Review: Ellen Datlow’s Lovecraft Unbound

LOVECRAFT UNBOUND edited by Ellen Datlow

Paperback: 336 pages

Publisher: Dark Horse Books (October 7, 2009)

Language: English

ISBN-10: 1595821465

ISBN-13: 978-1595821461

Review by Nancy O. Greene

(Disclosure: Review Copy)

In THE EVOLUTION OF THE WEIRD TALE, S. T. Joshi states that H. P. Lovecraft, in his own words, endeavored to emulate the style of eighteenth century writing in his work. While he may not have always succeeded, he certainly created his own form and his works convey a unique sense of fear that has survived over the ages when many of his peers have been forgotten.

That sense of fear is present in LOVERCRAFT UNBOUND, an anthology edited by Ellen Datlow. Most of the stories are lyrical and draw the reader in as if being put under a spell. Some cover the Necronomicon and monsters, people turning into things unknown to them but worshiped for years, the dead rising, mysterious disappearances, things going bump in the night. There are 20 stories in all and—as in POE—each narrative ends with the writer explaining what drew them to Lovecraft’s work or inspired their tale.

I did feel that a few of the stories ended abruptly or failed to reach a satisfying conclusion. Sometimes that type of storytelling seems like a cheat, depending upon the skill of the storyteller and the purpose of the tale. Fortunately, even in those the writing is solid enough that many readers may not find that to be an issue.

A majority of the stories do show a command of both language and storytelling, and they succeed in invoking fear, wonder, and/or an overriding sense of anxiety. “The Tenderness of Jackals” by Amanda Downum, “The Recruiter” by Michael Shea, and “The Din of Celestial Birds” by Brian Evenson are just three examples among the many.

There are also a few reprints that seem as if they were written specifically for the anthology. “Commencement” by Joyce Carol Oates is a tale that initially seems like it may be out of place. But as the story unfolds it’s clear that what appears to be an ordinary event is nothing of the sort. The story also uses a bit of humor, as does the “The Office of Doom” by Richard Bowes, first published in this anthology.

This is the kind of book that you enjoy at a leisurely pace, maybe listening to your favorite music on a low volume, curled up with a cup of coffee. You let the words take over, and even if the only point of the story is to get the reader to feel the shadow hovering just outside of eyesight then that is enough. The writers in this volume really took to heart the idea of paying homage to one of weird fiction’s most curious and long-lasting storytellers. All in all, I would say that LOVECRAFT UNBOUND appeals to the side of the reader that loves words for their own sake, for the magic they create and the emotions they invoke above all else.