Huston Smith and H. P. Lovecraft on transcendent longing and humanity’s fundamental dis-ease
From Why Religion Matters: The Fate of the Human Spirit in an Age of Disbelief by Huston Smith:
The traditional worldview is preferable to the one that now encloses us because it allows for the fulfillment of the basic longing that lies in the depth of the human heart. . . .
There is within us — in even the blithest, most lighthearted among us — a fundamental dis-ease. It acts like an unquenchable fire that renders the vast majority of us incapable in this life of ever coming to full peace. This desire lies in the marrow of our bones and the deep regions of our souls. All great literature, poetry, art, philosophy, psychology, and religion tries to name and analyze this longing. We are seldom in direct touch with it, and indeed the modern world seems set on preventing us from getting in touch with it by covering it with an unending phantasmagoria of entertainments, obsessions, addictions, and distractions of every sort. But the longing is there, built into us like a jack-in-the-box that presses for release. Two great paintings suggest this longing in their titles — Gauguin’s Who Are We? Where Did We Come From? Where Are We Going? and de Chirico’s Nostalgia for the Infinite — but I must work with words. Whether we realize it or not, simply to be human is to long for release from mundane existence, with its confining walls of finitude and mortality.
From a 1930 letter by H. P. Lovecraft to Clark Ashton Smith:
My most vivid experiences are efforts to recapture fleeting & tantalising mnemonic fragments expressed in unknown or half-known architectural or landscape vistas, especially in connexion with a sunset. Some instantaneous fragment of a picture will well up suddenly through some chain of subconscious association — the immediate excitant being usually half-irrelevant on the surface — & fill me with a sense of wistful memory & bafflement; with the impression that the scene in question represents something I have seen & visited before under circumstances of superhuman liberation & adventurous expectancy, yet which I have almost completely forgotten, & which is so bewilderingly uncorrelated & unoriented as to be forever inaccessible in the future.
From a 1930 letter by Lovecraft to James F. Morton:
It is never any definite experience which gives me pleasure, but always the quality of mystic adventurous expectancy itself — the indefiniteness which permits me to foster the momentary illusion that almost any vista of wonder and beauty might open up, or almost any law of time or space or matter or energy be marvellously defeated or reversed or modified or transcended . . . that sense of expansion, freedom, adventure, power, expectancy, symmetry, drama, beauty-absorption, surprise, and cosmic wonder (i.e. the illusory promise of a majestic revelation which shall gratify man’s ever-flaming, ever-tormenting curiosity about the outer voids and ultimate gulfs of entity) . . . the illusion of being poised on the edge of the infinite amidst a vast cosmic unfolding which might reveal almost anything.
From Smith, Why Religion Matters:
Release from those walls calls for space outside them, and the traditional world provides that space in abundance. It has about it the feel of long, open distances and limitless vistas for the human spirit to explore — distances and vistas that are quality-laden throughout. Some of its vistas . . . are terrifying; still, standing as it does as the qualitative counterpart to the quantitative universe that physics explores, all but the fainthearted would switch to it instantly if we believed it existed. . . . Our received wisdom denies its existence, but that wisdom cannot prevent us from having experiences that feel as if they come from a different world.
From Lovecraft, in his essay “Notes on the Writing of Weird Fiction”:
I choose weird stories because they suit my inclination best-one of my strongest and most persistent wishes being to achieve, momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis. These stories frequently emphasize the element of horror because fear is our deepest and strongest emotion, and the one which best lends itself to the creation of Nature-defying illusions. Horror and the unknown or the strange are always closely connected, so that it is hard to create a convincing picture of shattered natural law or cosmic alienage or “outsideness” without laying stress on the emotion of fear.