Tag Archives: H.P. Lovecraft

Impressions of “The Mind Parasites” by Colin Wilson

The Mind Parasites is an odd book. Its an easy to read book whose narrative breaks down, and whose bizarre ending makes you think the author began taking mescalin half way through the composition. It’s a very clever Lovecraft homage. Its philosophy is terrifying.

First, to the writing style and story. I’d called The Mind Parasites a combination of The Third Policeman, by Brian O’Nolan, and A Colder War, by Charles Stross. Like The Third Police Man, it is a straightforward narrative that is presented as if it is an academic work from the future. The narrator, one of the characters in the Mind Parasites, is himself the object of study, so for example

You can see that it is all a problem of language. I am being forced to make do with one or two words when I need about fifty. It is not quite analogous to describing colours to a blind man, because no human being is entirely “blind”; we all have glimpses of freedom. But freedom has as many colours as the spectrum.

is footnoted with

The above passage comes from a manuscript written in 2005. (M.F.: WHA-3271). We have included it for the sake of continuity. This whole problem is covered in minute detail in Austin’s monumental Life, Being and Language (2025-2041), particular Vol. 8, chaps 7-9.

And The Mind Parasites is like A Colder War because it presents the Cthulhu Mythos as real. As the story begins, Unknown Kadath is discovered, buried in Turkey. Inscriptions to The Great Old Ones are found, “impossibly” old. And being the real world, the media overreacts. There’s a greatest archaeological discovery every, ever generation or so. And in that sense complaining about an implausible ending perhaps is unfair — I recall how A Colder War ended!

But the best part of “The Mind Parasites” the parasites themselves. It’s the most plausible modern presentation of demonology I’ve encountered. It is as vivid a depiction of the demonic influence as Evangelion Neon Genesis is to angels, or The Great Divorce is to purgatory.

A “mind parasite” is a non-physical creature that obtains energy by eating your thoughts. It replaces some thought or pattern of thought about a person, an action, or a thing with its own. For instance, it may replace a calculated desire for money with greed, or a desire to do more with sloth. The most evolutionary effective parasites are those that leave their hosts alive and in good health. The most successful mind parasite – the most effective demon — are those that would leave the soul in the highest level of purgatory, with the greatest access to the refrigerium.

The mind is considered to be a biological machine, which works around these parasites, and can even incorporate them into its own mechanisms. So the mind of the greedy man, in the example above, might incorporate this greed, using it to other virtues while embedded the parasite in a protective callous, limiting it influence to the business world. Yet while this preserves high mental functioning, it makes the mind parasite more difficult to extract later. Medical doctors use intersecting beams of radiation and chemical treatments to remove such embedded illnesses. God uses fire.

In the worst cases the mind parasites completely colonizes the mind, leaving the victim a zombie of shambling parasitical thought and behaviors. In The Great Divorce, a guide tells the narrator there is hope for a quarrelsome woman, if she is still a murmurer, and not just a murmur. There is hope for any mind infested by parasites, as long as there is a non-parasitical portion of the mind left.

I read The Mind Parasites in the Kindle edition.

Impressions of “Dissecting Cthulhu: Essays on the Cthulhu Mythos,” edited by S.T. Joshi

I purchased this volume to read one piece recommended to me by a friend: “Higher Criticism and the Necronomicon,” by Robert M. Price. We had been talking about the higher criticism of the Koran,” and the subject of Arab poets receiving visions naturally came up. But while “Higher Criticism” is the stand-out piece, the soul of the book is its editing, as several strands of Lovecraft criticism comment on each other, and a few are notable by their missingness.

Before reading this volume, I did not realize the deep gulf that existed in interpreting the Cthulhy Mythos. H.P. Lovecraft (1890 – 1937) was a pioneering horror writer whose writings have been an influence across the American horror spectrum, from Stephen King to Thomas Ligotti. In the same way that some Catholics and Protestants can loudly disagree after reading “The Letter to the Romans,” Lovecraft scholars (including the aforementioned Biblical scholar, Robert M. Price) disagree as to the heart of Lovecraft. Multiple pieces emphasize this passage as the hermetical key to his writings,

“Now all my tales are based on the fundamental premise that common human laws and interests and emotions have no validity or significance in the vast cosmos-at-large…. To achieve the essence of real externality, whether of time or space or dimension, one must forget that such things as organic life, good and evil, love and hate, and all such local attributes of a negligible and temporary race called mankind, have any existence at all.”
Selected Letters, Volume II: 1925-1929

while Lovecraft’s popularizer, August Derleth (1909-1971), often cited a qutoation based on the following line

Having formed a cosmos pantheon, it remains for the fantaiste to link this “outside” element to the earth in a suitably dramatic & convincing fashion. This, I have thought, is bets done through glancing allusions to immemorially ancient cults & idols & documents attesting the recognition fot he “outside” forces by men — or by those terrestrial entities which preceded man. The actual climaxes of tales based on such elements naturally have to do with sudden latter-day intrusions of forgotten elder fores on the placid surface of the known — either active intrusions, or revelations caused by the feverish & presumptuous probing of men into the unknown.
Selected Letters, Volume IV: 1932-1934

One paints a cosmos bleakness like that of Ligotti’s fictions, while the second is much closer to King’s fictional universes.

But beyond this axis, one can view the Lovecraft mythos as essentially romantic. This is the feeling that I was evoking in my now old post, A City of Lovecraftian Dreams. Two other lines, I think, might also be included, but they are beyond the debate of Dissecting Cthulhu. The passages that I remember most, that for me would form the basis of criticism, are

Remote in the desert of Araby lies the nameless city, crumbling and inarticulate, its low walls nearly hidden by the sands of uncounted ages. It must have been thus before the first stones of Memphis were laid, and while the bricks of Babylon were yet unbaked. There is no legend so old as to give it a name, or to recall that it was ever alive; but it is told of in whispers around campfires and muttered about by grandams in the tents of sheiks so that all the tribes shun it without wholly knowing why. It was of this place that Abdul Alhazred the mad poet dreamed of the night before he sang his unexplained couplet:

That is not dead which can eternal lie,
And with strange aeons even death may die.
The Nameless City (1921)

Lovecraft’s world to me extended from that cosmos perspective, that death itself will face the second death, to the world of love and adventure. I can’t be the only one to think that “Old Man Marsh” has the most interesting life of any of Lovecraft’s characters

That refinery, though, used to be a big thing, and Old Man Marsh, who owns it, must be richer’n Croesus. Queer old duck, though, and sticks mighty close in his home. He’s supposed to have developed some skin disease or deformity late in life that makes him keep out of sight. Grandson of Captain Obed Marsh, who founded the business. His mother seems to’ve ben some kind of foreigner—they say a South Sea islander—so everybody raised Cain when he married an Ipswich girl fifty years ago. They always do that about Innsmouth people, and folks here and hereabouts always try to cover up any Innsmouth blood they have in ’em. But Marsh’s children and grandchildren look just like anyone else so far’s I can see. I’ve had ’em pointed out to me here—though, come to think of it, the elder children don’t seem to be around lately. Never saw the old man.
The Shadow Over Innsmouth (1931)

Dissecting Cthulhu is tilted toward the reading the first of these four passage as the essential Lovecraft. You’ll notice that I’m not describing the individual pieces in this book much. That’s because Dissecting Cthulhu transcends its constituent parts. The pieces are primarily rhetoric or strident academic argument. But editor S.T. Joshi’s accomplishment here is to show the reader that such debate exists, adn force for the reader to ponder for himself the meaning of these books many of us first read long ago.

The second best piece in the collection, “Toward a Reader-Response Approach to the Lovecraft Mythos,” concludes with a comment from the audience and an old World Fantasy Convention discussion. I’ll conclude with it as well

“I think that’s the magic of Lovecraft. I can still remember reading the first story; I didn’t understand who the creatures were, and the names were strange to me, but that’s what made it exciting.”

tdaxp storms New England

Before this week, I had visited only one state in New England — the ancient land of my paternal ancestors. But now, 3 of 6 states have fallen to the tdaxp March of Remembrance

tdaxp ri ma

First, I visited the grave of my cousin, H.P. Lovecraft, in Providence. The cemetery that contains many generations of my family is about 25 miles from the town that inspired Innsmouth — and my great-great grandfather sailed to the East Indies, much like old man Marsh….

hpl grave

Of course, Lovecraft wrote of giant indifferent gods and human sacrifice… hopefully nothing like that ever bothered tdaxp’s lineage…

cthulhu sacrifice

To get my mind off that, I next went to Pawtucket, real-life suburb of Providence and fictional home to the Pawtucket Brewery, from Family Guy. But the town is nearly dry, with beer not sold in gas stations!

Certainly Massachusettes did little to calm my nerves — but — those crazy elusive angles

mit_stat_center

But all too soon the trip ended, and we left by water taxi from Boston to the airport. Bye bye New England!

boston ma from water taxi

Trailer for Shadow over Innsmouth movie

I’ve always thought that H.P. Lovecraft’s classic, “The Shadow over Innsmouth,” is best when understood from the perspective of the high-functioning members of the Marsh family. As a survival horror, Innsmouth is not too original. As a tragedy of a family in decline, it’s first rate.

Now comes “Cthulhu,” a modern retelling of Shadow, from the perspective of the Marsh family, set in the Pacific Northwest. Fascinatingly, the homosexual subpolot appears not only to be well interwoven, but adds another layer of symbolism to the Innsmouth cycle.

“Family is family. We’ll take you back.”