Friday Fiction: The Dunwich Horror

The Dunwich Horror is one of horror author H.P. Lovecraft’s most famous stories. It takes place in the mouldering decrepit parts of Massachusetts where the ravines seem to run deep and the trees appear to leap up to ring the stone-topped hills from strange sounds emanate, and few if any of the villagers appear to work their boulder strewn pastures. Here stands Dunwich, a refuge for those fleeing the witch trials of Salem, decayed and shunned in equal measure, where no man of the cloth has set foot for centuries. The Bishops and the Whatelys, the leading families, such as they are, send their few scions to study at Harvard and elsewhere, and some do indeed return to Dunwich. Yet the worst of these scions, and most precocious—both physically and mentally—is Wilbur Whately, who leaves of his own accord, in search of knowledge that will enable him to make contact with his true father. A mere fifteen when he goes in search of this knowledge, it will ultimately be his undoing and his death will have terrible consequences for the village of Dunwich and the men who accompany Doctor Henry Armitage to deal with the aftermath of Wilbur’s attempts to obtain information from the eldritch tomes kept in the stacks of the Miskatonic University library.

Originally published in April 1929 issue of Weird Tales, The Dunwich Horror has been published many times since and in more recent years adapted into films, graphic novels, audio dramas and radio plays, and even a stage play. One of the latest adaptations is none of these, but an illustrated version of the short story. The Dunwich Horror is published by Free League Publishing, a publisher best known for roleplaying games such as Mutant: Year Zero – Roleplaying at the End of Days, Vaesen – Nordic Horror Roleplaying, The One Ring: Roleplaying in the World of Lord of the Rings, and Alien: The Roleplaying Game. It is not the publisher’s first such title. That would be The Call of Cthulhu, the classic of American horror literature and the short story that is arguably H.P. Lovecraft’s most well-known. It has since been followed with At the Mountains of Madness, H.P. Lovecraft’s most famous and only novel, published as two parts, Volume I and Volume II. As with these classics, the Free League Publishing edition of The Dunwich Horror is fully illustrated by French artist François Baranger and presented in a large 10½ by 14 inches folio format.

Much like Lovecraft himself, Baranger draws the reader long up the Miskatonic River to its headwaters amongst the dark hills that surround the village of Dunwich. There is a sense of isolation and decay, shrouded in mist and a gloom of long nights and secrets, the latter brightened by hilltops blazes around which men and things cavort and conspire. Perhaps the most marked sign of decay is the depiction of the traditional New England covered bridge, the wooden walkway leading to it twisted and broken, the bridge itself missing planks and the remaining construction already rotting above the dank waters. As the seasons come and go, the folk of Dunwich comment and chart the strangeness of Wilbur Whately himself and the ongoing construction at the family home. Twice the gloom is broken by fire atop the hillsides, the brightness marred by the unholy reasons for them being lit, once for the birth of Wilbur, then again for his search for answers. It is this search that takes Wilbur to Miskatonic University and here is perhaps the only light in the story, an austere bastion of knowledge caught in the pale winter sun as the looming figure of Wilbur Whately approaches the Orne Library.

Yet this is the only moment of contrast in the depiction of The Dunwich Horror by François Baranger, a moment of calm between Wilbur’s unseemly growth and the thirst for knowledge that will not only kill him and so revealing the ghostly true nature of his form, but also unleash a monstrous horror upon the blighted farming folk of Dunwich. The second half of the novel—the first half being described as a prologue—details for the reasons for reader’s return to Dunwich, the dangerous nature of Wilbur’s researches and the unearthly presence in the village, unseen as it lumbers from one scene of destruction to another. This time though, we are in the company of Doctor Armitage, he and his colleagues equipped with the dread knowledge necessary to banish what that presence might be. The head librarian has already paid the price in the cost to his composure in conducting that research, making clear the insidious effects of looking too much into things that man was not meant to know. The short story and Baranger’s illustrations draw in closer and closer, leaving the expansiveness of the horror’s wake, behind to climb the hill where the fires were once lit. Here in one terrible moment, just as the first half of story revealed Wilbur’s true form in inhuman twistedness, both Lovecraft and Baranger shows us the real ‘Dunwich Horror’.

The third of H.P. Lovecraft’s stories to be adapted by François Baranger, his depiction of The Dunwich Horror is one of brooding claustrophobia and leaden shadows, seeming only to up when the tale looks skyward and to the monstrosity unleashed by Wilbur Whately’s branch of the family. As before, the likelihood is that the reader of this book will have read H.P. Lovecraft’s story before, probably more than once, but François Baranger brings the story to life in sombre tones and startling revelations that match the text perfectly as it reveals much about the Whatelys and the mythology Lovecraft was creating. This new depiction of The Dunwich Horror is perfect for dark nights upon which new readers can discover this classic horror story, whilst old fans can come back to stalk the crepuscular valleys and hills of this corner of New England and be reviled at its secrets once again.