section on the American fantastic tradition, and a deep dive into Lovecraft’s biography, philosophical "cosmicism," and specific story analyses.
Which keywords best characterize this work?
Key terms include H. P. Lovecraft, Fantastic Literature, American Literature, New England, Gothic Fiction, Cosmic Fear, Supernatural Horror, and The Weird Tale.
How does Lovecraft's philosophy of "cosmic indifferentism" manifest in his stories?
It manifests through the portrayal of humans as insignificant beings in a vast, aimless universe, where they are often threatened by superior, material entities that are morally indifferent to human survival.
What is the significance of the New England setting in Lovecraft’s work?
The setting is crucial because Lovecraft synthesized real New England history, folklore, and atmosphere to ground his "cosmic" entities in a recognizable reality, enhancing the sense of dread and realism in his narratives.
- Quote paper
- Bernd Steiner (Author), 2005, H. P. Lovecraft and the Literature of the Fantastic: Explorations in a Literary Genre, Munich, GRIN Verlag, https://www.grin.com/document/70465
