This thread discusses the Content article: Out of Space, Out of Time

It should be pointed out that there are many in the academic world who dismiss Poe as a bad writer. Harold Bloom has been quite outspoken in condemning Poe's works (especially, it seems, the poetry). You wrote this essay in 2007, two years after the historic edition of TALES, edited by Peter Straub for The Library of America. That book herald Lovecraft into the mainstream of acknowledged American Literary Classics, and yet there were, at the time of the book's release, a number of snobs who considered it foolishness on the part of LoA to publish a volume of what they still consider pulp fiction. I have no idea if the book has, as I once suspected it would, legitimize Lovecraft's standing in the world of Academia. Now that S. T. Joshi is living here in Seattle again, I will try and remember to ask him about this. Some people dismiss the "value" of Lovecraft's being accepted by the Highbrows: for them, his true value is as a world-famous author of entertaining weird fiction, the value of which exists in itself rather than the opinions of old gents at universities. Lovecraft's appeal to young fans will never, one hopes, be vanquished by his being taken seriously in the academic realm.

In response to page three of this essay -- Lovecraft called Poe his "god of fiction," and yet at times he seems to have regretted Poe's titanic influence on his work. But it must be remembered that Lovecraft was influenced by all of literature, from his wide and extensive reading. He was highly influenced (for a brief period) by Dunsany, and by Decadent literature (which resulted in "The Hound" -- and, indeed, he was influenced by the early science-fiction of the pulp era, his reaction being to compose tales in which the entities were truly "alien," not just humans with purple skin and antennae. Late in life he strove to create non-supernatural horror fiction, and yet I find his final tale, "The Haunter in the Dark," almost Gothic in some of its horror touches -- and I say this as compliment. Lovecraft's fiction is delicious and unique because of its blend of fantasy, science fiction and horror; it was a combination that resulted in something new and refreshing that we now call "Lovecraftian horror."

One of the reasons for Lovecraft's decline in productivity was that WEIRD TALES editor Farnsworth Wright rejected more and more of Lovecraft's latter fiction, due to length or extreme originality -- and because Wright was worried less Lovecraft's fiction come across as too gruesome, as happened when HPL and C. M. Eddy Jr.'s "The Loved Dead" resulted in the issue that carried that story being pulled from stores who found the tale's theme of necrophilia offensive. It is one of the great tragedies of Lovecraft's life that he went to his grave thinking himself a "failure" as a writer because so much of his best work had been rejected, because he had been unable to sell a collection of his stories to a publisher, &c &c. Lovecraft blamed a lot of his "failure" as a mature writer on the "bad influence" of pulp writing standards, of writing for "the herd" of unsophisticated readers who bought the pulps. Some of his late stories, too, have been roundly criticized by modern scholars as being bad fiction -- stories such as "The Dreams in the Witch House" and "The Thing on the Doorstep." (I found it interesting and baffling that S. T. Joshi, when he edited the fiction for the three Penguin Classics edition, chose those two tales as the title pieces for the second and third volumes. I would have used, for the second volume, "The Music of Erich Zann" or "The Case of Charles Dexter Ward"; and for the third volume I would have chosen to call it THE SHADOW OUT OF TIME AND OTHER WEIRD STORIES -- it being the first time that the recently-discovered handwritten draft of the stories manuscript had been published in a collection of Lovecraft's works.

I wonder, though, if writing for WEIRD TALES did have such a "bad" influence on Lovecraft's style? Lovecraft seemed determined to write exactly the kind of tale he wished to, and as much as he wanted to see his work published by WEIRD TALES, he never rewrote his tales to conform to any sub-literary pulp standards. Whatever faults we find with WEIRD TALES and its editors, I for one am thankful that they gave Lovecraft his one major professional market -- a market that gave him the encouragement to continue to write fiction.