American supernatural tales

Introduction

The supernatural in literature can be said to have its roots in the earliest specimens of Western literature, if we take cognizance of such monsters as the Cyclops, the Hydra, Circe, Cerberus, and others in Greek myth. There is, however, a question as to whether, prior to a few centuries ago, such entities would have been regarded as properly supernatural; for a given creature or event to be regarded as supernatural, one must have a clearly defined conception of the natural, from which the supernatural can be regarded as an aberration or departure. In Western culture, the parameters of the natural have been increasingly delimited by science, and it is therefore not surprising that the supernatural, as a distinct literary genre, first emerged in the eighteenth century, when scientific advance had reached a stage where certain phenomena could be recognized as manifestly beyond the bounds of the natural. H. P. Lovecraft, one of the leading theoreticians of the genre as well as one of its pioneering practitioners, emphasized this point somewhat flamboyantly in his essay “Supernatural Horror in Literature” (1927):

The true weird tale has something more than secret murder, bloody bones, or a sheeted form clanking chains according to rule. A certain atmosphere of breathless and unexplainable dread of outer, unknown forces must be present; and there must be a hint, expressed with a seriousness and portentousness becoming its subject, of that most terrible conception of the human brain—a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daemons of unplumbed space.

What this means is that the supernatural tale, while adhering to the strictest canons of mimetic realism, must have its emotional and aesthetic focus upon the chosen avenue of departure from the natural—whether it be a creature such as the vampire, the ghost, or the werewolf, or a series of events such as might occur in a haunted house. If all the events of a tale are set in an imaginary realm, then we have crossed over into fantasy, because the contrast between the natural and the supernatural does not come into play. Conversely, the supernatural tale must be clearly distinguished from the tale of psychological horror, where the horror is generated by witnessing the aberrations of a diseased mind. Lovecraft, in discussing William Faulkner’s tale of necrophilia, “A Rose for Emily” (1930), made clear this distinction, also pointing out the degree to which the supernatural tale is tied to developments in the sciences:

Manifestly, this is a dark and horrible thing which could happen, whereas the crux of a weird tale is something which could not possibly happen. If any unexpected advance of physics, chemistry, or biology were to indicate the possibility of any phenomena related by the weird tale, that particular set of phenomena would cease to be weird in the ultimate sense because it would become surrounded by a different set of emotions. It would no longer represent imaginative liberation, because it would no longer indicate a suspension or violation of the natural laws against whose universal dominance our fancies rebel. (Letter to August Derleth, November 20, 1931)

Given the fact that the commencement of supernatural literature in the West is canonically dated to the publication of Horace Walpole’s The Castle of Otranto (1764), there is no intrinsic reason why Americans need feel any inferiority to Europe in regard to their contributions to the form; for it was just at this time that American literature was itself beginning to declare its own aesthetic independence from that of Great Britain. And yet, less than half