Reading Lovecraft well sometimes requires patience, or more precisely, appreciation for stories in which nothing happens. "The Dream-Quest of Unknown Kadath" is a primary example, where the protagonist serves almost exclusively as a vehicle for the reader to traverse the worlds which Lovecraft has constructed. These include the earthly realm, the dream world, the heavens and even the surface of the moon. What one might be tempted to identify as action, with squadrons of ghoul-carrying nightgaunts battling the minions of Nyarlathotep, presents itself always as secondary to the descriptive characterization of the environs in which the events take place. Gamers will recognize the similarity to an open-world role-playing game (RPG) where the player is free to roam, with rewards granted through exploration and where quest completion is entirely optional.
And then the plot-heavy "The Case of Charles Dexter Ward” follows in this second volume of Lovecraft’s collected stories. This tale of necromancy and its impact on multiple generations of the Ward family weaves together the lives of Joseph Curwen, a 17th-century slave trader, his great-great-great grandson, Charles, and contemporaries of both eras. This page-turner is unlike anything I’d read previously in Volumes 1 or 2, and its “whodunnit” style couldn’t place it any farther from the meandering “Kadath." To extend the RPG reference further, the necromantic sorcery, monster-raising and magical formulae make “Ward” the perfect source for a new action-heavy Xbox release, where character creation is forefront with fighting style options heavily skewed in favor of the wizard classes. I really want to play this game!
Genres pivot from fantasy to science fiction with “The Colour Out of Space,” a story which surely influenced Stephen King’s “The Lonesome Death of Jordy Verrill.” Early twentieth-century yokels can be forgiven for not giving wide berth to fallen meteorites, but surely today’s 21st-century sophisticates will be shouting at their Kindles to warn the Gardner family to stay the hell away. They never listen.
Lovecraft’s writing can clearly be seen to improve in this volume over that of Volume 1. He really seems to have hit his stride by the mid-1920s, and I dare say his profusion of prose at times begins to illuminate his intentions rather than conceal them. His broader themes and dreamscapes have survived for good reason, and I look forward to reading Volumes 3 and 4.