1924)SignatureHoward Phillips Lovecraft (:; August 20, 1890 – March 15, 1937) was an American writer of. Born in, he spent most of his life there, and his fiction was primarily set against a backdrop. Lovecraft was never able to support himself from earnings as an author and editor, and he subsisted in progressively strained circumstances in his last years. He died of cancer, at age 46.Lovecraft was virtually unknown during his lifetime and published only in before he died in poverty, but is now regarded as one of the most significant 20th-century authors of weird and horror fiction. Among his most celebrated tales are,.
His writings were the basis of the, which has inspired a large body of, games, music and other media drawing on Lovecraft's characters, setting and themes, constituting a wider body of work known as. Original Phillips family gravestone bearing H. Lovecraft's nameBack in Providence, Lovecraft lived in a 'spacious brown wooden house' at 10 Barnes Street until 1933. The same address is given as the home of Dr. Willett in Lovecraft's. The period beginning after his return to Providence—the last decade of his life—was Lovecraft's most prolific; in that time he produced short stories, as well as his longest works of fiction:, The Case of Charles Dexter Ward,.
He frequently revised work for other authors and did a large amount of, including ',' 'Winged Death,' and 'The Diary of Alonzo Typer.' Client was laudatory, and attempted to help Lovecraft by introducing him to the head of a newspaper syndicate.
Plans for a further project were ended by Houdini's death.Although he was able to combine his distinctive style (allusive and amorphous description by horrified though passive narrators) with the kind of stock content and action that the editor of Weird Tales wanted—Wright paid handsomely to snap up ' which proved very popular with readers—Lovecraft increasingly produced work that brought him no remuneration. Affecting a calm indifference to the reception of his works, Lovecraft was in reality extremely sensitive to criticism and easily precipitated into withdrawal. He was known to give up trying to sell a story after it had been once rejected. Sometimes, as with The Shadow over Innsmouth (which included a rousing chase that supplied action) he wrote a story that might have been commercially viable, but did not try to sell it.
Lovecraft even ignored interested publishers. He failed to reply when one inquired about any novel Lovecraft might have ready: although he had completed such a work, The Case of Charles Dexter Ward, it was never typed up.A few years after Lovecraft had moved to Providence, he and his wife Sonia Greene, having lived separately for so long, agreed to an amicable divorce. Greene moved to California in 1933 and remarried in 1936, unaware that Lovecraft, despite his assurances to the contrary, had never officially signed the final decree.
Last years Lovecraft was never able to provide for even basic expenses by selling stories and doing paid literary work for others. He lived frugally, subsisting on an inheritance that was nearly depleted by the time he died. He sometimes went without food to be able to pay the cost of mailing letters. Eventually, he was forced to move to meager lodgings with his surviving aunt.
He was also deeply affected by the suicide of his correspondent. In early 1937, he was diagnosed with and suffered from as a result. He lived in constant pain until his death on March 15, 1937, in Providence.
In accordance with his lifelong scientific curiosity, he kept a diary of his illness until close to the moment of his death. Gravestone of H. LovecraftLovecraft was listed along with his parents on the Phillips family monument ( ).
In 1977, fans erected a headstone in on which they inscribed his name, the dates of his birth and death, and the phrase 'I AM PROVIDENCE'—a line from one of his personal letters.Groups of enthusiasts annually observe the anniversaries of Lovecraft's death at and of his birth at his grave site. In July 2013, the Providence City Council designated 'H. Lovecraft Memorial Square' and installed a commemorative sign at the intersection of Angell and Prospect streets, near the author's former residences. Appreciation Within the genre By 1957 of said that 'like, Lovecraft seemingly goes on forever; the two decades since their death are as nothing. In any event, they appear more prolific than ever. What with, and Derleth avidly rooting out every scrap of their writings and expanding them into novels, there may never be an end to their posthumous careers.'
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According to, Lovecraft (and in the 19th century) has exerted 'an incalculable influence on succeeding generations of writers of horror fiction.' Horror, fantasy, and science fiction author called Lovecraft 'the twentieth century's greatest practitioner of the classic horror tale.' King has made it clear in his semi-autobiographical non-fiction book that Lovecraft was responsible for his own fascination with horror and the macabre and was the largest figure to influence his fiction writing.
Literary Early efforts to revise an established literary view of Lovecraft as an author of 'pulp' were resisted by some eminent critics; in 1945 expressed the opinion that 'the only real horror in most of these fictions is the horror of bad taste and bad art.' But 'Mystery and Adventure' columnist of the recommended to readers a volume of Lovecraft's stories, asserting that 'the literature of horror and macabre fantasy belongs with mystery in its broader sense.'
Gale said that 'Lovecraft at his best could build a mood of horror unsurpassed; at his worst, he was laughable.' In 1962, in his survey of anti-realist trends in fiction The Strength to Dream, cited Lovecraft as one of the pioneers of the 'assault on rationality' and included him with, and others as one of the builders of mythicised realities over against the failing project of literary realism. Subsequently, Lovecraft began to acquire the status of a cult writer in the of the 1960s, and reprints of his work proliferated. In 2005 the status of classic American writer was accorded to Lovecraft with the publication of Tales, a collection of his weird fiction stories, by the. Philosophical Philosopher, seeing Lovecraft as having a unique—though implicit—, writes: 'No other writer is so perplexed by the gap between objects and the power of language to describe them, or between objects and the qualities they possess.' Harman said of leading figures at the initial conference (which included philosophers, and ) that, though they shared no philosophical heroes, all were enthusiastic readers of Lovecraft.
Speculative realists, and other contemporary philosophers, took Lovecraft seriously, mainly because Lovecraft's weird reality as presented in his novels, had nothing to do with the Gothic's insistence in the supernatural, but presented another reality incomprehensible to the human mind, but nonetheless real. According to scholar: 'There is never an entity in Lovecraft that is not in some fashion material.' Now all my tales are based on the fundamental premise that common human laws and interests and emotions have no validity or significance in the vast cosmos-at-large.
To me there is nothing but puerility in a tale in which the human form—and the local human passions and conditions and standards—are depicted as native to other worlds or other universes. To achieve the essence of real externality, whether of time or space or dimension, one must forget that such things as organic life, good and evil, love and hate, and all such local attributes of a negligible and temporary race called mankind, have any existence at all. Only the human scenes and characters must have human qualities. These must be handled with unsparing realism, ( not catch-penny romanticism) but when we cross the line to the boundless and hideous unknown—the shadow-haunted Outside—we must remember to leave our humanity and terrestrialism at the threshold.— H.
Lovecraft, in note to the editor of Weird Tales, on resubmission of 'The Call of Cthulhu' Forbidden knowledge Forbidden, dark, esoterically veiled knowledge is a central theme in many of Lovecraft's works. Many of his characters are driven by curiosity or scientific endeavor, and in many of his stories the knowledge they uncover proves in nature, either filling the seeker with regret for what they have learned, destroying them psychologically, or completely destroying the person who holds the knowledge.Some critics argue that this theme is a reflection of Lovecraft's contempt of the world around him, causing him to search inwardly for knowledge and inspiration. Non-human influences on humanity The beings of Lovecraft's often have human servants;, for instance, is worshipped under various names by among both the and, and in many other parts of the world.These worshippers served a useful narrative purpose for Lovecraft.
Many beings of the Mythos were too powerful to be defeated by human opponents, and so horrific that direct knowledge of them meant insanity for the victim. When dealing with such beings, Lovecraft needed a way to provide and build tension without bringing the story to a premature end. Human followers gave him a way to reveal information about their 'gods' in a diluted form, and also made it possible for his protagonists to win paltry victories. Lovecraft, like his contemporaries, envisioned 'savages' as closer to supernatural knowledge unknown to civilized man.Inherited guilt Another recurring theme in Lovecraft's stories is the idea that descendants in a bloodline can never escape the stain of crimes committed by their forebears, at least if the crimes are atrocious enough.
Descendants may be very far removed, both in place and in time (and, indeed, in ), from the act itself, and yet, they may be haunted by the revenant past, e.g. ',' ',' ',' ',', ' and.Fate Often in Lovecraft's works the protagonist is not in control of his own actions, or finds it impossible to change course. Many of his characters would be free from danger if they simply managed to run away; however, this possibility either never arises or is somehow curtailed by some outside force, such as in ' and '.' Often his characters are subject to a compulsive influence from powerful malevolent or indifferent beings. As with the inevitability of one's ancestry, eventually even running away, or death itself, provides no safety (',' ',' The Case of Charles Dexter Ward, etc.). In some cases, this doom is manifest in the entirety of humanity, and no escape is possible ( ).Civilization under threat Lovecraft was familiar with the work of the German conservative-revolutionary theorist, whose pessimistic thesis of the decadence of the modern West formed a crucial element in Lovecraft's overall worldview.
Spenglerian imagery of cyclical decay is present in particular in At the Mountains of Madness. Lovecraft: The Decline of the West, places Spengler at the center of his discussion of Lovecraft's political and philosophical ideas.Lovecraft wrote to Clark Ashton Smith in 1927: 'It is my belief, and was so long before Spengler put his seal of scholarly proof on it, that our mechanical and industrial age is one of frank.' Lovecraft was also acquainted with the writings of another German philosopher of decadence:.Lovecraft frequently dealt with the idea of struggling against dark, primitive barbarism. In some stories this struggle is at an individual level; many of his are cultured, highly educated men who are gradually corrupted by some obscure and feared influence.In such stories, the is often a hereditary one, either because of interbreeding with non-humans (e.g., ' (1920), (1931)) or through direct magical influence ( The Case of Charles Dexter Ward). Physical and mental degradation often come together; this theme of 'tainted blood' may represent concerns relating to Lovecraft's own family history, particularly the death of his father due to what Lovecraft must have suspected to be a disorder.In other tales, an entire society is threatened by barbarism. Sometimes the barbarism comes as an external threat, with a civilized race destroyed in war (e.g., ').
Sometimes, an isolated pocket of humanity falls into decadence and of its own accord (e.g., '). But most often, such stories involve a civilized culture being gradually undermined by a malevolent underclass influenced by inhuman forces.It is likely that the ' left Lovecraft disillusioned as he was still obscure and struggling with the basic necessities of daily life, combined with seeing non-Western European immigrants in New York City.Race Race is the most controversial aspect of Lovecraft's legacy, expressed in many disparaging remarks against the various non-Anglo-Saxon and cultures in his work. As he grew older, his original Anglo-Saxon racial worldview softened into a classism or elitism which regarded the superior race to include all those self-ennobled through high culture. From the start, Lovecraft did not hold all in uniform high regard, but rather esteemed the English people and those of English descent. He praised non- groups such as Hispanics and Jews; however his private writings on groups such as Irish Catholics, German immigrants and African-Americans were consistently negative. In an early poem, the 1912 ',' Lovecraft describes not as human but as 'beasts. In semi-human figure, filled with vice.'
In his early published essays, private letters and personal utterances, he argued for a strong to preserve race and culture. He made these arguments by direct disparagement of various races in his journalism and letters, and perhaps allegorically in his fiction concerning non-human races. Lovecraft showed sympathy to those who adopted Western culture, even to the extent of marrying a Jewish woman whom he viewed as 'well assimilated.' Lovecraft's racial attitude was common in the society of his day, especially the New England he grew up in.
Risks of a scientific era At the turn of the 20th century, humanity's increased reliance upon science was both opening new worlds and solidifying understanding of ours. Lovecraft portrays this potential for a growing gap of man's understanding of the universe as a potential for horror, most notably in 'The Colour Out of Space,' where the inability of science to comprehend a contaminated meteorite leads to horror.In a letter to in 1923, Lovecraft specifically pointed to 's as throwing the world into chaos and making the cosmos a jest; in a letter to Woodburn Harris in 1929, he speculated that technological comforts risk the collapse of science. Indeed, at a time when men viewed science as limitless and powerful, Lovecraft imagined alternative potential and fearful outcomes. In 'The Call of Cthulhu,' Lovecraft's characters encounter architecture which is 'abnormal, non-Euclidean, and loathsomely redolent of spheres and dimensions apart from ours.' Is the mathematical language and background of Einstein's, and Lovecraft references it repeatedly in exploring alien.Religion Lovecraft's works are ruled by several distinct pantheons of deities (actually aliens worshiped as such by humans) who are either indifferent or actively hostile to humanity. Lovecraft's actual philosophy has been termed 'cosmic indifference' and this is expressed in his fiction. Several of Lovecraft's stories of the Old Ones (alien beings of the Cthulhu Mythos) propose alternate mythic human origins in contrast to those found in the stories of existing religions, expanding on a natural world view.
For instance, in Lovecraft's, it is proposed that humankind was actually created as a slave race by the Old Ones, and that life on Earth as we know it evolved from scientific experiments abandoned by the Elder Things. Protagonist characters in Lovecraft are usually educated men, citing scientific and rational evidence to support their non-faith. Reflects on the common in academic circles. In ',' the character loses the ability to dream and seeks solace in religion, specifically, but does not find it and ultimately loses faith.Lovecraft himself adopted the stance of atheism early in life. In 1932, he wrote in a letter to:All I say is that I think it is damned unlikely that anything like a central cosmic will, a spirit world, or an eternal survival of personality exist. They are the most preposterous and unjustified of all the guesses which can be made about the universe, and I am not enough of a hairsplitter to pretend that I don't regard them as arrant and negligible moonshine. In theory, I am an, but pending the appearance of radical evidence I must be classed, practically and provisionally, as an atheist.
Superstition In 1926, famed and asked Lovecraft to ghostwrite a treatise exploring the topic of superstition. Houdini's unexpected death later that year halted the project, but was partially completed by Lovecraft along with collaborator A previously unknown manuscript of the work was discovered in 2016 in a collection owned by a magic shop. The book states 'all superstitious beliefs are relics of a common 'prehistoric ignorance' in humans,' and goes on to explore various superstitious beliefs in different cultures and times.'
Notable recordings. was the reader of 'The Outsider' and 'The Hound' on the 1966 album Roddy McDowall reads the Horror Stories of H. Lovecraft released by Lively Arts (Lively Arts 30003). In the 1970s, released three albums of readings by noted actor: The Rats in the Walls (1973; TC 1347), The Dunwich Horror (1976; TC 1467) and The Haunter of the Dark (1979; TC 1617).
In 1975, released audio productions of the Lovecraft stories 'The Outsider' and 'The Rats in the Walls' (both of which had been previously heard on his radio series ) in a limited and numbered pressing on Lava Mt. Records (HPL 235). He also released a limited and numbered recording of The Haunter of the Dark on Lava Mt.
Records (HPL 236) in 1977.Influences. This section needs additional citations for. Unsourced material may be challenged and removed.Find sources: – ( May 2012) Some of Lovecraft's work was inspired by his own nightmares. His interest started from his childhood days when his grandfather would tell him Gothic horror stories.Lovecraft's most significant literary influence was Edgar Allan Poe. He had a British writing style due to his love of British literature. Like Lovecraft, Poe's work was out of step with the prevailing literary trends of his era.
Both authors created distinctive, singular worlds of fantasy and employed in their writings. This influence can be found in such works as his novella where Lovecraft references Poe's story ' by name in Chapter 3, and in his poem 'Nemesis,' where the '. ghoul-guarded gateways of slumber' suggest the '. ghoul-haunted woodland of Weir' found in Poe's '.' A direct quote from the poem and a reference to Poe's only novel is alluded to in Lovecraft's. Both authors shared many biographical similarities as well, such as the loss of their fathers at young ages and an early interest in poetry.He was influenced by 's carefully constructed tales concerning the survival of ancient evil into modern times in an otherwise realistic world and his beliefs in hidden mysteries which lay behind reality. Lovecraft was also influenced by authors such as Oswald Spengler. Chambers was the writer of, of whom Lovecraft wrote in a letter to: 'Chambers is like and a few other fallen Titans – equipped with the right brains and education but wholly out of the habit of using them.' Lovecraft's discovery of the stories of, with their pantheon of mighty gods existing in dreamlike outer realms, moved his writing in a new direction, resulting in a series of imitative fantasies in a 'Dreamlands' setting.Lovecraft also cited as an influence, quoting The Centaur in the head paragraph of '.'
He declared Blackwood's story ' to be the single best piece of weird fiction ever written.Another inspiration came from a completely different source: scientific progress in biology, astronomy, geology, and physics. His study of science contributed to Lovecraft's view of the human race as insignificant, powerless, and doomed in a and universe. Lovecraft was a keen amateur astronomer from his youth, often visiting the in Providence, and penning numerous astronomical articles for local newspapers. His astronomical telescope is now housed in the rooms of the Society.Lovecraft's materialist views led him to espouse his philosophical views through his fiction; these philosophical views came to be called.
Cosmicism took on a dark tone with his creation of what is today often called the Cthulhu Mythos, a pantheon of alien extra-dimensional deities and horrors which predate humanity, and which are hinted at in eons-old myths and legends. The term 'Cthulhu Mythos' was coined by Lovecraft's correspondent and fellow author, August Derleth, after Lovecraft's death; Lovecraft jocularly referred to his artificial mythology as 'Yog-Sothothery.' Lovecraft considered himself a man best suited to the early 18th century. His writing style, especially in his many letters, owes much to British writers of the like and.Among the books found in his library (as evidenced in Lovecraft's Library by S.
Joshi) was by and by.Lovecraft's style has often been subject to criticism, yet scholars such as S. Joshi have shown that Lovecraft consciously utilized a variety of literary devices to form a unique style of his own – these include conscious, prose-poetic techniques combined with essay-form techniques, and.Influence on culture. This section needs additional citations for. Unsourced material may be challenged and removed.Find sources: – ( May 2012) Lovecraft was relatively unknown during his own time. While his stories appeared in the pages of prominent pulp magazines such as Weird Tales (eliciting letters of outrage as often as letters of praise from regular readers), not many people knew his name.
He did, however, correspond regularly with other contemporary writers such as Clark Ashton Smith and August Derleth, who became good friends of his, even though they never met in person. This group of writers became known as the 'Lovecraft Circle,' since their writing freely borrowed elements of Lovecraft's stories, with his encouragement: the mysterious books with disturbing names, the pantheon of ancient alien entities such as Cthulhu and Azathoth, and eldritch places such as the New England town of and its.After Lovecraft's death, the Lovecraft Circle carried on. August Derleth in particular added to and expanded on Lovecraft's vision, not without controversy. While Lovecraft considered his pantheon of alien gods a mere plot device, Derleth created an entire cosmology, complete with a war between the good and the evil, such as and his ilk. The forces of good were supposed to have won, locking Cthulhu and others up beneath the earth, in the ocean, and so forth. Derleth's Cthulhu Mythos stories went on to associate different gods with the traditional four — an artificial constraint which required rationalizations on Derleth's part as Lovecraft himself never envisioned such a scheme.Lovecraft's fiction has been grouped into three categories by some critics.
While Lovecraft did not refer to these categories himself, he did once write: 'There are my 'Poe' pieces and my ' pieces' — but alas — where are any Lovecraft pieces?' . Macabre stories ( c. 1905–1920);. stories ( c. 1920–1927);.
stories ( c. 1925–1935).Lovecraft's writing, particularly the so-called Cthulhu Mythos, has influenced fiction authors including modern horror and fantasy writers., and, have cited Lovecraft as one of their primary influences. Beyond direct adaptation, Lovecraft and his stories have had a profound impact on popular culture. Some influence was direct, as he was a friend, inspiration, and correspondent to many of his contemporaries, such as August Derleth, Robert E. Howard, Robert Bloch. Many later figures were influenced by Lovecraft's works, including author and artist, prolific horror writer Stephen King, Brian Keene has several novels based on the Old Gods, comics writers Alan Moore, Neil Gaiman and, English author, film directors, and artist. Japan has also been significantly inspired and terrified by Lovecraft's creations and thus even entered the and media.
Is an acknowledged disciple and has participated in Cthulhu Mythos, expanding several Japanese versions. He is an anime scriptwriter who tends to add elements of cosmicism, and is credited for spreading the influence of Lovecraft among the anime base. Along with, other influential manga artists have also been inspired by Lovecraft.
Novelist and manga author, incorporated a number of locations, beings and events from the works of Lovecraft into the manga.Argentine writer wrote his short story ' in memory of Lovecraft. Contemporary French writer wrote a literary biography of Lovecraft called. Prolific American writer Joyce Carol Oates wrote an introduction for a collection of Lovecraft stories. The published a volume of Lovecraft's work in 2005, a reversal of traditional judgment that 'has been nothing so far from the accepted as Lovecraft.' French philosophers and refer to Lovecraft in, calling the short story ' one of his masterpieces. Music Lovecraft's fictional Mythos has influenced a number of musicians, especially in. Most notably, the band (who shortened their name to Lovecraft and then Love Craft in the 1970s) released the albums and in 1967 and 1968 respectively; their songs included ' and 'At the Mountains of Madness,' both titled after Lovecraft stories.
The founders of their record company, and George Badonsky, were fans of the author and gained August Derleth's permission to use Lovecraft's name for the band. Recorded a song inspired by 'The Call of Cthulhu,' an instrumental titled 'The Call of Ktulu,' and another song based on titled 'The Thing That Should Not Be,' and another based on 's ',' titled '.' Later, they released the song 'Dream No More,' which mentions the awakening of Cthulhu. Technical death metal outfit frequently write songs based on Lovecraft's stories and frequently use him as inspiration in their original works. Games Lovecraft has also influenced gaming, despite having hated games during his lifetime. 's, released in 1981 and currently in its seventh major edition, was one of the first games to draw heavily from Lovecraft. Novel to the game was the Lovecraft-inspired mechanic, which allowed for to go insane from contact with cosmic horrors.
This section needs additional citations for. Unsourced material may be challenged and removed.Find sources: – ( June 2019) Aside from his appearance in 's ', Lovecraft continues to be used as a character in supernatural fiction. He makes a brief appearance in an early version of 's 'The Exiles'. Lovecraft and some associates are included at length in and 's (1975).
Lovecraft makes an appearance as a rotting corpse in The Chinatown Death Cloud Peril by, a novel with fictionalized versions of a number of period writers. 's story When Death Wakes Me To Myself offers a tale of a therapy patient slowly remembering a former incarnation when he was H. German writer used H. Lovecraft as a main character in his series Der Hexer (The Wizard), which is mainly based on the Cthulhu Mythos, even though the plot takes place before Lovecraft was born. Other notable works with Lovecraft as a character include 's Lovecraft's Book (1985), (1991), (1993), (1994), (1998), (2007), and 's comic (2015–17). Lovecraft also appears in the Season 6, Episode 21 episode 'Let it Bleed' of the TV show. A satirical version of Lovecraft named 'H.
Hatecraft' appeared as a recurring character on the television series. A character based on Lovecraft also appears in the, under the name 'Howard Phillips' (or 'Mr. Howard' to most of the main characters). Another character based on Lovecraft appears in. He appears as a minor character in 's comic book series, as an acquaintance and fellow-scientist of, having been driven insane by his involvement in the which exposed him to the hidden horrors of the wider universe. He is eventually killed when his body becomes host to an extradimensional being infecting the timestream.
Lovecraft is a central plot element, as well as a character in 's 2017 novel, The Night Ocean. In the Japanese manga and anime there is a character known as Howard Phillips Lovecraft who, like other characters in the series, is named after great literates. His power, 'The Great Old Ones' pays homage to his classic short story, ',' which grants him the ability of transforming himself into an octopus-like monster resembling Cthulhu. Editions and collections of Howard Phillips Lovecraft's corpus. Main article:In 1984, writer caused some controversy after he was offered a for Life Achievement but refused to accept it because the award was a bust of H. Lovecraft that he felt looked more like a caricature of Lovecraft than an actual representation.In August 2014, author started a petition to change the World Fantasy Award statuette from a bust of Lovecraft to one of African-American author.
Maroney, editor of, also supported the call for the WFA to be changed from Lovecraft's face, suggesting it be replaced with a symbol representing the fantasy genre. Maroney argued this should be done 'not out of disrespect for Lovecraft as a writer or as a central figure in fantasy, but as a courtesy to generations of writers whom the WFA hopes to honor.' In response to the campaign, the board of the World Fantasy Awards announced in September 2014 that it was 'in discussion' about the future of the award statuette, and in November 2015 it was announced that the World Fantasy Award trophy would no longer be modeled on H. Locations featured in Lovecraft stories.
Dziemianowicz, Stefan (July 12, 2010),. by. by of. Michael Saler (2011). Oxford University Press.
(October 19, 2006), 'The Heroic Nerd', New York, vol. 53 no. 16, p. 37. (1996). A Subtler Magick: The Writings and Philosophy of H.
Lovecraft (3rd ed.). Joshi, S. T.; Schultz, David E. Lovecraft Encyclopedia. Greenwood Publishing Group.
(2013). I am Providence. New York:. (1975). Lovecraft: A Biography.
New York: Barnes & Noble Books. (2016). In the Mountains of Madness. Berkeley, California: Soft Skull Press. (2014).
The Curious Case of H. London: Plexus Publishing. (2015). New York: Chartwell Books.Further reading.