![]() |
The 2015 Cross Plains Postal Cancellation artwork by Mark Schultz |
Almost a year and a half into the controversy between Howard and Lovecraft in their correspondence, the conversation has already taken several turns and led to flared tempers. The degree of resentment, especially on REH's part, seems to rise with every cycle of letters. As does HPL's exasperation. At the end of his last letter, HPL admitted to some misgivings about the effect of mechanization on culture, and worries about the future of civilization as mechanization progresses by the hands of an "already somewhat tainted race." Such a candid confession of doubt about the progress of civilization could be received favorably by REH, especially considering HPL's usual haughty optimism about civilization.
However it may be a matter of 'too-little, too-late,' as REH's resentment is already roused, and it seems like he may not even grasp all of HPL's arguments, even though he would never admit it. Indeed, instead REH seems to back off from arguing vigorously against civilization (perhaps seeing himself at a disadvantage on HPL's turf), and fall back onto his original statement—that his preference for barbarism is personal, not absolute. But first there are several accusations and misunderstandings that must be addressed.
Letter 95: REH to HPL (ca. January 1934)
Coming back to address their lengthy controversies, REH turns first to the topic of art and its relative place in the human scale of values. REH says that he finally understands the idea behind HPL's objections to his arguments: "You say I 'refuse to accept the basic standards of human development" (693). REH denies this charge and claims only to question HPL's ideas about what constitutes the criterion of development.From a cosmic perspective he believes all values are irrelevant:
"I am convinced that things are a meaningless jumble, that a caterpillar is as important as a man, that a baboon is as significant as an artist, and that it means absolutely nothing to the universe whether a man is an imbecile or a genius" (693).But he does recognize a scale of values in human affairs, and claims that all of his actions reflect recognition of this scale. He speculates that HPL came to his inaccurate conclusion about him based on disparaging remarks about supposedly "superior" men in a previous letter (Letter 87). However, REH claims, he never denied the superiority of some types of men; he only questioned what he thought was HPL's narrow identification of superiority with the arts, and with the formal occupation of art, specifically.
In defense of his previous denial that art is higher than (at least) some other types of human activity, he points out that HPL has admitted as much when he said that various intellectual activities (e.g., science, statesmanship) are equal to art. REH implies that this is what he had meant in the first place, for he certainly did not mean to equate art with "the making of mud pies or the twiddling of one's thumbs" (694). But he says further that HPL too narrowly identifies superiority with intellectual pursuits. A superior man, he says, is one who, regardless of his line of work (from physician to football coach), attains the highest possible degree of development in his field. Then he says that HPL admitted as much in a previous statement when he stated that art is "merely one of the several manifestations of the highest state of development" (694).
REH concludes the matter denying that he repudiates "human values" and claims that they both agree that other things occupy the same level as art (694). REH seems to overstate the level of agreement between them here. First, HPL's argument is that certain types of human activity are higher. Excelling in one's profession is not necessarily a sign of the superiority HPL has in mind. Second, the particular kinds of activity that they each would consider on par with art has not been agreed upon.
![]() |
Robert E. Howard |
![]() |
HPL on the shore of Magnolia, MA in August of 1922 |
He expresses resentment that his desire for freedom is considered merely romantic whim. He asserts that his motivation for writing is purely because of the freedom it gives him, and he mocks artistic aspiration. He caustically reiterates his view of philosophers theorizing away freedom, and likens his own craving for freedom with that of his forefathers who left Ireland for America: "An ideal that rules the lives of generations is no empty pose" (697).