| The | Shunned House |
By H. P. LOVECRAFT
A posthumous story of immense power, written by a master of weird fiction—a tale of a revolting horror in the cellar of an old house in New England
From even the greatest of horrors irony is seldom absent. Sometimes it enters directly into the composition of the events, while sometimes it relates only to their fortuitous position among persons and places. The latter sort is splendidly exemplified by a case in the ancient city of Providence, where in the late forties Edgar Allan Poe used to sojourn often during his unsuccessful wooing of the gifted poetess, Mrs. Whitman. Poe generally stopped at the Mansion House in Benefit Street—the renamed Golden Ball Inn whose roof has sheltered Washington, Jefferson, and Lafayette—and his favorite walk led northward along the same street to Mrs. Whitman's home and the neighboring hillside churchyard of St. John's, whose hidden expanse of Eighteenth Century gravestones had for him a peculiar fascination.
| • Howard Phillips Lovecraft died last March, at the height of his career. Though only forty-six years of age, he had built up an international reputation by the artistry and impeccable literary craftsmanship of his weird tales; and he was regarded on both sides of the Atlantic as probably the greatest contemporary master of weird fiction. His ability to create and sustain a mood of brooding dread and unnamable horror is nowhere better shown than in the posthumous tale presented here: "The Shunned House." |
Now the irony is this. In this walk, so many times repeated, the world's greatest master of the terrible and the bizarre was obliged to pass a particular house on the eastern side of the street; a dingy, antiquated structure perched on the abruptly rising side hill, with a great unkempt yard dating from a time when the region was partly open country. It does not appear that he ever wrote or spoke of it, nor is there any evidence that he even noticed it. And yet that house, to the two persons in possession of certain information, equals or outranks in horror the wildest fantasy of the genius who so often passed it unknowingly, and stands starkly leering as a symbol of all that is unutterably hideous.
The house was—and for that matter still is—of a kind to attract the attention of the curious. Originally a farm or semi-farm building, it followed the average New England colonial lines of the middle Eighteenth Century—the prosperous peaked-roof sort, with two stories and dormerless attic, and with the Georgian doorway and interior panelling dictated by the progress of taste at that time. It faced south, with one gable end buried to the lower windows in the eastward rising hill, and the other exposed to the foundations toward the street. Its construction, over a century and a half ago, had followed the grading and straighten-
