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S. T. Joshi - Unutterable Horror: A History of Supernatural Fiction

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S. T. Joshi Unutterable Horror: A History of Supernatural Fiction
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S. T. Joshi is one of the leading authorities on weird fiction, and in this World Fantasy Award-winning study he provides a comprehensive history and analysis of the entire range of weird fiction from antiquity to the present day. For the first time, the full contents of both print volumes are available together in a single electronic book file.
As Joshis landmark survey of supernatural literature begins, the focus is on weird fiction from the Epic of Gilgamesh (c. 1700 B.C.E.) to the end of the nineteenth century. Joshi focuses on key works of Greek and Latin literature that introduced many long-enduring motifs in weird literature. Moving on down through Dante, Shakespeare, Marlowe, and Milton, Joshi provides a compact overview of the several different strands of Gothic fiction, beginning with Horace Walpoles The Castle of Otranto (1764) and culminating with Charles Robert Maturins Melmoth the Wanderer (1820), with detailed discussions of Ann Radcliffe, M. G. Lewis, Mary Shelley, and others.
Edgar Allan Poe was a watershed in the history of weird fiction, and his fusion of psychological and supernatural horror was pioneering. He was followed by the prolific Irish writer J. Sheridan Le Fanu, numerous practitioners of the English ghost story (including Henry James and Edith Wharton), and the cynical Ambrose Bierce. Toward the end of the nineteenth century, Bram Stoker, Robert Louis Stevenson, Oscar Wilde, and others made weird fiction a genre that fused popular appeal with aesthetic richness.
As S. T. Joshis landmark history of supernatural fiction continues, the focus is placed on an incredible efflorescence of weird writing at the turn of the twentieth centurya period that many scholars have referred to as the Golden Age of weird fiction. Such figures as Arthur Machen, Lord Dunsany, Algernon Blackwood, M. R. James, and H. P. Lovecraft elevated weird fiction to a level of high artistry never seen before, and their work continues to inspire writers up to the present day. Other authors such as Walter de la Mare, L. P. Hartley, and William Hope Hodgson also contributed important novels and tales. Lovecrafts influence extended to such of his contemporaries and successors as Clark Ashton Smith, Robert E. Howard, August Derleth, Robert Bloch, and Fritz Leiber.
In the years following Lovecrafts death, a new crop of writersled by Ray Bradbury, Richard Matheson, Shirley Jackson, and Charles Beaumontbrought horror down to earth and into the realm of ordinary life. Their work laid the groundwork for the extraordinary emergence of weird fiction as a best-selling phenomenon in the work of Ira Levin, Stephen King, Peter Straub, Clive Barker, Anne Rice, and many others. At the same time, more literate figures such as Ramsey Campbell, T. E. D. Klein, and Thomas Ligotti continued to expand the boundaries of the weird in work of the highest literary polish. Today, such writers as Caitln R. Kiernan, Dennis Etchison, and many others continue to probe new directions in weird fiction.

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Unutterable Horror
Unutterable Horror
A History of Supernatural Fiction
S. T. Joshi
Hippocampus Press New York Copyright 2012 2014 by S T Joshi First - photo 1
Hippocampus Press
New York
Copyright 2012, 2014 by S. T. Joshi.
First Hippocampus Press edition, 2014.
Originally published by PS Publishing Ltd.
Published by Hippocampus Press
P.O. Box 641, New York, NY 10156.
http://www.hippocampuspress.com
All rights reserved.
No part of this work may be reproduced in any form or by any means
without the written permission of the publisher.
Cover design by Barbara Briggs Silbert.
Cover illustration by Harry Clarke for Edgar Allan Poes The Tell-Tale Heart.
Hippocampus Press logo designed by Anastasia Damianakos.
First Electronic Edition
1 3 5 7 9 8 6 4 2
978-1-61498-113-8 epub
978-1-61498-114-5 mobi
To
Steven J. Mariconda
Contents
Volume 1: From Gilgamesh to the End of the Nineteenth Century
Melmoth and Monada exchanged looks of silent and unutterable horror, and returned slowly home.
Charles Robert Maturin,
Melmoth the Wanderer (1820)
The simplest words must intimate, but not portray, the unutterable horror of the catastrophe.
Nathaniel Hawthorne,
The Ambitious Guest (1835)
Through a species of unutterable horror and awe, for which the language of mortality has no sufficiently energetic expression, I felt my heart cease to beat, my limbs grow rigid where I sat.
Edgar Allan Poe,
Ligeia (1838)
... everywhere cowers and darkens the Unutterable Horror.
Edward Bulwer-Lytton,
Zanoni (1842)
Preface
In spite of the length of this work, my goals in it are relatively humble. I am chiefly interested in the aesthetic and philosophical issues involved in the introduction of the supernatural in a literary work, and I am also interested in tracing the history of this literary mode from the time it became a recognised genrethe later eighteenth centuryto the present day. I have also considered it a significant part of my enterprise to gauge the overall aesthetic success of the works I study, with particular emphasis on the effectiveness of the supernatural manifestation in a given work. To that degree, I am attempting to establish a viable canon of supernatural writing, although I trust it will be evident that my judgments are merely suggestive rather than prescriptive.
The number of authors and works to be covered has necessitated some sharp curtailments in the kinds of analysis I can provide and perhaps even in the overall scope and direction of the work. For example, I have not found sufficient space to place the authors and works discussed within the context of cultural and intellectual history, even though I see such a context as the most profitable avenue toward the understanding of the literature in question. I have also been unable to examine many individual works in the depth and detail they deserve, nor have I treated non-Anglophone weird fiction as much as I should have.
Within these shortcomings, I hope that I have supplied a more adequate picture of the historical progression of supernatural fiction than previous histories, most of which I am sorry to say I find unsatisfactory. My focus has been on the major writers in the fieldthose, in other words, who have contributed significantly to the genre and who have produced a corpus of work of sufficient breadth and complexity to be worth studying carefully. Individual works of the supernatural by authors who have generally not worked in this mode are rarely discussed unless they are of great significance and influence. I have also not found it fruitful to compare authors with one another or to treat their works thematically, since it strikes me that each author of supernatural fiction is of such distinctiveness that comparisons would produce minimal enlightenment. Naturally, biographical information on the authors in question is limited to those facets of their lives that are of significance to the understanding of their work. And, of course, every critic of a relatively little-known or understudied branch of literature faces the quandary of how much plot summary to supply. In those works that can be assumed to be widely read I have reduced plot summary to a minimum, but for other works I have felt it necessary to include a somewhat ampler synopsis so that my analysis can be more fully understood.
It will be evident to most readersespecially those who know my previous work in the fieldthat I have found much inspiration in both the theoretical underpinnings and some specific critical judgments in H. P. Lovecrafts Supernatural Horror in Literature (first published in 1927). I cite this work throughout the text, using the simple abbreviation S. The edition cited is listed in the bibliography.
I have sought to provide exact citations to all quotations of primary and secondary works. The editions citedthe great majority of them are not first editionsare listed in the bibliography. I have not always had access to the soundest or most recent editions, as some of these are already difficult to obtain even in large libraries. For shorter works (stories, poems, and the like), I have provided information on original periodical appearances, if known. I may not have cited secondary sources as much as is customary; there is indeed a fair amount of useful criticism and biography on many of the authors discussed in this volume, although some figures have yet to receive the attention they deserve. A bibliographical essay preceding the bibliography provides some discussion of important reference works in this field and other critical works that may be of use to the student and scholar.
I have been studying supernatural literature for more than thirty years and have had highly stimulating discussions with many friends and colleagues. Among those who have supplied me with the greatest insights, either in print or viva voce, are Mike Ashley, Jason Brock, Donald R. Burleson, Scott Connors, Stefan Dziemianowicz, Jack M. Haringa, John Langan, Steven J. Mariconda, David E. Schultz, and Robert H. Waugh. I am also grateful to several contemporary authors of supernatural literature for illuminating many aspects of their own work, among them Sherry Austin, Laird Barron, Ramsey Campbell, Les Daniels, Philip Haldeman, Caitln R. Kiernan, T. E. D. Klein, Thomas Ligotti, W. H. Pugmire, Joseph S. Pulver, Sr, Michael Shea, Peter Straub, and Jonathan Thomas.
S. T. J.
Seattle, Washington
November 2009
I. Introduction
The study and analysis of the mode of writing that I call supernatural horror is vexed with a multitude of difficulties and paradoxes. I cannot think of any other genre, with the possible exception of the love story (itself a highly nebulous and imprecise construct, since love plays a role in a number of literary modes, including supernatural horror itself), that is defined by an
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