Writings in the United Amateur, 1915-1922 by H. P. Lovecraft (electric book reader .TXT) π
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Screamingly sentient, dumbly delirious, only the gods that were can tell. A sickened, sensitive shadow writhing in hands that are not hands, and whirled blindly past ghastly midnights of rotting creation, corpses of dead worlds with sores that were cities, charnel winds that brush the pallid stars and make them flicker low. Beyond the worlds vague ghosts of monstrous things; half-seen columns of unsanctified temples that rest on nameless rocks beneath space and reach up to dizzy vacua above the spheres of light and darkness. And through this revolving graveyard of the universe the muffled, maddening beating of drums, and thin, monotonous whine of blasphemous flutes from inconceivable, unlighted chambers beyond Time; the detestable pounding and piping whereunto dance slowly, awkwardly and absurdly the gigantic, tenebrous ultimate godsβthe blind, voiceless, mindless gargoyles whose soul is Nyarlathotep.
EditorialEditorial comment upon amateur journalism generally falls within one of two classes; complacent self-congratulation upon a mythical perfection, or hectic urging toward impossible achievements. It is our purpose this month to indulge in neither of these rhetorical recreations, but to make one very prosaic and practical appeal which springs solely from realistic observation.
This appeal concerns the official situation in the United. For several years our foes have reproached us for excessive centralisation of authority: asserting that the control of our society is anything from oligarchical to monarchial, and pointing to the large amount of influence wielded by a very few leaders. Denials on our part, prompted by the conspicuous absence of any dictatorial ambitions in the minds of our executives, have been largely nullified by the fact that while power has not been autocratically usurped and arbitrarily exercised, the burden of administrative work has certainly been thrust by common consent on a small number of reluctant though loyal shoulders. A few persons have been forced to retain authority because no others have arisen to relieve them of their burdens, until official nominations have come to mean no more than a campaign by one or two active spirits to persuade certain patient drudges to "carry on" another year. Nor does the formal official situation reflect all of the prevailing condition. Much of the Association's most important activity, such as recruiting, welcoming and criticism, verges into the field of unorganised effort; and here the tendency to leave everything to a narrow group is overwhelming.
Obviously, this condition demands a remedy; and that remedy lies in one direction onlyβan acceptance of potential official responsibility by all of those members who possess the time and experience to act as leaders. As the fiscal year progresses, the season for candidacies draws near; and amateurs who feel competent to sustain their share of the administrative burden should come forward as nominees, or at least should respond when approached by their friends. That office-holding involves tedious work, all admit, but this tedium is a small enough price to pay for the varied boons of amateurdom. In unofficial labour an equal willingness should be shown. Why is it that all the private revision in the United is performed by about three men at most, despite the presence in our ranks of a full score of scholars abundantly capable of rendering such service? If the literati as a whole will not awaken to the needs of the day, one of two things will occur. The United will stagnate quietly under the perpetual dictatorship of a limited group of unwilling but benevolent autocrats, or it will succumb to the onslaught of some political clique of vigorous barbarians who will destroy in a month what it has taken the United over ten years to build up. Memories of 1919 should prove to us the reality of such a danger of sudden relapse.
Our appeal, then, is for responsible candidates for high office, and for volunteers in the work of maintaining interest and lending literary aid. We know that executive energy and enthusiasm tend to be more abundant in the Goth than in the Greek; that those best qualified to serve are generally least moved by political ambition. But we are sure that the needs of our society should arouse enough sense of duty among its cultivated membership to draw to the front a new generation of leaders. We ask for new presidential and editorial candidates who are prepared to serve faithfully and independently if elected; for new critics and recruiters who understand our traditions and are willing to expend energy in upholding and diffusing them. Shall 1921 bring them to light?
Agnes R. Arnold, Elizabeth Barnhart,
Grace M. Bromley, Mary Faye Durr,
Alice M. Hamlet, Hester Harper. Total on hand, November 6, 1920 $82.25
The doubling of printing rates makes large contributions imperative if the Organ is to approach its customary standard. Acknowledgments are due the Woodbee Press Club for its exceedingly generous contribution, and ex-Editor Renshaw for the mailing of an appeal which has proved most effective in the campaign for funds. Emulation of the Woodbees' generosity by other clubs would save a situation which is very threatening.
Custodian. THE UNITED AMATEUR JANUARY 1921 OFFICIAL ORGAN FUND
Custodian. THE UNITED AMATEUR MARCH 1921 Winifred Virginia Jackson: A "Different" Poetess H. P. Lovecraft
In these days of unrestrained license in poetry, it would at first sight seem difficult to single out any one bard as the possessor of ideas and modes of expression so unique and original that the overworked adjective "different" is merited. Every poetaster of the modern school claims to be "different," and bases his claim to celebrity upon this "difference"; an effect usually achieved by the adoption of a harsh, amorphous style, and a tone of analytical, introspective subjectivity so individual that all the common and universal elements of beauty and poetry are excluded. Indeed, eccentricity has come so completely into fashion, that he who follows up the wildest vagaries is actually the least different from the hectic scribbling throng about him.
But notwithstanding this malady of the times, there does remain among us an ample field for genius and artistic distinctiveness. The laws of human thought are unchangeable, and whenever there is born a soul attuned to real harmony, and inspired by that rare sensitiveness which enables it to feel and express the latent beauty and hidden relationships of Nature, the world receives a new poet. Such an one will of necessity break through the decadent customs of the period; and falling back to the forms of true melody, sing a spontaneous song which can not help being original, because it represents the unforced reaction of a keen and delicate mind to the panorama of life. And when this reaction is enabled to bring out in the simplest and most beautiful style fancies and images which the world has not received or noted before, we are justified in claiming that the bard is "different."
Such a bard is Winifred Virginia Jackson, whose poetry has for six years been the pride of the United Amateur Press Association. Born in Maine, and through childhood accustomed to the mystical spell of the ancient New-England countryside, Miss Jackson for a long period quietly and unconsciously absorbed a prodigious store of beauty and phantasy from life. Having no design to become a poet, she accepted these ethereal gifts as a matter of course; until about a decade ago they manifested themselves in a burst of spontaneous melody which can best be described as a sheer overflowing of delightful dreams and pictures from a mind filled to the brim with poetic loveliness. Since that time Miss Jackson has written vast quantities of verse; always rich and musical, and if one may speak in paradox, always artless with supreme art. None of these poems is in any sense premeditated or consciously composed; they are more like visions of the fancy, instantaneously photographed for the perception of others, and unerringly framed in the most appropriate metrical medium.
When we peruse the poetry of Miss Jackson we are impressed first by its amazing variety, and almost as quickly by a certain distinctive quality which gives all the varied specimens a kind of homogeneity. As we analyse our impressions, we find that both of these qualities have a common sourceβthe complete objectivity and almost magical imagination of supreme genius. Objectivity and imagination, the gifts of the epic bards of classical antiquity, are today the rarest of blessings. We live in an age of morbid emotion and introspectiveness; wherein the poets, such as they are, have sunk to the level of mere pathologists engaged in the dissection of their own ultra-sophisticated spirits. The fresh touch of Nature is lost to the majority, and rhymesters rant endlessly and realistically about the relation of man to his fellows and to himself; overlooking the real foundations of art and beautyβwonder, and man's relation to the unknown cosmos. But Miss Jackson is not of the majority, and has not overlooked these things. In her the ancient and unspoiled bard is refulgently reincarnated; and with an amazing universality and freedom from self-consciousness she suppresses the ego completely, delineating Nature's diverse moods and aspects with an impersonal fidelity and delicacy which form the delight of the discriminating reader, and the despair of the stupid critic who works by rule and formula rather than by brain. There is no medium which the spirit of Miss Jackson can not inhabit. The same mind which reflects the daintiest and most gorgeous phantasies of the faery world, or furnishes the most finely wrought pictures or refined pathos and sentiment, can abruptly take up its abode in some remote Maine timber region and pour out such a wild, virile chantey of the woods and the river that we seem to glimpse the singer as the huskiest of a tangle-bearded, fight-scarred, loud-shouting logging crew sprawling about a pine campfire.
A critic has grouped the poetical work of Miss Jackson into six classes: Lyrics of ideal beauty, including delightful Nature-poems replete with local colour; delicate amatory lyrics; rural dialect lyrics and vigorous colloquial pieces; poems of sparkling optimism; child verse; and poems of potent terror and dark suggestion. "With her," he adds, "sordid realism has no place; and her poems glow with a subtle touch of the fanciful and the supernatural which is well sustained by tasteful and unusual word-combinations, images, and onomatopoetic effects." This estimate is confirmed by the latest productions of the poetess, as we shall endeavour to show by certain specimens lately published or about to be published, selected almost at random:
"The Bonnet" is a characteristic bit
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