Disenchantment with Modernity: Tolkien, Lovecraft, & G.H. Dorr, Ph.D.

At the Mythopoeic Society conference I attended last weekend, the Inklings—and it seemed Tolkien especially—were naturally first and foremost in the attendees’ thoughts, writings, and conversation. But at least once or twice, perhaps largely at my instigation, the name of H.P. Lovecraft was also mentioned. In a paper I heard on the to me previously unknown works of our Author Guest of Honour, Tim Powers, a plot description at one point reminded me slightly of Lovecraft’s masterpiece, ‘The Call of Cthulhu’. When I ventured later to ask the author himself about this, receiving confirmation of the accuracy of my ‘Lovecraft antennae’, I also asked his opinion whether Powers thought that Charles Williams might have been able to convert the notorious atheist Lovecraft to Christianity. An affirmative reply led to more discussion later in the evening.

At any rate, all of this is merely to preface an extraordinary discovery I made just today. Amy Sturgis, whose name I thought I recalled coming across at MythCon and who edited the book Past Watchful Dragons: Fantasy & Faith in the World of C.S. Lewis, published by The Mythopoeic Press, has a fascinating article on her website entitled, ‘The New Shoggoth Chic: Why H.P. Lovecraft Now?’. [1] Although it does not mention him in the title, Tolkien is also a major subject of the article, which is essentially a comparison and contrasting of the two authors.

To get to the point, the most interesting point of comparison to me was the basically anti-modern posture they shared. Sturgis writes:

Modernity, that nebulous and abstract force of the dawning 20th century, meant various things to Lovecraft and Tolkien at different times in their lives. One thing remained constant: both were against it. To Lovecraft, modernity primarily meant entropy, the gradual decay of time-honored habits, traditions, and even people into confusion and decrepitude. . . . His racial and nationalistic assumptions fueled his disgust with the way in which industrialization and urbanization threw unlike people together in the most squalid conditions, ensuring (to his mind at least) that their most negative traits would come to the fore. He found an example of his worst fears realized when he lived, for a short time only, in New York City.

On this subject, Sturgis then quotes the semi-autobiographical story ‘He’:

But success and happiness were not to be. Garish daylight showed only squalor and alienage and the noxious elephantiasis of climbing, spreading stone where the moon had hinted of loveliness and elder magic; and the throngs of people that seethed through the flumelike streets were squat, swarthy strangers with hardened faces and narrow eyes, shrewd strangers without dreams and without kinship to the scenes around them, who could never mean aught to a blue-eyed man of the old folk, with the love of fair green lanes and white New England village steeples in his heart. [2]

Sturgis then comments:

Though charged with what we today would call racism and xenophobia, Lovecraft’s description implies more than simple fear or dislike of the Other: these others are overcrowded, literally ‘teeming’, unattached to their setting or community, isolated and atomistic, uncommunicative and ‘hardened’. Lovecraft contrasted such scenes with his native Providence, Rhode Island, where generations remained in the same place and were known by their family name and traits, and where the community as a whole tended to share what Augustine called ‘loved things held in common’. [3] Lovecraft feared a humanity cut adrift from such grounding tradition and identity, left vulnerable to outside forces of superior power and unwholesome design.

For Tolkien, modernity primarily meant technology—‘The Machine’, as he called it—and its triumph at the expense of nature. Where Lovecraft idealized his hometown of Providence, Tolkien revered the English countryside, and believed the growth of cities and factories to be a direct threat to its survival. By creating the fictional Shire and the Hobbits who populate it, Tolkien praised the rural values of decentralization, artisanship, stability, and familiarity over the urban qualities of centralization, mass production, disposability, and anonymity.

Sturgis then quotes ‘On Fairy-Stories’, calling it ‘as anti-modern’ as Lovecraft:

Not long ago—incredible though it may seem—I heard a clerk at Oxenford declare that he ‘welcomed’ the proximity of mass-production robot factories, and the roar of self-obstructive mechanical traffic, because it brought his university into ‘contact with real life.’ He may have meant that the way men were living in the twentieth century was increasing in barbarity at an alarming rate, and that the loud demonstration of this in the streets of Oxford might serve as a warning that it is not possible to preserve for long an oasis of sanity in a desert of unreason by mere fences, without actual offensive action (practical and intellectual). I fear he did not. [4]

Sturgis continues:

Both authors’ anti-modernism, as well as other intellectual ideas and personal traits, led them to feel out of place in a world of tremendous change and upheaval, economic depression and world war. For his part, H.P. Lovecraft felt himself to be an old man in a young man’s body, and, to use his words from ‘The Outsider’, ‘a stranger in this century’. Tolkien’s similar certainty that he was not at home came as much from his religious perspective as his disgust with all things ‘progressive’. . . .

. . .

It would be a mistake to assume that the two men were similar only in their dislikes and disappointments. Although they looked to the future with no little trepidation, they looked to the past with real fascination and affection. Lovecraft and Tolkien shared a fervent kind of antiquarianism. Lovecraft’s self-confessed ‘love of the ancient and permanent’ can best be seen in his absorption with and knowledge of early American architecture, which he used to great effect in his precise and evocative descriptions. . . . Tolkien nurtured his own love of ancient texts and national epics from Beowulf and the Kalevala to the Icelandic Eddas and family sagas. He studied the original languages of the stories and incorporated ingredients of the tales into his own work. . . .

In short, both Lovecraft and Tolkien were on a quest for something permanent, meaningful, and binding in a changing modern world, fueled by a desire for identity and community in a time in which they felt displaced and marginalized, and a thirst for structure and civilization in the face of what they saw as entropy and barbarism. Paradoxically, these concerns, while isolating each author to a certain degree, also made Lovecraft and Tolkien exemplars of their age, men of remarkable insight and sensitivity who articulated the concerns of an entire era with unusual eloquence and urgency.

Reading these comments today, I am also curiously reminded of Tom Hanks’s charactre in the Coen Brothers remake of The Ladykillers: the Southern dandy, Goldthwaite Higginson Dorr, Ph.D. One evening, Dorr’s black landlady, Mrs Munson, says to him, ‘You are a readin’ fool, aren’t you, Mr Dorr?’ Dorr responds:

Yes, I must confess I often find myself more at home in these ancient volumes than I do in the hustle-bustle of the modern world. To me, paradoxically, the literature of the so-called ‘dead tongues’ holds more currency than this morning’s newspaper. In these books, in these volumes, there is the accumulated wisdom of mankind which succours me when the day is hard and the night lonely and long.

Things take a closer turn toward the Lovecraftian when Mrs Munson remarks, ‘Wisdom of mankind, huh? What about the wisdom of the Lord?’, and Dorr replies:

Oh yes, the ‘Good Book’, hm? I have found reward in its pages. But to me there are other ‘good books’ as well: heavy volumes of antiquity, freighted with the insights of man’s glorious age. And then, of course, I just love love love the works of Mr Edgard Allan Poe.

Mrs Munson says, ‘Oh, I know who he was—kinda spooky!’ But Dorr laughs and ‘corrects’ her, in words reminiscent of Lovecraft’s ‘Randolph Carter’ stories: ‘No, my, no, no! Not of this world, it is true. He lived in a dream, an ancient dream.’ Dorr then quotes the first two stanzas of ‘To Helen’:

Helen, thy beauty is to me
Like those Nicean barks of yore,
That gently, o’er a perfumed sea,
The weary, way-worn wanderer bore
To his own native shore.

On desperate seas long wont to roam,
Thy hyacinth hair, thy classic face,
Thy Naiad airs have brought me home
To the glory that was Greece
And the grandeur that was Rome. [5]

Somewhat alarmed at Dorr’s enraptured delivery of these lines, Mrs Munson asks, ‘Who was Helen? Some kind of whore of Babylon?’ To which, slightly angered, Dorr replies, ‘One does not know who Helen was! But I picture her as very very . . . extremely . . . pale.’


[1] Originally published in Apex Science Fiction & Horror Digest, 1.4 (December 2005).

[2] H.P. Lovecraft, ‘He’, The Tomb & Other Tales (NY: Del Rey, 1987), pp. 58-9. I was astonished how much this last line reminded me of Tolkien!

[3] St Augustine, de civ. Dei XIX, 24; cf. The City of God, tr. Marcus Dods (NY: Modern Library, 1950), p. 706: ‘But if we discard this definition of a people, and, assuming another, say that a people is an assemblage of reasonable beings bound together by a common agreement as to the objects of their love, then, in order to discover the character of any people, we have only to observe what they love.’

[4] J.R.R. Tolkien, ‘On Fairy-Stories’, The Tolkien Reader (NY: Ballantine, 1966), pp. 80-1.

[5] Edgar Allan Poe, ‘To Helen’, The Complete Tales & Poems of Edgar Allan Poe (NY: Modern Library, 1965), p. 1017.