The Dunwich Horror

H. P. Lovecraft

In the degenerate, unliked backwater of Dunwich, Wilbur Whately, a most unusual child, is born. Of unnatural parentage, he grows at an uncanny pace to an unsettling height, but the boy's arrival simply precedes that of a true horror: one of the Old Ones, that forces the people of the town to hole up by night.

The Dunwich Horror

by H.P. Lovecraft

Introduction

Gorgons and Hydras, and Chimaeras – dire stories of Celaeno and the Harpies – may reproduce themselves in the brain of superstition – but they were there before. They are transcripts, types – the archetypes are in us, and eternal. How else should the recital of that which we know in a waking sense to be false come to affect us all? Is it that we naturally conceive terror from such objects, considered in their capacity of being able to inflict upon us bodily injury? O, least of all! These terrors are of older standing. They date beyond body – or without the body, they would have been the same…That the kind of fear here treated is purely spiritual – that it is strong in proportion as it is objectless on earth, that it predominates in the period of our sinless infancy – are difficulties the solution of which might afford some probable insight into our ante-mundane condition, and a peep at least into the shadowland of pre-existence.

    – Charles Lamb: Witches and Other Night-Fears

I

When a traveller in north central Massachusetts takes the wrong fork at the junction of Aylesbury pike just beyond Dean’s Corners he comes upon a lonely and curious country.

The ground gets higher, and the brier-bordered stone walls press closer and closer against the ruts of the dusty, curving road. The trees of the frequent forest belts seem too large, and the wild weeds, brambles and grasses attain a luxuriance not often found in settled regions. At the same time the planted fields appear singularly few and barren; while the sparsely scattered houses wear a surprisingly uniform aspect of age, squalor, and dilapidation.

Without knowing why, one hesitates to ask directions from the gnarled solitary figures spied now and then on crumbling doorsteps or on the sloping, rock-strewn meadows. Those figures are so silent and furtive that one feels somehow confronted by forbidden things, with which it would be better to have nothing to do. When a rise in the road brings the mountains in view above the deep woods, the feeling of strange uneasiness is increased. The summits are too rounded and symmetrical to give a sense of comfort and naturalness, and sometimes the sky silhouettes with especial clearness the queer circles of tall stone pillars with which most of them are crowned.

Gorges and ravines of problematical depth intersect the way, and the crude wooden bridges always seem of dubious safety. When the road dips again there are stretches of marshland that one instinctively dislikes, and indeed almost fears at evening when unseen whippoorwills chatter and the fireflies come out in abnormal profusion to dance to the raucous, creepily insistent rhythms of stridently piping bull-frogs. The thin, shining line of the Miskatonic’s upper reaches has an oddly serpent-like suggestion as it winds close to the feet of the domed hills among which it rises.

As the hills draw nearer, one heeds their wooded sides more than their stone-crowned tops. Those sides loom up so darkly and precipitously that one wishes they would keep their distance, but there is no road by which to escape them. Across a covered bridge one sees a small village huddled between the stream and the vertical slope of Round Mountain, and wonders at the cluster of rotting gambrel roofs bespeaking an earlier architectural period than that of the neighbouring region. It is not reassuring to see, on a closer glance, that most of the houses are deserted and falling to ruin, and that the broken-steepled church now harbours the one slovenly mercantile establishment of the hamlet. One dreads to trust the tenebrous tunnel of the bridge, yet there is no way to avoid it. Once a