After much effort, the translation of Houellebecq’s critically acclaimed work on HPL is finally mine. What more appropriate for this Halloween?
Against can be read as a response to Colin Wilson’s The Strength to Dream from 1962. Wilson devoted a chapter in that work dedicated to blasting Lovecraft’s work as sick and demented, meaning that it fell outside of Wilson’s schema of human progress and evolution. Houellebecq takes that label and declares that, yes, Lovecraft may be sick, but given what being well is like, you can hardly blame him.
The title of this work is slightly misleading. After all, if Lovecraft had truly been “against the world” and “against life,” he’d have leaped off a bridge when he was a teenager and been done with both. Instead, he chose deliberately to step outside the modern ideas of progress, thought, and notions of what was critical and important. He never sought commercial success or a family, instead eking out a cheap existence from a few investments and what little money his stories brought in. In that sense, Lovecraft could be compared to Renton in Trainspotting, at least in terms of the basic sentiment that motivates them.
The book explores a wide variety of themes, each one worthy of deeper thought and consideration with regard to Lovecraft’s philosophy, his style, his marriage, his architecture, and all manner of other topics. There are certainly passages I’ll have to go back and examine at leisure. I’m not the only one – Kenneth Hite, for example, became caught up in just one paragraph. It’s not always the most accurate work – Stephen King describes this book as a “cerebral mash note” in his introduction, and as with any mash note, there are some items that are inaccurate (largely due to his use of de Camp’s biography over Joshi’s more recent and comprehensive work) and questionable. Nonetheless, one is carried away by the author’s passion for the subject and the feeling that he has captured the essence of the man.
And yet, I cannot agree with what might be called Houellebecq’s central thesis – that what makes HPL so effective as an author is the racial hatred and fear that he uncovered in New York. I do not disagree that this was a major factor, but it neglects the other element that makes Lovecraft a great writer – his sense of the transcendent, his seeking of awe and wonder, whether at the sheer immensity of the universe or a fanlight and wrought-iron balustrade unexpectedly encountered around a corner. You get this sense in some of the passages in “The Whisperer in Darkness,” “The Silver Key,” and “The Shadow out of Time,” as well as the last sonnet in his “Fungi from Yuggoth.” In another setting, I think Lovecraft would have ended up as a mystic, shaman, or prophet. As a 20th century materialist, however, he instead channeled that energy into some of the most powerful fiction that the world has known. It is true that Lovecraft needed to go to New York to realize his vision, but he also needed to return to Providence and see the glory of his sunset city once more. It is the crystallization of the impulses toward the depths and the heights that truly sets Lovecraft’s fiction apart.