From beyond: H. P. Lovecraft and the place of horror
Identifieur interne : 000948 ( Main/Exploration ); précédent : 000947; suivant : 000949From beyond: H. P. Lovecraft and the place of horror
Auteurs : James Kneale [Royaume-Uni]Source :
- Cultural Geographies [ 1474-4740 ] ; 2006-01.
English descriptors
- Teeft :
- Arkham, Arkham house, Bakhtin, Cthulbu, Cthulhu, Deep time, Derleth, Erich zann, Geographer, Grotesque body, Horrific, Horror narrative, Human geography, Ibid, Indeterminacy, James kneale, Kneale, Lovecraft, Manton, Mikhail bakhtin, Nameless things, Routledge, Salomon, Sauk city, Social spaces, Textual, Thingless names, Unnamable, Weird fiction.
Abstract
The work of the American horror writer H. P. Lovecraft offers a valuable opportunity to study the representation of space in literature, but while Lovecraft's biography provides a useful way of making sense of his horror fictions, it also risks obscuring the importance of his represented spaces. Many of these impossible spaces mark a threshold between the known and unknown, and the paper argues that an attention to narrative demonstrates that these thresholds constitute the fulcrum about which his plots move. The work of Mikhail Bakhtin also suggests that Lovecraft's belief that ‘change is the enemy of everything really worth cherishing’ explains why these thresholds are represented as threats rather than progressive engagements with social space.
Url:
DOI: 10.1191/1474474005eu353oa
Affiliations:
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<front><div type="abstract" xml:lang="en">The work of the American horror writer H. P. Lovecraft offers a valuable opportunity to study the representation of space in literature, but while Lovecraft's biography provides a useful way of making sense of his horror fictions, it also risks obscuring the importance of his represented spaces. Many of these impossible spaces mark a threshold between the known and unknown, and the paper argues that an attention to narrative demonstrates that these thresholds constitute the fulcrum about which his plots move. The work of Mikhail Bakhtin also suggests that Lovecraft's belief that ‘change is the enemy of everything really worth cherishing’ explains why these thresholds are represented as threats rather than progressive engagements with social space.</div>
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