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One of the many reasons I love pulp fiction from the early 20th century is that writers like HP Lovecraft can have a line like, “the moon was gleaming vividly over the primeval ruins” (from “The Nameless City“) and actually get away with it. If I wrote something like “gleaming vividly,” my teachers would have beaten me publicly for about an hour. Is it gleaming? Really? Do you have any idea what that is? Vividly? What does “vividly” look like? Do you even know? If you know, how come you’re not showing it in concrete terms? If you don’t know, fuck you, why are you writing it? Oh, the beating would be vast and terrible.

Instead of telling the reader that the moon was gleaming vividly, the harder, more powerful, more evocative and immersive technique, is to show the gleam, show how it’s vivid, show how the ruins might look primeval using descriptive language. That’s the way I was taught. But HPL can get away with lines like this because he’s consistent. And this brings up a deeper lesson about fiction writing: stylistic consistency is more important than any given stylistic choice.

In other words, Lovecraft will write a line like “the moon was gleaming vividly” and we will have to either accept it or shut the book. If we accept it—okay, it’s pulp fiction or it’s HPL or we’re just feeling generous that day—then he hits us with “It poured madly out of the dark door, sighing uncannily as it ruffled the sand and spread about the weird ruins.” Wow. Take it or leave it. Do you want to enjoy the story or not? It’s no fun if you have to complain about the writing. So you take it. And then he’s got you: you’ve decided to let him have as many adverbs and vague adjectives as he wants. You’re going to let him tell you that the sigh was uncanny (what does “uncanny” sound like, eh?) and the ruins were weird (can you think of the last weird ruins you’ve seen?). He has trained you to read and appreciate his fiction rather than trying to meet your expectations.

Some great fiction writers can do both. F. Scott Fitzgerald, for example, can write idiosyncratic prose and also ground those weird (!) choices in hard-edged concrete description. People think he learned this through his association with Hemingway, but that’s according to Hem in A Moveable Feast—a great book but likely packed with exaggerations and a few outright lies. Hem might have learned it from Gertrude Stein, but the idiosyncratic flourish we’re talking about is less evident in his work probably because he had such a strong background in news writing. He had to make his prose acceptable to the reader (something that also helped him support himself by selling stories to LIFE and The Saturday Evening Post in an era when you could live that way).

Lovecraft is great in other ways. Still, when I read a passage like this, I have to smile: “In the darkness there flashed before my mind fragments of my cherished treasury of daemoniac lore; sentences from Alhazred the mad Arab, paragraphs from the apocryphal nightmares of Damascius, and infamous lines from the delirious Image du Monde of Gauthier de Metz. I repeated queer extracts, and muttered of Afrasiab and the daemons that floated with him down the Oxus.”

I know HPL sets himself the very difficult task of writing about states of consciousness that have only a tenuous connection to everyday life. So maybe that’s the reason for many of his writerly choices. I do take a certain daemoniac enjoyment of how he disregards certain modern conventions.

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