“Time, space, and natural law hold for me suggestions of intolerable bondage, and I can form no picture of emotional satisfaction which does not involve their defeat—especially the defeat of time, so that one may merge oneself with the whole historic stream and be wholly emancipated from the transient and the ephemeral.”

Letter to August Derleth (21 November 1930), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 220
Non-Fiction, Letters, to August Derleth
Context: Time, space, and natural law hold for me suggestions of intolerable bondage, and I can form no picture of emotional satisfaction which does not involve their defeat—especially the defeat of time, so that one may merge oneself with the whole historic stream and be wholly emancipated from the transient and the ephemeral. Yet I can assure you that this point of view is joined to one of the plainest, naivest, and most unobtrusively old-fashioned of personalities—a retiring old hermit and ascetic who does not even know what your contemporary round of activities and "parties" is like, and who during the coming winter will probably not address two consecutive sentences to any living person—tradesmen apart—save a pair of elderly aunts! Some people—a very few, perhaps—are naturally cosmic in outlook, just as others are naturally 'of and for the earth'. I am myself less exclusively cosmic than Klarkash-Ton and Wandrei... I begin with the individual and the soil and think outward—appreciating the sensation of spatial and temporal liberation only when I can scale it against the known terrestrial scene. They, on the other hand, are able to think of wholly non-human abysses of ultimate space—without reference-points—as realities neither irrelevant nor less significant than immediate human life. With me, the very quality of being cosmically sensitive breeds an exaggerated attachment to the familiar and the immediate—Old Providence, the woods and hills, the ancient ways and thoughts of New England—whilst with them it seems to have the opposite effect of alienating them from immediate anchorages. They despise the immediate as trivial; I know that it is trivial, but cherish rather than despise it—because everything, including infinity itself, is trivial. In reality I am the profoundest cynic of them all, for I recognize no absolute values whatever.

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H.P. Lovecraft 203
American author 1890–1937

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“However—the crucial thing is my lack of interest in ordinary life. No one ever wrote a story yet without some real emotional drive behind it—and I have not that drive except where violations of the natural order… defiances and evasions of time, space, and cosmic law… are concerned. Just why this is so I haven't the slightest idea—it simply is so. I am interested only in broad pageants—historic streams—orders of biological, chemical, physical, and astronomical organisation—and the only conflict which has any deep emotional significance to me is that of the principle of freedom or irregularity or adventurous opportunity against the eternal and maddening rigidity of cosmic law… especially the laws of time…. Hence the type of thing I try to write. Naturally, I am aware that this forms a very limited special field so far as mankind en masse is concerned; but I believe (as pointed out in that Recluse article) that the field is an authentic one despite its subordinate nature. This protest against natural law, and tendency to weave visions of escape from orderly nature, are characteristic and eternal factors in human psychology, even though very small ones. They exist as permanent realities, and have always expressed themselves in a typical form of art from the earliest fireside folk tales and ballads to the latest achievements of Blackwood and Machen or de la Mare or Dunsany. That art exists—whether the majority like it or not. It is small and limited, but real—and there is no reason why its practitioners should be ashamed of it. Naturally one would rather be a broad artist with power to evoke beauty from every phase of experience—but when one unmistakably isn't such an artist, there's no sense in bluffing and faking and pretending that one is.”

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