The Horror in the Museum (75 page)

There were only four nights of my stay remaining when there occurred the last of those events whose meaning lies more in the darkly sinister impression surrounding them than in anything obviously threatening. Night had settled over Ellston and the coast, and a pile of soiled dishes attested both to my recent meal and to my lack of industry. Darkness came as I sat with a cigarette before the seaward window, and it was a liquid which gradually filled the sky, washing in a floating moon, monstrously elevated. The flat sea bordering upon the gleaming sand, the utter absence of tree or figure or life of any sort, and the regard of that high moon made the vastness of my surroundings abruptly clear. There were only a few stars pricking through, as if to accentuate by their smallness the majesty of the lunar orb and of the restless shifting tide.

I had stayed indoors, fearing somehow to go out before the sea on such a night of shapeless portent, but I heard it mumbling secrets of an incredible lore. Borne to me on a wind out of nowhere was the breath of some strange palpitant life—the embodiment of all I had felt and of all I had suspected—stirring now in the chasms of the sky or beneath the mute waves. In what place this mystery turned from an ancient, horrible slumber I could not tell, but like
one who stands by a figure lost in sleep, knowing that it will awake in a moment, I crouched by the window, holding a nearly burnt-out cigarette, and faced the rising moon.

Gradually there passed into that never-stirring landscape a brilliance intensified by the overhead glimmerings, and I seemed more and more under some compulsion to watch whatever might follow. The shadows were draining from the beach, and I felt that with them were all which might have been a harbour for my thoughts when the hinted thing should come. Where any of them did remain they were ebon and blank: still lumps of darkness sprawling beneath the cruel brilliant rays. The endless tableau of the lunar orb —dead now, whatever her past was, and cold as the unhuman sepulchres she bears amid the ruin of dusty centuries older than men —and the sea—astir, perhaps, with some unkenned life, some forbidden sentience—confronted me with a horrible vividness. I arose and shut the window; partly because of an inward prompting, but mostly, I think, as an excuse for transferring momentarily the stream of thought. No sound came to me now as I stood before the closed panes. Minutes or eternities were alike. I was waiting, like my own fearing heart and the motionless scene beyond, for the token of some ineffable life. I had set the lamp upon a box in the western corner of the room, but the moon was brighter, and her bluish rays invaded places where the lamplight was faint. The ancient glow of the round silent orb lay upon the beach as it had lain for aeons, and I waited in a torment of expectancy made doubly acute by the delay in fulfillment and the uncertainty of what strange completion was to come.

Outside the crouching hut a white illumination suggested vague spectral forms whose unreal, phantasmal motions seemed to taunt my blindness, just as unheard voices mocked my eager listening. For countless moments I was still, as if Time and the tolling of her great bell were hushed into nothingness. And yet there was nothing which I might fear: the moon-chiselled shadows were unnatural in no contour, and veiled nothing from my eyes. The night was silent —I knew that despite my closed window—and all the stars were fixed mournfully in a listening heaven of dark grandeur. No motion from me then, or word now, could reveal my plight, or tell of the fear-racked brain imprisoned in flesh which dared not break the silence, for all the torture it brought. As if expectant of death, and assured that nothing could serve to banish the soul-peril I confronted I crouched with a forgotten cigarette in my hand. A silent world gleamed beyond the cheap, dirty windows, and in one corner of the
room a pair of dirty oars, placed there before my arrival, shared the vigil of my spirit. The lamp burned endlessly, yielding a sick light hued like a corpse’s flesh. Glancing at it now and again for the desperate distraction it gave, I saw that many bubbles unaccountably rose and vanished in the kerosene-filled base. Curiously enough, there was no heat from the wick. And suddenly I became aware that the night as a whole was neither warm nor cold, but strangely neutral—as if all physical forces were suspended, and all the laws of a calm existence disrupted.

Then, with an unheard splash which sent from the silver water to the shore a line of ripples echoed in fear by my heart, a swimming thing emerged beyond the breakers. The figure may have been that of a dog, a human being, or something more strange. It could not have known that I watched—perhaps it did not care—but like a distorted fish it swam across the mirrored stars and dived beneath the surface. After a moment it came up again, and this time, since it was closer, I saw that it was carrying something across its shoulder. I knew, then, that it could be no animal, and that it was a man or something like a man, which came toward the land from a dark ocean. But it swam with a horrible ease.

As I watched, dread-filled and passive, with the fixed stare of one who awaits death in another yet knows he cannot avert it, the swimmer approached the shore—though too far down the southward beach for me to discern its outlines or features. Obscurely loping, with sparks of moonlit foam scattered by its quick gait, it emerged and was lost among the inland dunes.

Now I was possessed by a sudden recurrence of fear, which had died away in the previous moments. There was a tingling coldness all over me—though the room, whose window I dared not open now, was stuffy. I thought it would be very horrible if something were to enter a window which was not closed.

Now that I could no longer see the figure, I felt that it lingered somewhere in the close shadows, or peered hideously at me from whatever window I did not watch. And so I turned my gaze, eagerly and frantically, to each successive pane; dreading that I might indeed behold an intrusive regarding face, yet unable to keep myself from the terrifying inspection. But though I watched for hours, there was no longer anything upon the beach.

So the night passed, and with it began the ebbing of that strangeness—a strangeness which had surged up like an evil brew within a pot, had mounted to the very rim in a breathless moment, had paused uncertainly there, and had subsided, taking with it whatever
unknown message it had borne. Like the stars that promise the revelation of terrible and glorious memories, goad us into worship by this deception, and then impart nothing, I had come frighteningly near to the capture of an old secret which ventured close to man’s haunts and lurked cautiously just beyond the edge of the known. Yet in the end I had nothing. I was given only a glimpse of the furtive thing; a glimpse made obscure by the veils of ignorance. I cannot even conceive what might have shown itself had I been too close to that swimmer who went shoreward instead of into the ocean. I do not know what might have come if the brew had passed the rim of the pot and poured outward in a swift cascade of revelation. The night ocean withheld whatever it had nurtured. I shall know nothing more.

Even yet I do not know why the ocean holds such a fascination for me. But then, perhaps none of us can solve those things—they exist in defiance of all explanation. There are men, and wise men, who do not like the sea and its lapping surf on yellow shores; and they think us strange who love the mystery of the ancient and unending deep. Yet for me there is a haunting and inscrutable glamour in all the ocean’s moods. It is in the melancholy silver foam beneath the moon’s waxen corpse; it hovers over the silent and eternal waves that beat on naked shores; it is there when all is lifeless save for unknown shapes that glide through sombre depths. And when I behold the awesome billows surging in endless strength, there comes upon me an ecstasy akin to fear; so that I must abase myself before this mightiness, that I may not hate the clotted waters and their overwhelming beauty.

Vast and lonely is the ocean, and even as all things came from it, so shall they return thereto. In the shrouded depths of time none shall reign upon the earth, nor shall any motion be, save in the eternal waters. And these shall beat on dark shores in thunderous foam, though none shall remain in that dying world to watch the cold light of the enfeebled moon playing on the swirling tides and coarse-grained sand. On the deep’s margin shall rest only a stagnant foam, gathering about the shells and bones of perished shapes that dwelt within the waters. Silent, flabby things will toss and roll along empty shores, their sluggish life extinct. Then all shall be dark, for at last even the white moon on the distant waves shall wink out. Nothing shall be left, neither above nor below the sombre waters. And until that last millennium, and beyond the perishing of all other things, the sea will thunder and toss throughout the dismal night.

H. P. Lovecraft: A Biographical Note

Howard Phillips Lovecraft, the visionary writer generally regarded as the mastermind of modern horror fiction, was born in Providence, Rhode Island, on August 20, 1890. The precocious only child of an ill-fated marriage, he endured a cloistered and traumatic upbringing. Lovecraft never knew his father, a traveling salesman of English ancestry who was institutionalized with syphilitic dementia in 1893. He was raised in his birthplace, the Victorian mansion of his maternal grandfather, by an overprotective mother and two maiden aunts. At the age of eight he discovered the stories of Edgar Allan Poe, whose aesthetics marked him forever.

Frequent illnesses disrupted the boy’s formal schooling, but he devoured books on astronomy and Greek mythology and was enthralled by the poetry of Dryden and Pope. Financial reversals occasioned by his grandfather’s death in 1904 forced the family to sell their ancestral home and seek lodgings in a nearby duplex. The move intensified an already claustrophobic relationship with his mother, who instilled in Lovecraft a profound conviction that he was different from other people.

Lovecraft suffered a nervous breakdown in 1908 and over the next five years became as reclusive as any of his eccentric fictional narrators. He gradually emerged from his depression through membership in the United Amateur Press Association (UAPA), a group of fledgling writers who published their own magazines. In addition to contributing poetry and essays to various journals, he put out thirteen issues of his own paper,
The Conservative
(1915-23), and began a prolific correspondence with colleagues. The five volumes of his posthumously issued
Selected Letters
(published 1965-76) represent some of Lovecraft’s most substantial prose and reveal him to be an artist and philosopher of wide-ranging intellect. “Lovecraft [was] one of the most exhaustively self-chronicled individuals of his century,” says his preeminent interpreter, S. T. Joshi a his letters are the equivalent of a Pepys diary in the exhibition of the fluctuations of his mind and heart.”

In 1921, while attending a convention of the UAPA in Boston, Lovecraft met Sonia Greene, a widowed Brooklyn milliner seven years his senior. Their brief, disastrous marriage took him to New York City for two years; his return to Providence in the spring of 1926 prompted the greatest creative outburst of his short career.

“The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown,” observed Lovecraft in his pioneering essay
Supernatural Horror in Literature
(1925-27). Guided by this dictum, he produced a relatively small body of fiction: some sixty stories, most of which appeared in the newly founded pulp magazine
Weird Tales.
Three of them—
The Dream-Quest of Unknown Kadath
(1926-27),
The Case of Charles Dexter Ward
(1927), and
At the Mountains of Madness
(1931)— are generally classified as short novels. Many of Lovecraft’s early pieces are innocuous, dreamlike creations heavily influenced by the Irish fantasist Lord Dunsany. In stark contrast are his harrowing tales of terror set against a meticulously described, historically grounded New England landscape. Lovecraft’s most acclaimed stories are those in the cycle known as the “Cthulhu Mythos.” Combining elements of horror and science fiction, they are an extended elaboration of Lovecraft’s recurring fantasy that an entire alien civilization lurks on the underside of our known world. Included in the cycle is
At the Mountains of Madness,
in which an unsuspecting expedition uncovers a city of untold terror buried beneath an Antarctic wasteland.
“At the Mountains of Madness
ranks high among the horror stories of the English language,” said
Time.
Joyce Carol Oates reflected: “There is a melancholy, operatic grandeur in Lovecraft’s most passionate work, like
At the Mountains of Madness;
a curious elegiac poetry of unspeakable loss, of adolescent despair and an existential loneliness so pervasive that it lingers in the reader’s memory, like a dream, long after the rudiments of Lovecraftian plot have faded.”

H. P. Lovecraft died of intestinal cancer in Providence on March 15,1937. Fame accrued to him posthumously, owing chiefly to the efforts of Arkham House Publishers, which brought his writings to a wider audience. Beginning with
The Outsider and Others
(1939) and
Beyond the Wall of Sleep
(1943), the firm issued numerous collections of Lovecraft’s work. Within a decade of his premature death,
Best Supernatural Stories of H.
P.
Lovecraft
(1945) would sell more than sixty-seven thousand hardcover copies in a single year.