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Product Details

  • Audio CD: 4 pages
  • Publisher: Naxos Audio Books; Unabridged edition (Oct. 1 2010)
  • Language: English
  • ISBN-10: 184379425X
  • ISBN-13: 978-1843794257
  • Product Dimensions: 2.5 x 14.6 x 14 cm
  • Shipping Weight: 200 g
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (27 customer reviews)
  • Amazon Bestsellers Rank: #444,173 in Books (See Top 100 in Books)

Product Description

From Library Journal

Together, these books offer 30 "weird stories" by our nation's greatest horror writer. In addition to the title piece, Cthulhu includes "Rats in the Walls," "Herbert West Reanimator" (the basis of several fun B movies), and "The Haunter of the Dark." The Thing sports such standards as "The Dunwich Horror," "Pickman's Model," and "Beyond the Wall of Sleep." These corrected texts present the definitive versions of each tale. Each volume also contains notes and an introduction by scholar S.T. Joshi.
Copyright 2001 Reed Business Information, Inc. --This text refers to the Paperback edition.

About the Author

H. P. Lovecraft (1890-1937) was born in Providence, Rhode Island, where he lived most of his life. His relatively small corpus of work- three short novels and about sixty short stories-has nevertheless exercised a wide influence on subsequent writing in the field.
S. T. Joshi is the editor of the Penguin Classics anthology American Supernatural Tales.
Travis Louie's work has appeared in magazines such as Hi Fructose and in art galleries in the U.S., Germany, and Italy.
--This text refers to the Paperback edition.

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I am writing this under an appreciable mental strain, since by tonight I shall be no more. Read the first page
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Customer Reviews

4.1 out of 5 stars

Most helpful customer reviews

1 of 1 people found the following review helpful By Roy Murphy on March 18 2003
Format: Paperback
I first read the "Call of Cthulhu" during WW2. The Services distributed "pass-it-along" editions of many classic novels and the "Call" was one. It was so exciting, I kept my copy and took it home. Dog-eared after so may readers, my kids soon found and read it 15 years latter. Now, this yellowed and torn copy has been replaced by this new Penquin edition. Lovecraft's style is odd and sometimes overdone. He never wrote about romance and very little about science fiction. Modern Cthulhu mythos novels, like "The Riddle of Cthulhu", correct all these faults and are cool next books, after the "Call"!
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By Andrew McCaffrey on Nov. 24 2002
Format: Paperback
This was my first exposure to the writings of H. P. Lovecraft, and I enjoyed it so much that half way through, I went out and bought another collection, THE THING ON THE DOORSTEP AND OTHER WEIRD STORIES. Lovecraft's prose is creepy in a way that I really hadn't experienced from other so-called horror writers. A lot of the stories follow the same basic structure, but that didn't distract from the fact that these were some of the wildest and most chilling stories that I have read in a very long time.
I had heard a lot about the types of stories that Lovecraft wrote, but I wasn't really prepared for how creepy they would be. A lot of them really shouldn't be as shocking as they are, but somehow Lovecraft gets away with it. He likes to use a lot of frivolous language and has the tendency to take short cuts by saying that the various creatures and entities are too frightening, too complicated, or too alien for the human mind to comprehend. While I'm usually the first person to roll my eyes at this sort of literary cop-out, I was completely enthralled by its use here. Lovecraft's command of language is precise and effective. The monsters and Gods that he describes truly seem fearsome and unnerving.
The actual plots of these stories seem to be vaguely repetitive. Since this is the first collection of Lovecraft that I have read, I'm not sure if these is indicative of his work in general, but it is certainly apparent that many of these stories follow the same basic structure. I didn't really find this to be a problem though. There are enough major differences in the stories that they don't all seem to blend together, despite their commonalities.
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By A. G. Plumb on June 12 2002
Format: Paperback
These are the strangest stories. They are less strong than Edgar Allan Poe's stories of a similar vein - almost childlike in some ways. Invariably the expose at the end of the story is tame, rather trivial. And I don't think I have ever read the words 'horrible' or 'horror' so often. To be truthful about it, I don't really like being told something is horrible - I need to be shown. Often Lovecraft absolutely declines to do this. Take for example 'The Statement of Randolph Carter'. This is a engaging yarn but we never know what the horror is, we just have cries of anguish reporting it. Is this carelessness or laziness? Or is it like a sound heard in the distance - peripherally - unrecoverable and disturbing, keeping you on the edge of the seat waiting just in case it sounds again?
Despite, for me, the poor structure of the stories and the weakness of their endings, I find it impossible to criticise Lovecraft's imaginativeness. These are very creative stories. It is commonly believed that Poe showed great psychological insight in his stories, but what does Lovecraft use as the trigger for his imagination? Is it a dread of science - an irrational fear? I'm not at all sure that I know and perhaps this adds to the intrigue of these stories.
I also enjoyed the notes to these stories with their historic and critical insights. (Although what this statement means puzzled both my wife and I: 'The seemingly straightforward story of an explorer ....... appears more complex than it seems.')
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Format: Paperback
Reading Lovecraft's stories today, it's hard to suppress the feeling that you've heard this one before. You probably have, of course - though in a different form and under a different name. While much of his work is plainly unoriginal (the ghosts of Poe and Lord Dunsany whisper just a little too loudly in places), it's no overstatement to say his comparatively small corpus has informed most of twentieth-century horror. And though many have tried, no one has quite matched the overblown pitch of his macabre, lugubrious little melodramas, nor rivaled the gloriously monstrous adjectival orgy of his prose.
More interesting, though, than his scenarios or style is the world view which inspired them. "Was I tottering on the brink of cosmic horrors beyond man's power to bear?" asks the narrator of 'The Call of Cthulhu' - a sentiment no doubt shared by many tired souls living through the godless pandemonium of the early twentieth century. While more 'serious' writers like T. S. Eliot responded to the apparent end of civilization with a sparse modernism and renewed religiosity, Lovecraft embraced a 'mechanistic materialism' which emphasizes man's ultimate cosmic insignificance. His monsters might not frighten you, but in tale after tale it is this which is most chilling.
Arranged in the order in which they were written - and supplemented by a solid Introduction, suggestions for further reading, and very detailed notes - S. T. Joshi's Penguin edition (like its companion, 'The Thing on the Doorstep') is a useful volume for those wanting to taste Lovecraft's mad genius, witness its development, and learn something about the man and his place in history.
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