A few years ago, Skholiast wrote a lovely post on the philosophical significance of J.R.R. Tolkien and H.P. Lovecraft, two early 20th-century writers who shaped the genres we now call fantasy and horror, respectively. I was reminded of it this year at an enjoyable AAR panel entitled “Cthulhu’s Many Tentacles”.
Cthulhu, of course, is the best-known character (if that is the word) from Lovecraft’s stories, enough that the fictional pantheon he created has become known as the “Cthulhu Mythos”. Cthulhu is one of a set of “Elder Gods”: horrifying, vaguely amorphous, often tentacled monstrosities that have lain dormant for millennia and will soon devour humanity; their horror is such that the mere knowledge of them could drive one mad. The AAR panel gave recognition to many aspects of Lovecraft’s work: starting with a presentation on the man and his work itself, the presenters proceeded to examine the varied dimensions of the fandom that has grown up around Lovecraft (noting, in particular, that fan creativity has been greatly enabled by Lovecraft’s work rising into the public domain).
The most interesting point I took away from the panel came from a talk by David McConeghy (who also, coincidentally, was the respondent to my paper on teaching with technology). McConeghy noted that while a great deal of modern speculative fiction (he cited Mike Mignola’s comic-book series Hellboy) is clearly inspired by Lovecraft’s Cthulhu Mythos and makes references to it, these works also typically have happy endings. Continue reading