Man Who Collected Poe, The
Szerző: Robert Bloch • Év: 1951
During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, by automobile, through a singularly dreary tract of country, and at length found myself, as the shades of the evening drew on, within view of my destination.
I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with a feeling of utter confusion commingled with dismay. For it seemed to me as though I had visited this scene once before, or read of it, perhaps, in some frequently re-scanned tale. And yet assuredly it could not be, for only three days had passed since I had made the acquaintance of Launcelot Canning and received an invitation to visit him at his Maryland residence.
The circumstances under which I met Canning were simple; I happened to attend a bibliophilic meeting in Washington and was introduced to him by a mutual friend. Casual conversation gave place to absorbed and interested discussion when he discovered my preoccupation with works of fantasy. Upon learning that I was traveling upon a vacation with no set itinerary, Canning urged me to become his guest for a day and to examine, at my leisure, his unusual display of memorabilia.
“I feel, from our conversation, that we have much in common,” he told me. “For you see, sir, in my love of fantasy I bow to no man. It is a taste I have perhaps inherited from my father and from his father before him, together with their considerable acquisitions in the genre. No doubt you would be gratified with what I am prepared to show you, for in all due modesty, I beg to style myself the world’s leading collector of the works of Edgar Allan Poe.”
I confess that his invitation as such did not enthrall me, for I hold no brief for the literary hero-worshipper or the scholarly collector as a type. I own to a more than passing interest in the tales of Poe, but my interest does not extend to the point of ferreting out the exact date upon which Mr. Poe first decided to raise a mustache, nor would I be unduly intrigued by the opportunity to examine several hairs preserved from that hirsute appendage.
So it was rather the person and personality of Launcelot Canning himself which caused me to accept his proffered hospitality. For the man who proposed to become my host might have himself stepped from the pages of a Poe tale. His speech, as I have endeavored to indicate, was characterized by a courtly rodomontade so often exemplified in Poe’s heroes—and beyond certainty, his appearance bore out the resemblance.
Launcelot Canning had the cadaverousness of complexion, the large, liquid, luminous eye, the thin, curved lips, the delicately modeled nose, finely molded chin, and dark, web-like hair of a typical Poe protagonist.
It was this phenomenon which prompted my acceptance and led me to journey to his Maryland estate which, as I now perceived, in itself manifested a Poe-esque quality of its own, intrinsic in the images of the gray sedge, the ghastly tree-stems, and the vacant and eye-like windows of the mansion of gloom. All that was lacking was a tarn and a moat—and as I prepared to enter the dwelling I half-expected to encounter therein the carved ceiling, the somber tapestries, the ebon floors, and the phantasmagoric armorial trophies so vividly described by the author of Tales of the Grotesque and Arabesque.
Nor, upon entering Launcelot Canning’s home was I too greatly disappointed in my expectations. True to both the atmospheric quality of the decrepit mansion and to my own fanciful presentiments, the door was opened in response to my knock by a valet who conducted me, in silence, through dark and intricate passages to the study of his master.
The room in which I found myself was very large and lofty. The windows were long, narrow, and pointed, and at so vast a distance from the black oaken floor as to be altogether inaccessible from within. Feeble gleams of encrimsoned light made their way through the trellised panes, and served to render sufficiently distinct the more prominent objects around; the eye, however, struggled in vain to reach the remoter angles of the chamber or the recesses of the vaulted and fretted ceiling. Dark draperies hung upon the walls. The general furniture was profuse, comfortless, antique, and tattered. Many books and musical instruments lay scattered about, but failed to give any vitality to the scene.
Instead they rendered more distinct that peculiar quality of quasi-recollection; it was as though I found myself once again, after a protracted absence, in a familiar setting. I had read, I had imagined, I had dreamed, or I had actually beheld this setting before.
Upon my entrance, Launcelot Canning arose from a sofa on which he had been lying at full length, and greeted me with a vivacious warmth which had much in it, I at first thought, of an overdone cordiality.
Yet his tone, as he spoke of the object of my visit, of his earnest desire to see me, and of the solace he expected me to afford him in a mutual discussion of our interests, soon alleviated my initial misapprehension.
Launcelot Canning welcomed me with the rapt enthusiasm of the born collector—and I came to realize that he was indeed just that. For the Poe collection he shortly proposed to unveil before me was actually his birthright.
Initially, he disclosed, the nucleus of the present accumulation had begun with his grandfather, Christopher Canning, a respected merchant of Baltimore. Almost eighty years ago he had been one of the leading patrons of the arts in his community and as such was partially instrumental in arranging for the removal of Poe’s body to the southeastern corner of the Presbyterian Cemetery at Fayette and Green Streets, where a suitable monument might be erected. This event occurred in the year 1875, and it was a few years prior to that time that Canning laid the foundation of the Poe collection.
“Thanks to his zeal,” his grandson informed me, “I am today the fortunate possessor of a copy of virtually every existing specimen of Poe’s published works. If you will step over here”—and he led me to a remote corner of the vaulted study, past the dark draperies, to a bookshelf which rose remotely to the shadowy ceiling—“I shall be pleased to corroborate that claim. Here is a copy of Al Aaraaf, Tamerlane, and minor Poems in the eighteen twenty-nine edition, and here is the still earlier Tamerlane and other Poems of eighteen twenty-seven. The Boston edition, which, as you doubtless know, is valued today at fifteen thousand dollars. I can assure you that Grandfather Canning parted with no such sum in order to gain possession of this rarity.”
He displayed the volumes with an air of commingled pride and cupidity which is oft-times characteristic of the collector and is by no means to be confused with either literary snobbery or ordinary greed. Realizing this, I remained patient as he exhibited further treasures—copies of the Philadelphia Saturday Courier containing early tales, bound volumes of Southern Literary Messenger during the period of Poe’s editorship, Graham’s Magazine, editions of the New York Sun and the New York Mirror boasting, respectively of The Balloon Hoax and The Raven, and files of Burton’s Gentleman’s Magazine. Ascending a short library ladder, he handed down to me the Lea and Blanchard edition of Tales of the Grotesque and Arabesque, the Conchologist’s First Book, the Putnam Eureka, and, finally, the little paper booklet, published in 1843 and sold for 12½¢, entitled The Prose Romances of Edgar A. Poe; an insignificant trifle containing two tales which is valued by present-day collectors at $50,000.
Canning informed me of this last fact, and, indeed, kept up a running commentary upon each item he presented. There was no doubt but that he was a Poe scholar as well as a Poe collector, and his words informed tattered specimens of the Broadway Journal and Godey’s Lady’s Book with a singular fascination not necessarily inherent in the flimsy sheets or their contents.
“I owe a great debt to Grandfather Canning’s obsession,” he observed, descending the ladder and joining me before the bookshelves. “It is not altogether a breach of confidence to admit that his interest in Poe did reach the point of an obsession, and perhaps eventually of an absolute mania. The knowledge, alas, is public property, I fear.
“In the early seventies he built this house, and I am quite sure that you have been observant enough to note that it in itself is almost a replica of a typical Poe-esque mansion. This was his study, and it was here that he was wont to pore over the books, the letters, and the numerous mementoes of Poe’s life.
“What prompted a retired merchant to devote himself so fanatically to the pursuit of a hobby, I cannot say. Let it suffice that he virtually withdrew from the world and from all other normal interests. He conducted a voluminous and lengthy correspondence with aging men and women who had known Poe in their lifetime—made pilgrimages to Fordham, sent his agents to West Point, to England and Scotland, to virtually every locale in which Poe had set foot during his lifetime. He acquired letters and souvenirs as gifts, he bought them, and—I fear—stole them, if no other means of acquisition proved feasible.”
Launcelot Canning smiled and nodded. “Does all this sound strange to you? I confess that once I, too, found it almost incredible, a fragment of romance. Now, after years spent here, I have lost my own objectivity.”
“Yes, it is strange,” I replied. “But are you quite sure that there was not some obscure personal reason for your grandfather’s interest? Had he met Poe as a boy, or been closely associated with one of his friends? Was there, perhaps, a distant, undisclosed relationship?”
At the mention of the last word, Canning started visibly, and a tremor of agitation overspread his countenance.
“Ah!” he exclaimed. “There you voice my own inmost conviction. A relationship—assuredly there must have been one—I am morally, instinctively certain that Grandfather Canning felt or knew himself to be linked to Edgar Poe by ties of blood. Nothing else could account for his strong initial interest, his continuing defense of Poe in the literary controversies of the day, and his final melancholy lapse into a world of delusion and illusion.
“Yet he never voiced a statement or put an allegation upon paper—and I have searched the collection of letters in vain for the slightest clue.
“It is curious that you so promptly divine a suspicion held not only by myself but by my father. He was only a child at the time of my Grandfather Canning’s death, but the attendant circumstances left a profound impression upon his sensitive nature. Although he was immediately removed from this house to the home of his mother’s people in Baltimore, he lost no time in returning upon assuming his inheritance in early manhood.
“Fortunately being in possession of a considerable income, he was able to devote his entire lifetime to further research. The name of Arthur Canning is still well known in the world of literary criticism, but for some reason he preferred to pursue his scholarly examination of Poe’s career in privacy. I believe this preference was dictated by an inner sensibility; that he was endeavoring to unearth some information which would prove his father’s, his, and for that matter, my own, kinship to Edgar Poe.”
“You say your father was also a collector?” I prompted.
“A statement I am prepared to substantiate,” replied my host, as he led me to yet another corner of the shadow-shrouded study. “But first, if you would accept a glass of wine?”
He filled, not glasses, but veritable beakers from a large carafe, and we toasted one another in silent appreciation. It is perhaps unnecessary for me to observe that the wine was a fine old Amontillado.
“Now, then,” said Launcelot Canning. “My father’s special province in Poe research consisted of the accumulation and study of letters.”
Opening a series of large trays or drawers beneath the bookshelves, he drew out file after file of glassined folios, and for the space of the next half hour I examined Edgar Poe’s correspondence—letters to Henry Herring, to Doctor Snodgrass, Sarah Shelton, James P. Moss, Elizabeth Poe—missives to Mrs. Rockwood, Helen Whitman, Anne Lynch, John Pendleton Kennedy—notes to Mrs. Richmond, to John Allan, to Annie, to his brother, Henry—a profusion of documents, a veritable epistolary cornucopia.
During the course of my perusal my host took occasion to refill our beakers with wine, and the heady draught began to take effect—for we had not eaten, and I own I gave no thought to food, so absorbed was I in the yellowed pages illumining Poe’s past.
Here was wit, erudition, literary criticism; here were the muddled, maudlin outpourings of a mind gone in drink and despair; here was the draft of a projected story, the fragments of a poem; here were a pitiful cry for deliverance and a paean to living beauty; here were a dignified response to a dunning letter and an editorial pronunciamento to an admirer; here were love, hate, pride, anger, celestial serenity, abject penitence, authority, wonder, resolution, indecision, joy, and soul-sickening melancholia.
Here were the gifted elocutionist, the stammering drunkard, the adoring husband, the frantic lover, the proud editor, the indigent pauper, the grandiose dreamer, the shabby realist, the scientific inquirer, the gullible metaphysician, the dependent stepson, the free and untrammeled spirit, the hack, the poet, the enigma that was Edgar Allan Poe.
Again the beakers were filled and emptied.
I drank deeply with my lips, and with my eyes more deeply still.
For the first time the true enthusiasm of Launcelot Canning was communicated to my own sensibilities—I divined the eternal fascination found in a consideration of Poe the writer and Poe the man; he who wrote Tragedy, lived Tragedy, was Tragedy; he who penned Mystery, lived and died in Mystery, and who today looms on the literary scene as Mystery incarnate.
And Mystery Poe remained, despite Arthur Canning’s careful study of the letters. “My father learned nothing,” my host confided, “even though he assembled, as you see here, a collection to delight the heart of a Mabbott or a Quinn. So his search ranged further. By this time I was old enough to share both his interest and his inquiries. Come,” and he led me to an ornate chest which rested beneath the windows against the west wall of the study.
Kneeling, he unlocked the repository, and then drew forth, in rapid and marvelous succession, a series of objects each of which boasted of intimate connection with Poe’s life.
There were souvenirs of his youth and his schooling abroad—a book he had used during his sojourn at West Point—mementoes of his days as a theatrical critic in the form of play-bills, a pen used during his editorial period, a fan once owned by his girl-wife, Virginia, a brooch of Mrs. Clemm’s; a profusion of objects including such diverse articles as a cravat-stock and—curiously enough—Poe’s battered and tarnished flute.
Again we drank, and I own the wine was potent. Canning’s countenance remained cadaverously wan—but, moreover, there was a species of mad hilarity in his eye—an evident restrained hysteria in his whole demeanor. At length, from the scattered heap of curiosa, I happened to draw forth and examine a little box of no remarkable character, whereupon I was constrained to inquire its history and what part it had played in the life of Poe.
“In the life of Poe?” A visible tremor convulsed the features of my host, then rapidly passed in transformation to a grimace, a rictus of amusement, “This little box—and you will note how, by some fateful design or contrived coincidence it bears a resemblance to the box he himself conceived and described in his tale Berenice—this little box is concerned with his death, rather than his life. It is, in fact, the selfsame box my Grandfather Christopher Canning clutched to his bosom when they found him down there.”
Again the tremor, again the grimace. “But stay, I have not yet told you of the details. Perhaps you would be interested in seeing the spot where Christopher Canning was stricken; I have already told you of his madness, but I did not more than hint at the character of his delusions. You have been patient with me, and more than patient. Your understanding shall be rewarded, for I perceive you can be fully entrusted with the facts.”
What further revelations Canning was prepared to make I could not say, but his manner was such as to inspire a vague disquiet and trepidation in my breast.
Upon perceiving my unease he laughed shortly and laid a hand upon my shoulder. “Come, this should interest you as an aficionado of fantasy,” he said. “But first, another drink to speed our journey.”
He poured, we drank, and then he led the way from that vaulted chamber, down the silent halls, down the staircase, and into the lowest recesses of the building until we reached what resembled a donjon-keep, its floor and the interior of a long archway carefully sheathed in copper. We paused before a door of massive iron. Again I felt in the aspect of this scene an element evocative of recognition or recollection.
Canning’s intoxication was such that he misinterpreted, or chose to misinterpret, my reaction.
“You need not be afraid,” he assured me. “Nothing has happened down here since that day, almost seventy years ago, when his servants discovered him stretched out before this door, the little box clutched to his bosom; collapsed, and in a state of delirium from which he never emerged. For six months he lingered, a hopeless maniac—raving as wildly from the very moment of his discovery as at the moment he died—babbling his visions of the giant horse, the fissured house collapsing into the tarn, the black cat, the pit, the pendulum, the raven on the pallid bust, the beating heart, the pearly teeth, and the nearly liquid mass of loathsome—of detestable putridity from which a voice emanated.
“Nor was that all he babbled,” Canning confided, and here his voice sank to a whisper that reverberated through the copper-sheathed hall and against the iron door. “He hinted other things far worse than fantasy; of a ghastly reality surpassing all of the phantasms of Poe.
“For the first time my father and the servants learned the purpose of the room he had built beyond this iron door, and learned what Christopher Canning had done to establish his title as the world’s foremost collector of Poe.
“For he babbled again of Poe’s death, thirty years earlier, in eighteen forty-nine—of the burial in the Presbyterian Cemetery—and of the removal of the coffin in eighteen seventy-four to the corner where the monument was raised. As I told you, and as was known then, my grandfather had played a public part in instigating that removal. But now we learned of the private part—learned that there was a monument and a grave, but no coffin in the earth beneath Poe’s alleged resting place. The coffin now rested in the secret room at the end of this passage. That is why the room, the house itself, had been built.
“I tell you, he had stolen the body of Edgar Allan Poe—and as he shrieked aloud in his final madness, did not this indeed make him the greatest collector of Poe?
“His ultimate intent was never divined, but my father made one significant discovery—the little box clutched to Christopher Canning’s bosom contained a portion of the crumbled bones, the veritable dust that was all that remained of Poe’s corpse.”
My host shuddered and turned away. He led me back along that hall of horror, up the stairs, into the study. Silently, he filled our beakers and I drank as hastily, as deeply, as desperately as he.
“What could my father do? To own the truth was to create a public scandal. He chose instead to keep silence; to devote his own life to study in retirement.
“Naturally the shock affected him profoundly; to my knowledge he never entered the room beyond the iron door and, indeed, I did not know of the room or its contents until the hour of his death—and it was not until some years later that I myself found the key among his effects.
“But find the key I did, and the story was immediately and completely corroborated. Today I am the greatest collector of Poe—for he lies in the keep below, my eternal trophy!”
This time I poured the wine. As I did so, I noted for the first time the imminence of a storm; the impetuous fury of its gusts shaking the casements, and the echoes of its thunder rolling and rumbling down the time-corroded corridors of the old house.
The wild, overstrained vivacity with which my host hearkened, or apparently hearkened, to these sounds did nothing to reassure me—for his recent revelation led me to suspect his sanity.
That the body of Edgar Allan Poe had been stolen—that this mansion had been built to house it—that it was indeed enshrined in a crypt below—that grandsire, son, and grandson had dwelt here alone, apart, enslaved to a sepulchral secret—was beyond sane belief.
And yet, surrounded now by the night and the storm, in a setting torn from Poe’s own frenzied fancies, I could not be sure. Here the past was still alive, the very spirit of Poe’s tales breathed forth its corruption upon the scene.
As thunder boomed, Launcelot Canning took up Poe’s flute, and, whether in defiance of the storm without or as a mocking accompaniment, he played; blowing upon it with drunken persistence, with eery atonality, with nerve-shattering shrillness. To the shrieking of that infernal instrument the thunder added a braying counterpoint.
Uneasy, uncertain, and unnerved, I retreated into the shadows of the bookshelves at the farther end of the room, and idly scanned the titles of a row of ancient tomes. Here was the Chiromancy of Robert Flud, the Directorium Inquisitorum, a rare and curious book in quarto Gothic that was the manual of a forgotten church; and betwixt and between the volumes of pseudo-scientific inquiry, theological speculation, and sundry incunabula I found titles that arrested and appalled me. De Vermis Mysteriis and the Liber Eibon, treatises on demonology, on witchcraft, on sorcery mouldered in crumbling binding. The books were old, but the books were not dusty. They had been read—
“Read them?” It was as though Canning divined my inmost thoughts. He had put aside his flute and now approached me, tittering as though in continued drunken defiance of the storm. Odd echoes and boomings now sounded through the long halls of the house, and curious grating sounds threatened to drown out his words and his laughter.
“Read them?” said Canning. “I study them. Yes, I have gone beyond grandfather and father, too. It was I who procured the books that held the key, and it was I who found the key. A key more difficult to discover, and more important, than the key to the vaults below. I often wonder if Poe himself had access to these selfsame tomes, knew the selfsame secrets. The secrets of the grave and what lies beyond, and what can be summoned forth if one but holds the key.”
He stumbled away and returned with wine. “Drink,” he said. “Drink to the night and the storm.”
I brushed the proffered glass aside. “Enough,” I said. “I must be on my way.”
Was it fancy or did I find fear frozen on his features? Canning clutched my arm and cried, “No, stay with me! This is no night on which to be alone; I swear I cannot abide the thought of being alone, I can bear to be alone no more!”
His incoherent babble mingled with the thunder and the echoes; I drew back and confronted him. “Control yourself,” I counseled. “Confess that this is a hoax, an elaborate imposture arranged to please your fancy.”
“Hoax? Imposture? Stay, and I shall prove to you beyond all doubt”—and so saying, Launcelot Canning stooped and opened a small drawer set in the wall beneath and beside the bookshelves. “This should repay you for your interest in my story, and in Poe,” he murmured. “Know that you are the first, other person than myself, to glimpse these treasures.”
He handed me a sheaf of manuscripts on plain white paper; documents written in ink curiously similar to that I had noted while perusing Poe’s letters. Pages were clipped together in groups, and for a moment I scanned titles alone.
“The Worm of Midnight, by Edgar Poe,” I read, aloud. “The Crypt,” I breathed. And here, “The Further Adventures of Arthur Gordon Pym”—and in my agitation I came close to dropping the precious pages. “Are these what they appear to be—the unpublished tales of Poe?”
My host bowed.
“Unpublished, undiscovered, unknown, save to me—and to you.”
“But this cannot be,” I protested. “Surely there would have been a mention of them somewhere, in Poe’s own letters or those of his contemporaries. There would have been a clue, an indication, somewhere, someplace, somehow.”
Thunder mingled with my words, and thunder echoed in Canning’s shouted reply.
“You dare to presume an imposture? Then compare!” He stooped again and brought out a glassined folio of letters. “Here—is this not the veritable script of Edgar Poe? Look at the calligraphy of the letter, then at the manuscripts. Can you say they are not penned by the selfsame hand?”
I looked at the handwriting, wondered at the possibilities of a monomaniac’s forgery. Could Launcelot Canning, a victim of mental disorder, thus painstakingly simulate Poe’s hand?
“Read, then!” Canning screamed through the thunder. “Read, and dare to say that these tales were written by any other than Edgar Poe, whose genius defies the corruption of Time and the Conqueror Worm!”
I read but a line or two, holding the topmost manuscript close to eyes that strained beneath wavering candlelight; but even in the flickering illumination I noted that which told me the only, the incontestable truth. For the paper, the curiously unyellowed paper, bore a visible watermark; the name of a firm of well-known modern stationers, and the date—1949.
Putting the sheaf aside, I endeavored to compose myself as I moved away from Launcelot Canning. For now I knew the truth; knew that, one hundred years after Poe’s death a semblance of his spirit still lived in the distorted and disordered soul of Canning. Incarnation, reincarnation, call it what you will; Canning was, in his own irrational mind, Edgar Allan Poe.
Stifled and dull echoes of thunder from a remote portion of the mansion now commingled with the soundless seething of my own inner turmoil, as I turned and rashly addressed my host.
“Confess!” I cried. “Is it not true that you have written these tales, fancying yourself the embodiment of Poe? Is it not true that you suffer from a singular delusion born of solitude and everlasting brooding upon the past; that you have reached a stage characterized by the conviction that Poe still lives on in your own person?”
A strong shudder came over him and a sickly smile quivered about his lips as he replied. “Fool! I say to you that I have spoken the truth. Can you doubt the evidence of your senses? This house is real, the Poe collection exists, and the stories exist—they exist, I swear, as truly as the body lying in the crypt below!”
I took up the little box from the table and removed the lid. “Not so,” I answered. “You said your grandfather was found with this box clutched to his breast, before the door of the vault, and that it contained Poe’s dust. Yet you cannot escape the fact that the box is empty.” I faced him furiously. “Admit it, the story is a fabrication, a romance. Poe’s body does not lie beneath this house, nor are these his unpublished works, written during his lifetime and concealed.”
“True enough.” Canning’s smile was ghastly beyond belief. “The dust is gone because I took it and used it—because in the works of wizardry I found the formulae, the arcana whereby I could raise the flesh, re-create the body from the essential salts of the grave. Poe does not lie beneath this house—he lives! And the tales are his posthumous works!”
Accented by thunder, his words crashed against my consciousness.
“That was the end-all and the be-all of my planning, of my studies, of my work, of my life! To raise, by sorcery, the veritable spirit of Edgar Poe from the grave—reclothed and animate in flesh—set him to dwell and dream and do his work again in the private chambers I built in the vaults below—and this I have done! To steal a corpse is but a ghoulish prank; mine is the achievement of true genius!”
The distinct, hollow, metallic, and clangorous, yet apparently muffled reverberation accompanying his words caused him to turn in his seat and face the door of the study, so that I could not see the workings of his countenance—nor could he read my own reaction to his ravings.
His words came but faintly to my ears through the thunder that now shook the house in a relentless grip; the wind rattling the casements and flickering the candle-flame from the great silver candelabra sent a soaring sighing in an anguished accompaniment to his speech.
“I would show him to you, but I dare not; for he hates me as he hates life. I have locked him in the vault, alone, for the resurrected have no need of food nor drink. And he sits there, pen moving over paper, endlessly moving, endlessly pouring out the evil essence of all he guessed and hinted at in life and which he learned in death.
“Do you not see the tragic pity of my plight? I sought to raise his spirit from the dead, to give the world anew of his genius—and yet these tales, these works, are filled and fraught with a terror not to be endured. They cannot be shown to the world, he cannot be shown to the world; in bringing back the dead I have brought back the fruits of death!”
Echoes sounded anew as I moved towards the door—moved, I confess, to flee this accursed house and its accursed owner.
Canning clutched my hand, my arm, my shoulder. “You cannot go!” he shouted above the storm. “I spoke of his escaping, but did you not guess? Did you not hear it through the thunder—the grating of the door?”
I pushed him aside and he blundered backwards upsetting the candelabra, so that flames licked now across the carpeting.
“Wait!” he cried. “Have you not heard his footstep on the stair? Madman, I tell you that he now stands without the door!”
A rush of wind, a roar of flame, a shroud of smoke rose all about us. Throwing open the huge, antique panels to which Canning pointed, I staggered into the hall.
I speak of wind, of flame, of smoke—enough to obscure all vision. I speak of Canning’s screams, and of thunder loud enough to drown all sound. I speak of terror born of loathing and of desperation enough to shatter all my sanity.
Despite these things, I can never erase from my consciousness that which I beheld as I fled past the doorway and down the hall.
There without the doors there did stand a lofty and enshrouded figure; a figure all too familiar, with pallid features, high, domed forehead, mustache set above a mouth. My glimpse lasted but an instant, an instant during which the man—the corpse—the apparition—the hallucination, call it what you will—moved forward into the chamber and clasped Canning to his breast in an unbreakable embrace. Together, the two figures tottered toward the flames, which now rose to blot out vision forever more.
From that chamber, and from that mansion, I fled aghast. The storm was still abroad in all its wrath, and now fire came to claim the house of Canning for its own.
Suddenly there shot along the path before me a wild light, and I turned to see whence a gleam so unusual could have issued—but it was only the flames, rising in supernatural splendor to consume the mansion, and the secrets, of the man who collected Poe.
Clark Ashton Smith:
Hasisevő, avagy a Gonosz Apokalipszise, A
Robert E. Howard:
Harp of Alfred, The
Robert E. Howard:
Howard Phillips Lovecraft:
Ez az egyetlen történet Lovecraft részéről, amelyben jelentős szerepet kap a szörnyisten, Cthulhu. 1926 későnyarán, kora őszén íródhatott. A dokumentarista stílusban megírt történet nyomozója, Thurston, a szemita nyelvek egyetemi kutatója darabkáról darabkára rakja össze a rejtélyes kirakóst. A fiatal kutató egyre több tárgyi és írásos bizonyítékát leli a hírhedt Cthulhu-kultusz létezésének. A kultisták a Necronomicon szövege alapján a nagy szörnyisten eljövetelét várják. A történetek a megtestesült iszonyatról beszélnek, ami átrepült az űrön és letelepedett a Földön sok millió évvel ezelőtt. Most hosszú álmát alussza tengerborította városában: Ph’ngluimglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn, vagyis R'lyeh házában a tetszhalott Cthulhu álmodik. A Csendes-óceán déli részén néhány bátor tengerész megtalálta a várost és felébresztette a Nagy Öreget. Ennek hatására őrülethullám robogott végig a Földön, több ember lelte halálát ezekben az időkben. A találkozást csak egy tengerész élte túl, de ő is gyanús körülmények között halt meg. A fiatal kutató érzi, hogy ő is erre a sorsra juthat... A novellát nagy részben Lord Tennyson Kraken című költeménye inspirálta: Cthulhu is egy csápos, polipszerű szörny, egy alvó isten (ez a gondolat nagyban Lord Dunsany műveinek Lovecraftra gyakorolt hatásának köszönhető). S. T. Joshi felveti, hogy számottevő hatást váltott ki Lovecraftra Maupassant Horlája és Arthur Machen A fekete pecsét története című története is. Maga Lovecraft e történetet roppant középszerűnek, klisék halmazának titulálta. A Weird Tales szerkesztője, Farnsworth Wright először elutasította a közlését, és csak azután egyezett bele, hogy Lovecraft barátja, Donald Wandrei bebeszélte neki, hogy más magazinnál is érdeklődnek a sztori iránt.
Howard Phillips Lovecraft:
Őrület hegyei, Az; Hallucináció hegységei, A
Egy déli sarki kutatócsoport, köztük a narrátor, William Dyer a Miskatonic Egyetemről az Antarktiszra indul 1930/31 telén. A fagyott környezetben 14, a hideg által konzerválódott idegen lényre bukkannak. Miután a kutatók több csoportra oszlanak, és az egyikről nem érkezik hír, a megmaradt tagok felkeresik az eltűntek táborát, ahol szétmarcangolt emberi és állati maradványokat találnak - néhány idegen létformának pedig mindössze hűlt helyét... Legnagyobb döbbenetükre azonban a kutatás során feltárul előttük egy évmilliókkal régebben épített, hatalmas kőváros, amely a Nagy Öregek egykori lakóhelye lehetett. A kisregényt szokás Poe Arthur Gordon Pym című kisregényének folytatásaként tekinteni, az enigmatikus és meg nem magyarázott jelentésű kiáltás, a "Tekeli-li!" miatt. Eredetileg a Weird Talesbe szánta Lovecraft, de a szerkesztő túl hosszúnak találta, ezért öt éven át hevert a kisregény felhasználatlanul a fiókban. Az Astounding végül jelentősen megváltoztatva közölte a művet, több bekezdést (nagyjából ezer szót) kihagyott, a teljes, javított verzió először 1985-ben látott napvilágot.
Moon Pool, The
Amikor dr. David Throckmartin elmeséli egy csendes-óceáni civilizáció ősi romjain átélt hátborzongató élményeit, dr. Walter Goodwin, a regény narrátora azzal a meggyőződéssel hallgatja a hihetetlen történetet, hogy a nagy tudós valószínűleg megzavarodott. Azt állítja ugyanis, hogy feleségét és kutatócsoportjának több tagját magával vitte egy "fényjelenség", amely az úgynevezett Holdtóból emelkedik ki teliholdas éjszakákon. Amikor azonban Goodwin eleget tesz Throckmartin kérésének, és társaival a titokzatos szigetre utazik, fantasztikus, megdöbbentő kalandok sorozata veszi kezdetét.
keresés a korpuszban
Az alábbi keresővel az adatbázisban fellelhető irodalmi művek szövegeiben kutathat a megadott kifejezés(ek) után.