The Shadow over Innsmouth / Морок над Инсмутом. Говард Филлипс Лавкрафт
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unfinished pictures on easels or propped against the walls were as ghastly as the finished ones upstairs, and shewed the painstaking methods of the artist. Scenes were blocked out with extreme care, and pencilled guide lines told of the minute exactitude which Pickman used in getting the right perspective and proportions. The man was great – I say it even now, knowing as much as I do. A large camera on a table excited my notice, and Pickman told me that he used it in taking scenes for backgrounds, so that he might paint them from photographs in the studio instead of carting his outfit around the town for this or that view. He thought a photograph quite as good as an actual scene or model for sustained work, and declared he employed them regularly.
There was something very disturbing about the nauseous sketches and half-finished monstrosities that leered around from every side of the room, and when Pickman suddenly unveiled a huge canvas on the side away from the light I could not for my life keep back a loud scream – the second I had emitted that night. It echoed and echoed through the dim vaultings of that ancient and nitrous cellar, and I had to choke back a flood of reaction that threatened to burst out as hysterical laughter. Merciful Creator! Eliot, but I don’t know how much was real and how much was feverish fancy. It doesn’t seem to me that earth can hold a dream like that!
It was a colossal and nameless blasphemy with glaring red eyes, and it held in bony claws a thing that had been a man, gnawing at the head as a child nibbles at a stick of candy. Its position was a kind of crouch, and as one looked one felt that at any moment it might drop its present prey and seek a juicier morsel. But damn it all, it wasn’t even the fiendish subject that made it such an immortal fountain-head of all panic – not that, nor the dog face with its pointed ears, bloodshot eyes, flat nose, and drooling lips. It wasn’t the scaly claws nor the mould-caked body nor the half-hooved feet – none of these, though any one of them might well have driven an excitable man to madness.
It was the technique, Eliot – the cursed, the impious, the unnatural technique! As I am a living being, I never elsewhere saw the actual breath of life so fused into a canvas. The monster was there – it glared and gnawed and gnawed and glared – and I knew that only a suspension of Nature’s laws could ever let a man paint a thing like that without a model – without some glimpse of the nether world which no mortal unsold to the Fiend has ever had.
Pinned with a thumb-tack to a vacant part of the canvas was a piece of paper now badly curled up – probably, I thought, a photograph from which Pickman meant to paint a background as hideous as the nightmare it was to enhance. I reached out to uncurl and look at it, when suddenly I saw Pickman start as if shot. He had been listening with peculiar intensity ever since my shocked scream had waked unaccustomed echoes in the dark cellar, and now he seemed struck with a fright which, though not comparable to my own, had in it more of the physical than of the spiritual. He drew a revolver and motioned me to silence, then stepped out into the main cellar and closed the door behind him.
I think I was paralysed for an instant. Imitating Pickman’s listening, I fancied I heard a faint scurrying sound somewhere, and a series of squeals or bleats in a direction I couldn’t determine. I thought of huge rats and shuddered. Then there came a subdued sort of clatter which somehow set me all in gooseflesh – a furtive, groping kind of clatter, though I can’t attempt to convey what I mean in words. It was like heavy wood falling on stone or brick – wood on brick – what did that make me think of?
It came again, and louder. There was a vibration as if the wood had fallen farther than it had fallen before. After that followed a sharp grating noise, a shouted gibberish from Pickman, and the deafening discharge of all six chambers of a revolver, fired spectacularly as a lion-tamer might fire in the air for effect. A muffled squeal or squawk, and a thud. Then more wood and brick grating, a pause, and the opening of the door – at which I’ll confess I started violently. Pickman reappeared with his smoking weapon, cursing the bloated rats that infested the ancient well.
“The deuce knows what they eat, Thurber,” he grinned, “for those archaic tunnels touched graveyard and witch-den and sea-coast. But whatever it is, they must have run short, for they were devilish anxious to get out. Your yelling stirred them up, I fancy. Better be cautious in these old places – our rodent friends are the one drawback, though I sometimes think they’re a positive asset by way of atmosphere and colour.”
Well, Eliot, that was the end of the night’s adventure. Pickman had promised to shew me the place, and heaven knows he had done it. He led me out of that tangle of alleys in another direction, it seems, for when we sighted a lamp post we were in a half-familiar street with monotonous rows of mingled tenement blocks and old houses. Charter Street, it turned out to be, but I was too flustered to notice just where we hit it. We were too late for the elevated, and walked back downtown through Hanover Street. I remember that walk. We switched from Tremont up Beacon, and Pickman left me at the corner of Joy, where I turned off. I never spoke to him again.
Why did I drop him? Don’t be impatient. Wait till I ring for coffee. We’ve had enough of the other stuff, but I for one need something. No – it wasn’t the paintings I saw in that place; though I’ll swear they were enough to get him ostracised in nine-tenths of the homes and clubs of Boston, and I guess you won’t wonder now why I have to steer clear of subways and cellars. It was – something I found in my coat the next morning. You know, the curled-up paper tacked to that frightful canvas in the cellar; the thing I thought was a photograph of some scene he meant to use as a background for that monster. That last scare had come while I was reaching to uncurl it, and it seems I had vacantly crumpled it into my pocket. But here’s the coffee – take it black, Eliot, if you’re wise.
Yes, that paper was the reason I dropped Pickman; Richard Upton Pickman, the greatest artist I have ever known – and the foulest being that ever leaped the bounds of life into the pits of myth and madness. Eliot – old Reid was right. He wasn’t strictly human. Either he was born in strange shadow, or he’d found a way to unlock the forbidden gate. It’s all the same now, for he’s gone – back into the fabulous darkness he loved to haunt. Here, let’s have the chandelier going.
Don’t ask me to explain or even conjecture about what I burned. Don’t ask me, either, what lay behind that mole-like scrambling Pickman was so keen to pass off as rats. There are secrets, you know, which might have come down from old Salem times, and Cotton Mather tells even stranger things. You know how damned life-like Pickman’s paintings were – how we all wondered where he got those faces.
Well – that paper wasn’t a photograph of any background, after all. What it shewed was simply the monstrous being he was painting on that awful canvas. It was the model he was using – and its background was merely the wall of the cellar studio in minute detail. But by God, Eliot, it was a photograph from life.
The Thing on the Doorstep
I
It is true that I have sent six bullets through the head of my best friend, and yet I hope to shew by this statement that I am not his murderer. At first I shall be called a madman – madder than the man I shot in his cell at the Arkham Sanitarium. Later some of my readers will weigh each statement, correlate it with the known facts, and ask themselves how I could have believed otherwise than as I did after facing the evidence of that horror – that thing on the doorstep.
Until then I also saw nothing but madness in the wild tales I have acted on. Even now I ask myself whether I was misled – or whether I am not mad after all. I do not know – but others have strange things to tell of Edward and Asenath Derby, and even the stolid police are at their wits’ ends to account for that last terrible visit. They have tried weakly to concoct a theory of a ghastly jest or warning by discharged servants, yet they know in their hearts that the truth is something infinitely more terrible and incredible.
So I say that I have not murdered Edward Derby. Rather have I avenged him, and in so doing purged the earth of a horror whose survival might have loosed untold terrors on all mankind. There are black zones of shadow close to our daily paths, and now and then some evil soul breaks a passage through. When that happens, the man who knows must strike before reckoning the consequences.
I have known Edward Pickman Derby all his life. Eight years my junior, he was so precocious that we had much in common from