Read Los sueños en la Casa de la Bruja by H.P. Lovecraft Free Online
Book Title: Los sueños en la Casa de la Bruja|
The author of the book: H.P. Lovecraft
Date of issue: July 1st 2004
ISBN 13: 9788441414563
Format files: PDF
The size of the: 8.87 MB
Edition: Edaf S.A.
Read full description of the books Los sueños en la Casa de la Bruja:Objectively considered, this should have been a Lovecraft masterpiece. Unfortunately (as is often true of predictive analysis), the story itself didn’t turn out that way.
Here are the facts so you can decide for yourself. H.P. wrote “Dreams” in 1932, a few months after “The Shadow over Innsmouth” and more than halfway through his final decade of mature work, a period triggered by his failed marriage and fearful sojourn in New York and nourished by a return to his native Providence. Lovecraft’s artistic conception was certainly an ambitious one: to compose an account (not of interstellar but) of inter-dimensional visitation which the reader glimpses beneath the surface of the conventional panoply of New England witchcraft (evil crone, gothic mansion, furry familiar, “The Blackman,” etc.) Think of it! A horror for a new century! The union of Hawthorneian darkness and Einsteinian physics!
Sounds good, doesn’t? But like I said, it didn’t quite work out that way.
The problems began, I think, because H.P. thought of “planes” of existence as if they were geometric “planes,” and therefore, when describing the dreams of his protagonist Gilman—who initially explains his own visions as “a result, jointly, of his studies in mathematics and in folklore”—channeled Euclid when he should have been channeling Poe: All the objects—organic and inorganic alike—were totally beyond description or even comprehension. Gilman sometimes compared the inorganic masses to prisms, labyrinths, clusters of cubes and planes, and Cyclopean buildings; and the organic things struck him variously as groups of bubbles, octopi, centipedes, living Hindoo idols, and intricate Arabesques roused into a kind of ophidian animation. This strikes me as amusing rather than terrifying. And things get worse: Those organic entities whose motions seemed least flagrantly irrelevant and unmotivated were probably projections of life-forms from our own planet, including human beings. What the others were in their own dimensional sphere or spheres he dared not try to think. Two of the less irrelevantly moving things—a rather large congeries of iridescent, prolately spheroidal bubbles and a very much smaller polyhedron of unknown colours and rapidly shifting surface angles—seemed to take notice of him and follow him about or float ahead as he changed position among the titan prisms, labyrinths, cube-and-plane clusters, and quasi-buildings; and all the while the vague shrieking and roaring waxed louder and louder, as if approaching some monstrous climax of utterly unendurable intensity. I could offer more evidence, ladies and gentleman of the jury. But you get the idea.
Add to this the fact that the conventional witchcraft story is not terribly interesting in itself, and you are faced with a recipe for failure. (To be fair, though, I love that loathsome witch’s familiar, Brown Jenkin. Brown Jenkin gave me a few genuine chills. And what a wonderful name for a familiar!)
Lucky for us, though, that H.P., after a thorough contemplation of inter-dimensional horror, concluded that the most fruitful dimension for fictional exploration was time, aeon piled upon terrifying aeon, looming in the cosmic dark. Three years later, he would complete his meditative masterpiece, The Shadow out of Time.
Read information about the authorHoward Phillips Lovecraft, of Providence, Rhode Island, was an American author of horror, fantasy and science fiction.
Lovecraft's major inspiration and invention was cosmic horror: life is incomprehensible to human minds and the universe is fundamentally alien. Those who genuinely reason, like his protagonists, gamble with sanity. Lovecraft has developed a cult following for his Cthulhu Mythos, a series of loosely interconnected fictions featuring a pantheon of human-nullifying entities, as well as the Necronomicon, a fictional grimoire of magical rites and forbidden lore. His works were deeply pessimistic and cynical, challenging the values of the Enlightenment, Romanticism and Christianity. Lovecraft's protagonists usually achieve the mirror-opposite of traditional gnosis and mysticism by momentarily glimpsing the horror of ultimate reality.
Although Lovecraft's readership was limited during his life, his reputation has grown over the decades. He is now commonly regarded as one of the most influential horror writers of the 20th Century, exerting widespread and indirect influence, and frequently compared to Edgar Allan Poe.
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