Initial Adventures At the Mountains of Madness

Here is my initial research attempt, unabridged and unedited (it sounds so cool when movie ads say it). Forgive my splotchy quotations, captilized madness, and incomplete sentences--often I find myself going back and forth, finishing my thoughts after I start new ones. To give you a better idea as to the trajectory of this thing, I would like to eventually incorporate Frankenstein and The Narrative of Arthur Gordon Pym of Nantucket to assist in explaining the the idea of the Antarctic's sense of place, especially in regards to the horrific. Hillary Roberts has kindly provided helpful commentary below my madness. Many thanks!

The Question(s):
1. How is the Antarctic both a physical space and a conceptual framework that amplifies and symbolizes forbidden knowledge?
2. What literary debt does Lovecraft owe to Gothic Romanticism via Poe and Shelley in addressing issues of forbidden knowledge and the arrogance of science?


The Text:

H.P. Lovecraft’s At the Mountains of Madness is a 20^th century Gothic tale set in the Antarctic, and employs its environmental setting not only as an “aeon dead world” (487) that amplifies the horror of protagonist William Dryer’s tale, but also operates as a character and point of agency that responds to invasion and colonization, reflecting anxiety not only over the confidence of science, but also that of vast, unexplored reaches uninhabitable by humans. Lovecraft’s horror and his sense of place are inextricably linked: the arctic is both a physical space and a conceptual framework from which the author mounts his “deliberative argument” via his narrator, as Oakes puts it (21), against a subsequent invasion of the Antarctic by a fictional team of scientists, the “Starkweather-Moore Expedition” (MM 514). [MAY NOT BE A BAD IDEA TO INCORPORATE EVIDENCE OF ANTARCTIC EXPEDITIONS MOUNTED IN LOVECRAFT’S TIME, IN ADDITION TO THOSE ACCOUNTS OF HEARNE AND COOK FOR THE ROMANTICS].

At the outset of the narrative, Lovecraft describes the projected Antarctic undertaking by the narrator Dryer as an invasion: “I am forced into speech because men of science have refused to follow my will that I tell my reason for opposing this contemplated invasion of the antarctic…” (481). The narrator’s reluctance to fully explain his own experiences in the deep south is significant—not only should the Antarctic be left alone, but even explaining why it should be left alone is a taboo topic. Immediately, Lovecraft expresses that some things are better left unknown for the good of human understanding. He augments this sentiment by appealing to higher scientific authorities and pontificating on a sanity plea: “

In the end I must rely on the judgment and standing of the few scientific leaders who have, on the one hand, sufficient independence of thought to weight my data on its own hideously convincing merits or in the light of certain primordial and highly baffling myth-cycles; and on the other hand, sufficient influence to deter the exploring world in general from any rash and overambitious programme in the region of those mountains of madness. It is an unfortunate fact that relatively obscure men like myself and my associates

(MM 481)

Lovecraft’s conceptions of intellectual independence and professional influence emphasize humility: as is the case with Dryer’s own team who are

Hillary's Commentary:

I really love the idea of examining how the arctic landscape operates in 19^th century literature- particularly in the gothic. It is such a perfect setting- otherworldly as it seemed then and still seems to us today- and rich with symbolic potential. I spent a lot of time writing about the arctic last year- both as it appeared in 19^th century literature and in travel books and scientific periodicals. I have some great books you can use as you explore how it works (as you say) as a conceptual and physical space. One in particular, The Arctic in the British Imagination, focuses both on how the arctic was presented in the 19^th century and how it was received and understood among popular audiences. I think it could be useful to you.

I also like the idea you mention in parenthesis to incorporate evidence from actual travel logs. There is no end to how you could do this! William Peary was a very popular Arctic explorer, and I believe some critics have speculated about the influence of his work on Mary Shelley. You may consider bringing some of his work in. Also, a lot of the travel logs, and other publications (like those in newspapers and periodicals) that dealt with the arctic included some fantastic engravings and other artistic representations. The book I mentioned suggests that these sorts of images had a great influence on the way people envisioned the polar landscape. You might consider taking a look at some of these images as you research- they could be useful. Good start!!!!!