This is my first essay on H. P. Lovecraft and it is also the first publication to feature my definition of wonder.

Howard Phillips Lovecraft’s work of fiction can roughly be grouped into three distinct categories, each evoking a singular extraordinary state of mind. Poe-inspired tales of the macabre such as “The Tomb” (1917) and “The Statement of Randolph Carter” (1919) produce terror because of the atmosphere they convey and because of the particular end the main characters meet. Lovecraft’s later “Yog-Sothothery” or work in the Cthulhu Mythos tradition, including his signature pieces of weird fiction “The Call of Cthulhu” (1926) and “The Shadow over Innsmouth” (1931), inspires ‘horror’ because the life-worlds of the protagonists in these stories are utterly destroyed.

However, the gentleman of Providence is also known for a different sort of fiction. His Dunsanian tales counting among them short stories such as “The White Ship” (1919), “Celephaïs” (1920), and the three works “The Silver Key” (1926), The Dream-Quest of Unknown Kadath (1926–27), and “Through the Gates of the Silver Key” (1932–33; with E. Hoffmann Price), centered on the exploits of Lovecraft’s recurring character and alter ego Randolph Carter are epitomes to this feat. These prehistoric or dreamland tales do not inspire ‘terror’ or ‘horror’; rather, they predominately seek to evoke the extraordinary state of mind called ‘wonder.’

This article offers a preliminary exploration of Lovecraft’s relationship with wonder, highlights what wonder is, how Lovecraft was exposed to wonder at an early age, and argues that he developed a lifelong positive relationship with this particular state of mind.

SECTIONS:
Introduction
What is Wonder?
Early Exposure to Wonder
Lifelong Wonder
Wonder-Loving Grandmothers and Lovecraft
Summary