What does it mean to be mad? One might define madness as the state wherein one can no longer distinguish between real, objective phenomena, as experienced empirically by the senses, from certain delusions of the mind; seeing ghosts, as it were. But surely the madman believes the phantasms of his mind to be quite real; this is why the objective standard of empiricism is indispensible. But what if one’s senses convey something which all one’s prior experience betrays as logically impossible? Does one trust to empiricism, or, in true Kantian fashion, shape reality according to his experience? Of the two paths, rejecting what one experiences or believing something contrary to one’s logical makeup, which is true madness? This issue goes right to the heart of many of the stories of H.P. Lovecraft, assembled in this collection appropriately titled The Road to Madness.
Lovecraft is most famous for his Cthulu mythos cycle, but only a few of the stories here can be said to belong to the mythos proper. The rest are simply tales of men who have glimpsed a horrible secret, or carry that secret within themselves, and as a result teeter on the edge of madness. Take, for instance, Arthur Jermyn, ill-fated hero of the story of the same name. Research into his ancestral history hints at a monstrous pedigree, and a final damning piece of evidence tips the scales; Arthur is driven to madness and suicide. The story is exemplary of Lovecraft’s classical modus operandi; the protagonist, most often a first-person narrator, passes off as coincidence or delusion events which the reader knows are meant to be taken as actual occurrences, until some climactic circumstance forces him to confront what he had previously only dared to suspect. Those who are not, like Jermyn, driven over the edge will attribute their horrible experiences to mental fatigue, nervousness, or an overactive imagination. The fact remains, however, that the reader knows that what has happened was indeed real.
In his mythos stories, the horrible reality lurking beneath the superficiality of human understanding connects to the very heart of the universe and the other beings which inhabit it. For example, in At the Mountains of Madness, one of Lovecraft’s most famous works, an expedition to the Antarctic uncovers the remains of a city built long before humans walked the earth. Shaken, but with sanity intact, the survivors resolve to keep the horrible secret from the rest of the world. In other stories, however, the horror arises from other sources. In Herbert West – Reanimator, the titular character learns the secret of restoring dead tissue to a semblance of life. Far from being deterred by the monstrous results, West pushes further still until his macabre obsession literally consumes him.
The collection is not completely filled with darkness and horror, however. Included are a sample of Lovecraft’s earliest works, which include some clumsy imitations of Poe, but show the maturation of a writer slowly finding his own voice. There are several short pieces and poems which show Lovecraft’s command of language to create a unique aesthetic. The Tree is one such example, a short fable set in ancient Greece. One of the most interesting offerings is In the Walls of Eryx, which is pure science-fiction. Framed as the recordings of a field worker sent on a resource-gathering expedition on Venus, Lovecraft’s trademark psychological musing is again at work, only here the confounding device is of alien, rather than supernatural origin.
Because the stories in this collection focus mostly on the mental battles of the characters, and because only a few of the more well-known works are included, I wouldn’t necessarily recommend it as an introduction to Lovecraft. But for those familiar with his work, or who don’t mind taking a chance on some eldritch mystery, there is much here to incite the mind and imagination.