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H.P. Lovecraft defined the cosmic horror genre during the early 1900s. His most famous story is "The Call of Cthulhu" which was released in 1928. The story revolves around an archeologist named Francis Thurston. He discovers that a cult across the world is trying to summon an eldritch being known as "Cthulhu". Cthulhu is a being whose mere presence (physical or mental) can drive a person insane. The reason that this story was chosen is due to its defining nature of the story. The aspect of this story that makes it scary to most readers is not just the creature itself, but the fact that the people in the story are completely powerless against the beings they are pursuing. For an activity, students could create a figure/draw their own Lovecraftian creature that they find scary.

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(Found Among the Papers of the Late
Francis Wayland Thurston, of Boston)

"Of such great powers or beings there may be conceivably a survival . . . a survival of a hugely remote period when . . . consciousness was manifested, perhaps, in shapes and forms long since withdrawn before the tide of advancing humanity . . . forms of which poetry and legend alone have caught a flying memory and called them gods, monsters, mythical beings of all sorts and kinds. . . ."

The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age.

Theosophists have guessed at the awesome grandeur of the cosmic cycle wherein our world and human race form transient incidents. They have hinted at strange survivals in terms which would freeze the blood if not masked by a bland optimism. But it is not from them that there came the single glimpse of forbidden aeons which chills me when I think of it and maddens me when I dream of it. That glimpse, like all dread glimpses of truth, flashed out from an accidental piecing together of separated things-in this case an old newspaper item and the notes of a dead professor. I hope that no one else will accomplish this piecing out; certainly, if I live, I shall never knowingly supply a link in so hideous a chain. I think that the professor, too, intended to keep silent regarding the part he knew, and that he would have destroyed his notes had not sudden death seized him.

My knowledge of the thing began in the winter of 1926-27 with the death of my grand-uncle George Gammell Angell, Professor Emeritus of Semitic Languages in Brown University, Providence, Rhode Island. Professor Angell was widely known as an authority on ancient inscriptions, and had frequently been resorted to by the heads of prominent museums; so that his passing at the age of ninety-two may be recalled by many. Locally, interest was intensified by the obscurity of the cause of death. The professor had been stricken whilst returning from the Newport boat; falling suddenly, as witnesses said, after having been jostled by a nautical-looking negro who had come from one of the queer dark courts on the precipitous hillside which formed a short cut from the waterfront to the deceased's home in Williams Street. Physicians were unable to find any visible disorder, but concluded after perplexed debate that some obscure lesion of the heart, induced by the brisk ascent of so steep a hill by so elderly a man, was responsible for the end. At the time I saw no reason to dissent from this dictum, but latterly I am inclined to wonder-and more than wonder.

As my grand-uncle's heir and executor, for he died a childless widower, I was expected to go over his papers with some thoroughness; and for that purpose moved his entire set of files and boxes to my quarters in Boston. Much of the material which I correlated will be later published by the American Archaeological Society, but there was one box which I found exceedingly puzzling, and which I felt much averse from shewing to other eyes. It had been locked, and I did not find the key till it occurred to me to examine the personal ring which the professor carried always in his pocket. Then indeed I succeeded in opening it, but when I did so seemed only to be confronted by a greater and more closely locked barrier. For what could be the meaning of the queer clay bas-relief and the disjointed jottings, ramblings, and cuttings which I found? Had my uncle, in his latter years, become credulous of the most superficial impostures? I resolved to search out the eccentric sculptor responsible for this apparent disturbance of an old man's peace of mind.

The bas-relief was a rough rectangle less than an inch thick and about five by six inches in area; obviously of modern origin. Its designs, however, were far from modern in atmosphere and suggestion; for although the vagaries of cubism and futurism are many and wild, they do not often reproduce that cryptic regularity which lurks in prehistoric writing. And writing of some kind the bulk of these designs seemed certainly to be; though my memory, despite much familiarity with the papers and collections of my uncle, failed in any way to identify this particular species, or even to hint at its remotest affiliations.

Above these apparent hieroglyphics was a figure of evidently pictorial intent, though its impressionistic execution forbade a very clear idea of its nature. It seemed to be a sort of monster, or symbol representing a monster, of a form which only a diseased fancy could conceive. If I say that my somewhat extravagant imagination yielded simultaneous pictures of an octopus, a dragon, and a human caricature, I shall not be unfaithful to the spirit of the thing. A pulpy, tentacled head surmounted a grotesque and scaly body with rudimentary wings; but it was the general outline of the whole which made it most shockingly frightful. Behind the figure was a vague suggestion of a Cyclopean architectural background.

The writing accompanying this oddity was, aside from a stack of press cuttings, in Professor Angell's most recent hand; and made no pretence to literary style. What seemed to be the main document was headed "CTHULHU CULT" in characters painstakingly printed to avoid the erroneous reading of a word so unheard-of. The manuscript was divided into two sections, the first of which was headed "1925-Dream and Dream Work of H. A. Wilcox, 7 Thomas St., Providence, R.I.", and the second, "Narrative of Inspector John R. Legrasse, 121 Bienville St., New Orleans, La., at 1908 A. A. S. Mtg.-Notes on Same, & Prof. Webb's Acct." The other manuscript papers were all brief notes, some of them accounts of the queer dreams of different persons, some of them citations from theosophical books and magazines (notably W. Scott-Elliot's Atlantis and the Lost Lemuria), and the rest comments on long-surviving secret societies and hidden cults, with references to passages in such mythological and anthropological source-books as Frazer's Golden Bough and Miss Murray's Witch-Cult in Western Europe. The cuttings largely alluded to outré mental illnesses and outbreaks of group folly or mania in the spring of 1925.

The first half of the principal manuscript told a very peculiar tale. It appears that on March 1st, 1925, a thin, dark young man of neurotic and excited aspect had called upon Professor Angell bearing the singular clay bas-relief, which was then exceedingly damp and fresh. His card bore the name of Henry Anthony Wilcox, and my uncle had recognised him as the youngest son of an excellent family slightly known to him, who had latterly been studying sculpture at the Rhode Island School of Design and living alone at the Fleur-de-Lys Building near that institution. Wilcox was a precocious youth of known genius but great eccentricity, and had from childhood excited attention through the strange stories and odd dreams he was in the habit of relating. He called himself "psychically hypersensitive", but the staid folk of the ancient commercial city dismissed him as merely "queer". Never mingling much with his kind, he had dropped gradually from social visibility, and was now known only to a small group of aesthetes from other towns. Even the Providence Art Club, anxious to preserve its conservatism, had found him quite hopeless.

On the occasion of the visit, ran the professor's manuscript, the sculptor abruptly asked for the benefit of his host's archaeological knowledge in identifying the hieroglyphics on the bas-relief. He spoke in a dreamy, stilted manner which suggested pose and alienated sympathy; and my uncle shewed some sharpness in replying, for the conspicuous freshness of the tablet implied kinship with anything but archaeology. Young Wilcox's rejoinder, which impressed my uncle enough to make him recall and record it verbatim, was of a fantastically poetic cast which must have typified his whole conversation, and which I have since found highly characteristic of him. He said, "It is new, indeed, for I made it last night in a dream of strange cities; and dreams are older than brooding Tyre, or the contemplative Sphinx, or garden-girdled Babylon."

It was then that he began that rambling tale which suddenly played upon a sleeping memory and won the fevered interest of my uncle. There had been a slight earthquake tremor the night before, the most considerable felt in New England for some years; and Wilcox's imagination had been keenly affected. Upon retiring, he had had an unprecedented dream of great Cyclopean cities of titan blocks and sky-flung monoliths, all dripping with green ooze and sinister with latent horror. Hieroglyphics had covered the walls and pillars, and from some undetermined point below had come a voice that was not a voice; a chaotic sensation which only fancy could transmute into sound, but which he attempted to render by the almost unpronounceable jumble of letters, " Cthulhu fhtagn".

This verbal jumble was the key to the recollection which excited and disturbed Professor Angell. He questioned the sculptor with scientific minuteness; and studied with almost frantic intensity the bas-relief on which the youth had found himself working, chilled and clad only in his night-clothes, when waking had stolen bewilderingly over him. My uncle blamed his old age, Wilcox afterward said, for his slowness in recognising both hieroglyphics and pictorial design. Many of his questions seemed highly out-of-place to his visitor, especially those which tried to connect the latter with strange cults or societies; and Wilcox could not understand the repeated promises of silence which he was offered in exchange for an admission of membership in some widespread mystical or paganly religious body. When Professor Angell became convinced that the sculptor was indeed ignorant of any cult or system of cryptic lore, he besieged his visitor with demands for future reports of dreams. This bore regular fruit, for after the first interview the manuscript records daily calls of the young man, during which he related startling fragments of nocturnal imagery whose burden was always some terrible Cyclopean vista of dark and dripping stone, with a subterrene voice or intelligence shouting monotonously in enigmatical sense-impacts uninscribable save as gibberish. The two sounds most frequently repeated are those rendered by the letters " Cthulhu" and " R'lyeh".

On March 23d, the manuscript continued, Wilcox failed to appear; and inquiries at his quarters revealed that he had been stricken with an obscure sort of fever and taken to the home of his family in Waterman Street. He had cried out in the night, arousing several other artists in the building, and had manifested since then only alternations of unconsciousness and delirium. My uncle at once telephoned the family, and from that time forward kept close watch of the case; calling often at the Thayer Street office of Dr. Tobey, whom he learned to be in charge. The youth's febrile mind, apparently, was dwelling on strange things; and the doctor shuddered now and then as he spoke of them. They included not only a repetition of what he had formerly dreamed, but touched wildly on a gigantic thing "miles high" which walked or lumbered about. He at no time fully described this object, but occasional frantic words, as repeated by Dr. Tobey, convinced the professor that it must be identical with the nameless monstrosity he had sought to depict in his dream-sculpture. Reference to this object, the doctor added, was invariably a prelude to the young man's subsidence into lethargy. His temperature, oddly enough, was not greatly above normal; but his whole condition was otherwise such as to suggest true fever rather than mental disorder.

On April 2nd at about 3 p.m. every trace of Wilcox's malady suddenly ceased. He sat upright in bed, astonished to find himself at home and completely ignorant of what had happened in dream or reality since the night of March 22nd. Pronounced well by his physician, he returned to his quarters in three days; but to Professor Angell he was of no further assistance. All traces of strange dreaming had vanished with his recovery, and my uncle kept no record of his night-thoughts after a week of pointless and irrelevant accounts of thoroughly usual visions.

Here the first part of the manuscript ended, but references to certain of the scattered notes gave me much material for thought-so much, in fact, that only the ingrained scepticism then forming my philosophy can account for my continued distrust of the artist. The notes in question were those descriptive of the dreams of various persons covering the same period as that in which young Wilcox had had his strange visitations. My uncle, it seems, had quickly instituted a prodigiously far-flung body of inquiries amongst nearly all the friends whom he could question without impertinence, asking for nightly reports of their dreams, and the dates of any notable visions for some time past. The reception of his request seems to have been varied; but he must, at the very least, have received more responses than any ordinary man could have handled without a secretary. This original correspondence was not preserved, but his notes formed a thorough and really significant digest. Average people in society and business-New England's traditional "salt of the earth"-gave an almost completely negative result, though scattered cases of uneasy but formless nocturnal impressions appear here and there, always between March 23d and April 2nd-the period of young Wilcox's delirium. Scientific men were little more affected, though four cases of vague description suggest fugitive glimpses of strange landscapes, and in one case there is mentioned a dread of something abnormal.

It was from the artists and poets that the pertinent answers came, and I know that panic would have broken loose had they been able to compare notes. As it was, lacking their original letters, I half suspected the compiler of having asked leading questions, or of having edited the correspondence in corroboration of what he had latently resolved to see. That is why I continued to feel that Wilcox, somehow cognisant of the old data which my uncle had possessed, had been imposing on the veteran scientist. These responses from aesthetes told a disturbing tale. From February 28th to April 2nd a large proportion of them had dreamed very bizarre things, the intensity of the dreams being immeasurably the stronger during the period of the sculptor's delirium. Over a fourth of those who reported anything, reported scenes and half-sounds not unlike those which Wilcox had described; and some of the dreamers confessed acute fear of the gigantic nameless thing visible toward the last. One case, which the note describes with emphasis, was very sad. The subject, a widely known architect with leanings toward theosophy and occultism, went violently insane on the date of young Wilcox's seizure, and expired several months later after incessant screamings to be saved from some escaped denizen of hell. Had my uncle referred to these cases by name instead of merely by number, I should have attempted some corroboration and personal investigation; but as it was, I succeeded in tracing down only a few. All of these, however, bore out the notes in full. I have often wondered if all the objects of the professor's questioning felt as puzzled as did this fraction. It is well that no explanation shall ever reach them.

The press cuttings, as I have intimated, touched on cases of panic, mania, and eccentricity during the given period. Professor Angell must have employed a cutting bureau, for the number of extracts was tremendous and the sources scattered throughout the globe. Here was a nocturnal suicide in London, where a lone sleeper had leaped from a window after a shocking cry. Here likewise a rambling letter to the editor of a paper in South America, where a fanatic deduces a dire future from visions he has seen. A despatch from California describes a theosophist colony as donning white robes en masse for some "glorious fulfilment" which never arrives, whilst items from India speak guardedly of serious native unrest toward the end of March. Voodoo orgies multiply in Hayti, and African outposts report ominous mutterings. American officers in the Philippines find certain tribes bothersome about this time, and New York policemen are mobbed by hysterical Levantines on the night of March 22-23. The west of Ireland, too, is full of wild rumour and legendry, and a fantastic painter named Ardois-Bonnot hangs a blasphemous "Dream Landscape" in the Paris spring salon of 1926. And so numerous are the recorded troubles in insane asylums, that only a miracle can have stopped the medical fraternity from noting strange parallelisms and drawing mystified conclusions. A weird bunch of cuttings, all told; and I can at this date scarcely envisage the callous rationalism with which I set them aside. But I was then convinced that young Wilcox had known of the older matters mentioned by the professor.

II.
The Tale of Inspector Legrasse.

The older matters which had made the sculptor's dream and bas-relief so significant to my uncle formed the subject of the second half of his long manuscript. Once before, it appears, Professor Angell had seen the hellish outlines of the nameless monstrosity, puzzled over the unknown hieroglyphics, and heard the ominous syllables which can be rendered only as " Cthulhu"; and all this in so stirring and horrible a connexion that it is small wonder he pursued young Wilcox with queries and demands for data.

The earlier experience had come in 1908, seventeen years before, when the American Archaeological Society held its annual meeting in St. Louis. Professor Angell, as befitted one of his authority and attainments, had had a prominent part in all the deliberations; and was one of the first to be approached by the several outsiders who took advantage of the convocation to offer questions for correct answering and problems for expert solution.

The chief of these outsiders, and in a short time the focus of interest for the entire meeting, was a commonplace-looking middle-aged man who had travelled all the way from New Orleans for certain special information unobtainable from any local source. His name was John Raymond Legrasse, and he was by profession an Inspector of Police. With him he bore the subject of his visit, a grotesque, repulsive, and apparently very ancient stone statuette whose origin he was at a loss to determine. It must not be fancied that Inspector Legrasse had the least interest in archaeology. On the contrary, his wish for enlightenment was prompted by purely professional considerations. The statuette, idol, fetish, or whatever it was, had been captured some months before in the wooded swamps south of New Orleans during a raid on a supposed voodoo meeting; and so singular and hideous were the rites connected with it, that the police could not but realise that they had stumbled on a dark cult totally unknown to them, and infinitely more diabolic than even the blackest of the African voodoo circles. Of its origin, apart from the erratic and unbelievable tales extorted from the captured members, absolutely nothing was to be discovered; hence the anxiety of the police for any antiquarian lore which might help them to place the frightful symbol, and through it track down the cult to its fountain-head.

Inspector Legrasse was scarcely prepared for the sensation which his offering created. One sight of the thing had been enough to throw the assembled men of science into a state of tense excitement, and they lost no time in crowding around him to gaze at the diminutive figure whose utter strangeness and air of genuinely abysmal antiquity hinted so potently at unopened and archaic vistas. No recognised school of sculpture had animated this terrible object, yet centuries and even thousands of years seemed recorded in its dim and greenish surface of unplaceable stone.

The figure, which was finally passed slowly from man to man for close and careful study, was between seven and eight inches in height, and of exquisitely artistic workmanship. It represented a monster of vaguely anthropoid outline, but with an octopus-like head whose face was a mass of feelers, a scaly, rubbery-looking body, prodigious claws on hind and fore feet, and long, narrow wings behind. This thing, which seemed instinct with a fearsome and unnatural malignancy, was of a somewhat bloated corpulence, and squatted evilly on a rectangular block or pedestal covered with undecipherable characters. The tips of the wings touched the back edge of the block, the seat occupied the centre, whilst the long, curved claws of the doubled-up, crouching hind legs gripped the front edge and extended a quarter of the way down toward the bottom of the pedestal. The cephalopod head was bent forward, so that the ends of the facial feelers brushed the backs of huge fore paws which clasped the croucher's elevated knees. The aspect of the whole was abnormally life-like, and the more subtly fearful because its source was so totally unknown. Its vast, awesome, and incalculable age was unmistakable; yet not one link did it shew with any known type of art belonging to civilisation's youth-or indeed to any other time. Totally separate and apart, its very material was a mystery; for the soapy, greenish-black stone with its golden or iridescent flecks and striations resembled nothing familiar to geology or mineralogy. The characters along the base were equally baffling; and no member present, despite a representation of half the world's expert learning in this field, could form the least notion of even their remotest linguistic kinship. They, like the subject and material, belonged to something horribly remote and distinct from mankind as we know it; something frightfully suggestive of old and unhallowed cycles of life in which our world and our conceptions have no part.

And yet, as the members severally shook their heads and confessed defeat at the Inspector's problem, there was one man in that gathering who suspected a touch of bizarre familiarity in the monstrous shape and writing, and who presently told with some diffidence of the odd trifle he knew. This person was the late William Channing Webb, Professor of Anthropology in Princeton University, and an explorer of no slight note. Professor Webb had been engaged, forty-eight years before, in a tour of Greenland and Iceland in search of some Runic inscriptions which he failed to unearth; and whilst high up on the West Greenland coast had encountered a singular tribe or cult of degenerate Esquimaux whose religion, a curious form of devil-worship, chilled him with its deliberate bloodthirstiness and repulsiveness. It was a faith of which other Esquimaux knew little, and which they mentioned only with shudders, saying that it had come down from horribly ancient aeons before ever the world was made. Besides nameless rites and human sacrifices there were certain queer hereditary rituals addressed to a supreme elder devil or tornasuk; and of this Professor Webb had taken a careful phonetic copy from an aged angekok or wizard-priest, expressing the sounds in Roman letters as best he knew how. But just now of prime significance was the fetish which this cult had cherished, and around which they danced when the aurora leaped high over the ice cliffs. It was, the professor stated, a very crude bas-relief of stone, comprising a hideous picture and some cryptic writing. And so far as he could tell, it was a rough parallel in all essential features of the bestial thing now lying before the meeting.

This data, received with suspense and astonishment by the assembled members, proved doubly exciting to Inspector Legrasse; and he began at once to ply his informant with questions. Having noted and copied an oral ritual among the swamp cult-worshippers his men had arrested, he besought the professor to remember as best he might the syllables taken down amongst the diabolist Esquimaux. There then followed an exhaustive comparison of details, and a moment of really awed silence when both detective and scientist agreed on the virtual identity of the phrase common to two hellish rituals so many worlds of distance apart. What, in substance, both the Esquimau wizards and the Louisiana swamp-priests had chanted to their kindred idols was something very like this-the word-divisions being guessed at from traditional breaks in the phrase as chanted aloud:

"Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn."

Legrasse had one point in advance of Professor Webb, for several among his mongrel prisoners had repeated to him what older celebrants had told them the words meant. This text, as given, ran something like this:

"In his house at R'lyeh dead Cthulhu waits dreaming."

And now, in response to a general and urgent demand, Inspector Legrasse related as fully as possible his experience with the swamp worshippers; telling a story to which I could see my uncle attached profound significance. It savoured of the wildest dreams of myth-maker and theosophist, and disclosed an astonishing degree of cosmic imagination among such half-castes and pariahs as might be least expected to possess it.

On November 1st, 1907, there had come to the New Orleans police a frantic summons from the swamp and lagoon country to the south. The squatters there, mostly primitive but good-natured descendants of Lafitte's men, were in the grip of stark terror from an unknown thing which had stolen upon them in the night. It was voodoo, apparently, but voodoo of a more terrible sort than they had ever known; and some of their women and children had disappeared since the malevolent tom-tom had begun its incessant beating far within the black haunted woods where no dweller ventured. There were insane shouts and harrowing screams, soul-chilling chants and dancing devil-flames; and, the frightened messenger added, the people could stand it no more.

So a body of twenty police, filling two carriages and an automobile, had set out in the late afternoon with the shivering squatter as a guide. At the end of the passable road they alighted, and for miles splashed on in silence through the terrible cypress woods where day never came. Ugly roots and malignant hanging nooses of Spanish moss beset them, and now and then a pile of dank stones or fragment of a rotting wall intensified by its hint of morbid habitation a depression which every malformed tree and every fungous islet combined to create. At length the squatter settlement, a miserable huddle of huts, hove in sight; and hysterical dwellers ran out to cluster around the group of bobbing lanterns. The muffled beat of tom-toms was now faintly audible far, far ahead; and a curdling shriek came at infrequent intervals when the wind shifted. A reddish glare, too, seemed to filter through the pale undergrowth beyond endless avenues of forest night. Reluctant even to be left alone again, each one of the cowed squatters refused point-blank to advance another inch toward the scene of unholy worship, so Inspector Legrasse and his nineteen colleagues plunged on unguided into black arcades of horror that none of them had ever trod before.

The region now entered by the police was one of traditionally evil repute, substantially unknown and untraversed by white men. There were legends of a hidden lake unglimpsed by mortal sight, in which dwelt a huge, formless white polypous thing with luminous eyes; and squatters whispered that bat-winged devils flew up out of caverns in inner earth to worship it at midnight. They said it had been there before D'Iberville, before La Salle, before the Indians, and before even the wholesome beasts and birds of the woods. It was nightmare itself, and to see it was to die. But it made men dream, and so they knew enough to keep away. The present voodoo orgy was, indeed, on the merest fringe of this abhorred area, but that location was bad enough; hence perhaps the very place of the worship had terrified the squatters more than the shocking sounds and incidents.

Only poetry or madness could do justice to the noises heard by Legrasse's men as they ploughed on through the black morass toward the red glare and the muffled tom-toms. There are vocal qualities peculiar to men, and vocal qualities peculiar to beasts; and it is terrible to hear the one when the source should yield the other. Animal fury and orgiastic licence here whipped themselves to daemoniac heights by howls and squawking ecstasies that tore and reverberated through those nighted woods like pestilential tempests from the gulfs of hell. Now and then the less organised ululation would cease, and from what seemed a well-drilled chorus of hoarse voices would rise in sing-song chant that hideous phrase or ritual:

"Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn."
Then the men, having reached a spot where the trees were thinner, came suddenly in sight of the spectacle itself. Four of them reeled, one fainted, and two were shaken into a frantic cry which the mad cacophony of the orgy fortunately deadened. Legrasse dashed swamp water on the face of the fainting man, and all stood trembling and nearly hypnotised with horror.

In a natural glade of the swamp stood a grassy island of perhaps an acre's extent, clear of trees and tolerably dry. On this now leaped and twisted a more indescribable horde of human abnormality than any but a Sime or an Angarola could paint. Void of clothing, this hybrid spawn were braying, bellowing, and writhing about a monstrous ring-shaped bonfire; in the centre of which, revealed by occasional rifts in the curtain of flame, stood a great granite monolith some eight feet in height; on top of which, incongruous with its diminutiveness, rested the noxious carven statuette. From a wide circle of ten scaffolds set up at regular intervals with the flame-girt monolith as a centre hung, head downward, the oddly marred bodies of the helpless squatters who had disappeared. It was inside this circle that the ring of worshippers jumped and roared, the general direction of the mass motion being from left to right in endless Bacchanal between the ring of bodies and the ring of fire.

It may have been only imagination and it may have been only echoes which induced one of the men, an excitable Spaniard, to fancy he heard antiphonal responses to the ritual from some far and unillumined spot deeper within the wood of ancient legendry and horror. This man, Joseph D. Galvez, I later met and questioned; and he proved distractingly imaginative. He indeed went so far as to hint of the faint beating of great wings, and of a glimpse of shining eyes and a mountainous white bulk beyond the remotest trees-but I suppose he had been hearing too much native superstition.

Actually, the horrified pause of the men was of comparatively brief duration. Duty came first; and although there must have been nearly a hundred mongrel celebrants in the throng, the police relied on their firearms and plunged determinedly into the nauseous rout. For five minutes the resultant din and chaos were beyond description. Wild blows were struck, shots were fired, and escapes were made; but in the end Legrasse was able to count some forty-seven sullen prisoners, whom he forced to dress in haste and fall into line between two rows of policemen. Five of the worshippers lay dead, and two severely wounded ones were carried away on improvised stretchers by their fellow-prisoners. The image on the monolith, of course, was carefully removed and carried back by Legrasse.

Examined at headquarters after a trip of intense strain and weariness, the prisoners all proved to be men of a very low, mixed-blooded, and mentally aberrant type. Most were seamen, and a sprinkling of negroes and mulattoes, largely West Indians or Brava Portuguese from the Cape Verde Islands, gave a colouring of voodooism to the heterogeneous cult. But before many questions were asked, it became manifest that something far deeper and older than negro fetichism was involved. Degraded and ignorant as they were, the creatures held with surprising consistency to the central idea of their loathsome faith.

They worshipped, so they said, the Great Old Ones who lived ages before there were any men, and who came to the young world out of the sky. Those Old Ones were gone now, inside the earth and under the sea; but their dead bodies had told their secrets in dreams to the first men, who formed a cult which had never died. This was that cult, and the prisoners said it had always existed and always would exist, hidden in distant wastes and dark places all over the world until the time when the great priest Cthulhu, from his dark house in the mighty city of R'lyeh under the waters, should rise and bring the earth again beneath his sway. Some day he would call, when the stars were ready, and the secret cult would always be waiting to liberate him.

Meanwhile no more must be told. There was a secret which even torture could not extract. Mankind was not absolutely alone among the conscious things of earth, for shapes came out of the dark to visit the faithful few. But these were not the Great Old Ones. No man had ever seen the Old Ones. The carven idol was great Cthulhu, but none might say whether or not the others were precisely like him. No one could read the old writing now, but things were told by word of mouth. The chanted ritual was not the secret-that was never spoken aloud, only whispered. The chant meant only this: "In his house at R'lyeh dead Cthulhu waits dreaming."

Only two of the prisoners were found sane enough to be hanged, and the rest were committed to various institutions. All denied a part in the ritual murders, and averred that the killing had been done by Black Winged Ones which had come to them from their immemorial meeting-place in the haunted wood. But of those mysterious allies no coherent account could ever be gained. What the police did extract, came mainly from an immensely aged mestizo named Castro, who claimed to have sailed to strange ports and talked with undying leaders of the cult in the mountains of China.

Old Castro remembered bits of hideous legend that paled the speculations of theosophists and made man and the world seem recent and transient indeed. There had been aeons when other Things ruled on the earth, and They had had great cities. Remains of Them, he said the deathless Chinamen had told him, were still to be found as Cyclopean stones on islands in the Pacific. They all died vast epochs of time before men came, but there were arts which could revive Them when the stars had come round again to the right positions in the cycle of eternity. They had, indeed, come themselves from the stars, and brought Their images with Them.

These Great Old Ones, Castro continued, were not composed altogether of flesh and blood. They had shape-for did not this star-fashioned image prove it?-but that shape was not made of matter. When the stars were right, They could plunge from world to world through the sky; but when the stars were wrong, They could not live. But although They no longer lived, They would never really die. They all lay in stone houses in Their great city of R'lyeh, preserved by the spells of mighty Cthulhu for a glorious resurrection when the stars and the earth might once more be ready for Them. But at that time some force from outside must serve to liberate Their bodies. The spells that preserved Them intact likewise prevented Them from making an initial move, and They could only lie awake in the dark and think whilst uncounted millions of years rolled by. They knew all that was occurring in the universe, but Their mode of speech was transmitted thought. Even now They talked in Their tombs. When, after infinities of chaos, the first men came, the Great Old Ones spoke to the sensitive among them by moulding their dreams; for only thus could Their language reach the fleshly minds of mammals.

Then, whispered Castro, those first men formed the cult around small idols which the Great Ones shewed them; idols brought in dim aeras from dark stars. That cult would never die till the stars came right again, and the secret priests would take great Cthulhu from His tomb to revive His subjects and resume His rule of earth. The time would be easy to know, for then mankind would have become as the Great Old Ones; free and wild and beyond good and evil, with laws and morals thrown aside and all men shouting and killing and revelling in joy. Then the liberated Old Ones would teach them new ways to shout and kill and revel and enjoy themselves, and all the earth would flame with a holocaust of ecstasy and freedom. Meanwhile the cult, by appropriate rites, must keep alive the memory of those ancient ways and shadow forth the prophecy of their return.

In the elder time chosen men had talked with the entombed Old Ones in dreams, but then something had happened. The great stone city R'lyeh, with its monoliths and sepulchres, had sunk beneath the waves; and the deep waters, full of the one primal mystery through which not even thought can pass, had cut off the spectral intercourse. But memory never died, and high-priests said that the city would rise again when the stars were right. Then came out of the earth the black spirits of earth, mouldy and shadowy, and full of dim rumours picked up in caverns beneath forgotten sea-bottoms. But of them old Castro dared not speak much. He cut himself off hurriedly, and no amount of persuasion or subtlety could elicit more in this direction. The size of the Old Ones, too, he curiously declined to mention. Of the cult, he said that he thought the centre lay amid the pathless deserts of Arabia, where Irem, the City of Pillars, dreams hidden and untouched. It was not allied to the European witch-cult, and was virtually unknown beyond its members. No book had ever really hinted of it, though the deathless Chinamen said that there were double meanings in the Necronomicon of the mad Arab Abdul Alhazred which the initiated might read as they chose, especially the much-discussed couplet:

Legrasse, deeply impressed and not a little bewildered, had inquired in vain concerning the historic affiliations of the cult. Castro, apparently, had told the truth when he said that it was wholly secret. The authorities at Tulane University could shed no light upon either cult or image, and now the detective had come to the highest authorities in the country and met with no more than the Greenland tale of Professor Webb.

The feverish interest aroused at the meeting by Legrasse's tale, corroborated as it was by the statuette, is echoed in the subsequent correspondence of those who attended; although scant mention occurs in the formal publications of the society. Caution is the first care of those accustomed to face occasional charlatanry and imposture. Legrasse for some time lent the image to Professor Webb, but at the latter's death it was returned to him and remains in his possession, where I viewed it not long ago. It is truly a terrible thing, and unmistakably akin to the dream-sculpture of young Wilcox.

That my uncle was excited by the tale of the sculptor I did not wonder, for what thoughts must arise upon hearing, after a knowledge of what Legrasse had learned of the cult, of a sensitive young man who had dreamed not only the figure and exact hieroglyphics of the swamp-found image and the Greenland devil tablet, but had come in his dreams upon at least three of the precise words of the formula uttered alike by Esquimau diabolists and mongrel Louisianans? Professor Angell's instant start on an investigation of the utmost thoroughness was eminently natural; though privately I suspected young Wilcox of having heard of the cult in some indirect way, and of having invented a series of dreams to heighten and continue the mystery at my uncle's expense. The dream-narratives and cuttings collected by the professor were, of course, strong corroboration; but the rationalism of my mind and the extravagance of the whole subject led me to adopt what I thought the most sensible conclusions. So, after thoroughly studying the manuscript again and correlating the theosophical and anthropological notes with the cult narrative of Legrasse, I made a trip to Providence to see the sculptor and give him the rebuke I thought proper for so boldly imposing upon a learned and aged man.

Wilcox still lived alone in the Fleur-de-Lys Building in Thomas Street, a hideous Victorian imitation of seventeenth-century Breton architecture which flaunts its stuccoed front amidst the lovely colonial houses on the ancient hill, and under the very shadow of the finest Georgian steeple in America. I found him at work in his rooms, and at once conceded from the specimens scattered about that his genius is indeed profound and authentic. He will, I believe, some time be heard from as one of the great decadents; for he has crystallised in clay and will one day mirror in marble those nightmares and phantasies which Arthur Machen evokes in prose, and Clark Ashton Smith makes visible in verse and in painting.

Dark, frail, and somewhat unkempt in aspect, he turned languidly at my knock and asked me my business without rising. When I told him who I was, he displayed some interest; for my uncle had excited his curiosity in probing his strange dreams, yet had never explained the reason for the study. I did not enlarge his knowledge in this regard, but sought with some subtlety to draw him out. In a short time I became convinced of his absolute sincerity, for he spoke of the dreams in a manner none could mistake. They and their subconscious residuum had influenced his art profoundly, and he shewed me a morbid statue whose contours almost made me shake with the potency of its black suggestion. He could not recall having seen the original of this thing except in his own dream bas-relief, but the outlines had formed themselves insensibly under his hands. It was, no doubt, the giant shape he had raved of in delirium. That he really knew nothing of the hidden cult, save from what my uncle's relentless catechism had let fall, he soon made clear; and again I strove to think of some way in which he could possibly have received the weird impressions.

He talked of his dreams in a strangely poetic fashion; making me see with terrible vividness the damp Cyclopean city of slimy green stone-whose geometry, he oddly said, was all wrong-and hear with frightened expectancy the ceaseless, half-mental calling from underground: " Cthulhu fhtagn", " Cthulhu fhtagn". These words had formed part of that dread ritual which told of dead Cthulhu's dream-vigil in his stone vault at R'lyeh, and I felt deeply moved despite my rational beliefs. Wilcox, I was sure, had heard of the cult in some casual way, and had soon forgotten it amidst the mass of his equally weird reading and imagining. Later, by virtue of its sheer impressiveness, it had found subconscious expression in dreams, in the bas-relief, and in the terrible statue I now beheld; so that his imposture upon my uncle had been a very innocent one. The youth was of a type, at once slightly affected and slightly ill-mannered, which I could never like; but I was willing enough now to admit both his genius and his honesty. I took leave of him amicably, and wish him all the success his talent promises.

The matter of the cult still remained to fascinate me, and at times I had visions of personal fame from researches into its origin and connexions. I visited New Orleans, talked with Legrasse and others of that old-time raiding-party, saw the frightful image, and even questioned such of the mongrel prisoners as still survived. Old Castro, unfortunately, had been dead for some years. What I now heard so graphically at first-hand, though it was really no more than a detailed confirmation of what my uncle had written, excited me afresh; for I felt sure that I was on the track of a very real, very secret, and very ancient religion whose discovery would make me an anthropologist of note. My attitude was still one of absolute materialism, as I wish it still were, and I discounted with almost inexplicable perversity the coincidence of the dream notes and odd cuttings collected by Professor Angell.

One thing I began to suspect, and which I now fear I know, is that my uncle's death was far from natural. He fell on a narrow hill street leading up from an ancient waterfront swarming with foreign mongrels, after a careless push from a negro sailor. I did not forget the mixed blood and marine pursuits of the cult-members in Louisiana, and would not be surprised to learn of secret methods and poison needles as ruthless and as anciently known as the cryptic rites and beliefs. Legrasse and his men, it is true, have been let alone; but in Norway a certain seaman who saw things is dead. Might not the deeper inquiries of my uncle after encountering the sculptor's data have come to sinister ears? I think Professor Angell died because he knew too much, or because he was likely to learn too much. Whether I shall go as he did remains to be seen, for I have learned much now.

III.
The Madness from the Sea.

If heaven ever wishes to grant me a boon, it will be a total effacing of the results of a mere chance which fixed my eye on a certain stray piece of shelf-paper. It was nothing on which I would naturally have stumbled in the course of my daily round, for it was an old number of an Australian journal, the Sydney Bulletin for April 18, 1925. It had escaped even the cutting bureau which had at the time of its issuance been avidly collecting material for my uncle's research.

I had largely given over my inquiries into what Professor Angell called the "Cthulhu Cult", and was visiting a learned friend in Paterson, New Jersey; the curator of a local museum and a mineralogist of note. Examining one day the reserve specimens roughly set on the storage shelves in a rear room of the museum, my eye was caught by an odd picture in one of the old papers spread beneath the stones. It was the Sydney Bulletin I have mentioned, for my friend has wide affiliations in all conceivable foreign parts; and the picture was a half-tone cut of a hideous stone image almost identical with that which Legrasse had found in the swamp.

Eagerly clearing the sheet of its precious contents, I scanned the item in detail; and was disappointed to find it of only moderate length. What it suggested, however, was of portentous significance to my flagging quest; and I carefully tore it out for immediate action. It read as follows:

MYSTERY DERELICT FOUND AT SEA
Vigilant Arrives With Helpless Armed New Zealand Yacht in Tow.
One Survivor and Dead Man Found Aboard. Tale of
Desperate Battle and Deaths at Sea.
Rescued Seaman Refuses
Particulars of Strange Experience.
Odd Idol Found in His Possession. Inquiry
to Follow.

The Morrison Co.'s freighterVigilant, bound from Valparaiso, arrived this morning at its wharf in Darling Harbour, having in tow the battled and disabled but heavily armed steam yachtAlert of Dunedin, N. Z., which was sighted April 12th in S. Latitude 34° 21′, W. Longitude 152° 17′ with one living and one dead man aboard.
The Vigilant left Valparaiso March 25th, and on April 2nd was driven considerably south of her course by exceptionally heavy storms and monster waves. On April 12th the derelict was sighted; and though apparently deserted, was found upon boarding to contain one survivor in a half-delirious condition and one man who had evidently been dead for more than a week. The living man was clutching a horrible stone idol of unknown origin, about a foot in height, regarding whose nature authorities at Sydney University, the Royal Society, and the Museum in College Street all profess complete bafflement, and which the survivor says he found in the cabin of the yacht, in a small carved shrine of common pattern.
This man, after recovering his senses, told an exceedingly strange story of piracy and slaughter. He is Gustaf Johansen, a Norwegian of some intelligence, and had been second mate of the two-masted schoonerEmma of Auckland, which sailed for Callao February 20th with a complement of eleven men. TheEmma, he says, was delayed and thrown widely south of her course by the great storm of March 1st, and on March 22nd, in S. Latitude 49° 51′, W. Longitude 128° 34′, encountered theAlert, manned by a queer and evil-looking crew of Kanakas and half-castes. Being ordered peremptorily to turn back, Capt. Collins refused; whereupon the strange crew began to fire savagely and without warning upon the schooner with a peculiarly heavy battery of brass cannon forming part of the yacht's equipment. TheEmma's men shewed fight, says the survivor, and though the schooner began to sink from shots beneath the waterline they managed to heave alongside their enemy and board her, grappling with the savage crew on the yacht's deck, and being forced to kill them all, the number being slightly superior, because of their particularly abhorrent and desperate though rather clumsy mode of fighting.
Three of the Emma's men, including Capt. Collins and First Mate Green, were killed; and the remaining eight under Second Mate Johansen proceeded to navigate the captured yacht, going ahead in their original direction to see if any reason for their ordering back had existed. The next day, it appears, they raised and landed on a small island, although none is known to exist in that part of the ocean; and six of the men somehow died ashore, though Johansen is queerly reticent about this part of his story, and speaks only of their falling into a rock chasm. Later, it seems, he and one companion boarded the yacht and tried to manage her, but were beaten about by the storm of April 2nd. From that time till his rescue on the 12th the man remembers little, and he does not even recall when William Briden, his companion, died. Briden's death reveals no apparent cause, and was probably due to excitement or exposure. Cable advices from Dunedin report that theAlert was well known there as an island trader, and bore an evil reputation along the waterfront. It was owned by a curious group of half-castes whose frequent meetings and night trips to the woods attracted no little curiosity; and it had set sail in great haste just after the storm and earth tremors of March 1st. Our Auckland correspondent gives theEmma and her crew an excellent reputation, and Johansen is described as a sober and worthy man. The admiralty will institute an inquiry on the whole matter beginning tomorrow, at which every effort will be made to induce Johansen to speak more freely than he has done hitherto.

This was all, together with the picture of the hellish image; but what a train of ideas it started in my mind! Here were new treasuries of data on the Cthulhu Cult, and evidence that it had strange interests at sea as well as on land. What motive prompted the hybrid crew to order back the Emma as they sailed about with their hideous idol? What was the unknown island on which six of the Emma's crew had died, and about which the mate Johansen was so secretive? What had the vice-admiralty's investigation brought out, and what was known of the noxious cult in Dunedin? And most marvellous of all, what deep and more than natural linkage of dates was this which gave a malign and now undeniable significance to the various turns of events so carefully noted by my uncle?

March 1st-our February 28th according to the International Date Line-the earthquake and storm had come. From Dunedin the Alert and her noisome crew had darted eagerly forth as if imperiously summoned, and on the other side of the earth poets and artists had begun to dream of a strange, dank Cyclopean city whilst a young sculptor had moulded in his sleep the form of the dreaded Cthulhu. March 23d the crew of the Emma landed on an unknown island and left six men dead; and on that date the dreams of sensitive men assumed a heightened vividness and darkened with dread of a giant monster's malign pursuit, whilst an architect had gone mad and a sculptor had lapsed suddenly into delirium! And what of this storm of April 2nd-the date on which all dreams of the dank city ceased, and Wilcox emerged unharmed from the bondage of strange fever? What of all this-and of those hints of old Castro about the sunken, star-born Old Ones and their coming reign; their faithful cult and their mastery of dreams? Was I tottering on the brink of cosmic horrors beyond man's power to bear? If so, they must be horrors of the mind alone, for in some way the second of April had put a stop to whatever monstrous menace had begun its siege of mankind's soul.

That evening, after a day of hurried cabling and arranging, I bade my host adieu and took a train for San Francisco. In less than a month I was in Dunedin; where, however, I found that little was known of the strange cult-members who had lingered in the old sea-taverns. Waterfront scum was far too common for special mention; though there was vague talk about one inland trip these mongrels had made, during which faint drumming and red flame were noted on the distant hills. In Auckland I learned that Johansen had returned with yellow hair turned white after a perfunctory and inconclusive questioning at Sydney, and had thereafter sold his cottage in West Street and sailed with his wife to his old home in Oslo. Of his stirring experience he would tell his friends no more than he had told the admiralty officials, and all they could do was to give me his Oslo address.

After that I went to Sydney and talked profitlessly with seamen and members of the vice-admiralty court. I saw the Alert, now sold and in commercial use, at Circular Quay in Sydney Cove, but gained nothing from its non-committal bulk. The crouching image with its cuttlefish head, dragon body, scaly wings, and hieroglyphed pedestal, was preserved in the Museum at Hyde Park; and I studied it long and well, finding it a thing of balefully exquisite workmanship, and with the same utter mystery, terrible antiquity, and unearthly strangeness of material which I had noted in Legrasse's smaller specimen. Geologists, the curator told me, had found it a monstrous puzzle; for they vowed that the world held no rock like it. Then I thought with a shudder of what old Castro had told Legrasse about the primal Great Ones: "They had come from the stars, and had brought Their images with Them."

Shaken with such a mental revolution as I had never before known, I now resolved to visit Mate Johansen in Oslo. Sailing for London, I reëmbarked at once for the Norwegian capital; and one autumn day landed at the trim wharves in the shadow of the Egeberg. Johansen's address, I discovered, lay in the Old Town of King Harold Haardrada, which kept alive the name of Oslo during all the centuries that the greater city masqueraded as "Christiana". I made the brief trip by taxicab, and knocked with palpitant heart at the door of a neat and ancient building with plastered front. A sad-faced woman in black answered my summons, and I was stung with disappointment when she told me in halting English that Gustaf Johansen was no more.

He had not survived his return, said his wife, for the doings at sea in 1925 had broken him. He had told her no more than he had told the public, but had left a long manuscript-of "technical matters" as he said-written in English, evidently in order to safeguard her from the peril of casual perusal. During a walk through a narrow lane near the Gothenburg dock, a bundle of papers falling from an attic window had knocked him down. Two Lascar sailors at once helped him to his feet, but before the ambulance could reach him he was dead. Physicians found no adequate cause for the end, and laid it to heart trouble and a weakened constitution.

I now felt gnawing at my vitals that dark terror which will never leave me till I, too, am at rest; "accidentally" or otherwise. Persuading the widow that my connexion with her husband's "technical matters" was sufficient to entitle me to his manuscript, I bore the document away and began to read it on the London boat. It was a simple, rambling thing-a naive sailor's effort at a post-facto diary-and strove to recall day by day that last awful voyage. I cannot attempt to transcribe it verbatim in all its cloudiness and redundance, but I will tell its gist enough to shew why the sound of the water against the vessel's sides became so unendurable to me that I stopped my ears with cotton.

Johansen, thank God, did not know quite all, even though he saw the city and the Thing, but I shall never sleep calmly again when I think of the horrors that lurk ceaselessly behind life in time and in space, and of those unhallowed blasphemies from elder stars which dream beneath the sea, known and favoured by a nightmare cult ready and eager to loose them on the world whenever another earthquake shall heave their monstrous stone city again to the sun and air.

Johansen's voyage had begun just as he told it to the vice-admiralty. The Emma, in ballast, had cleared Auckland on February 20th, and had felt the full force of that earthquake-born tempest which must have heaved up from the sea-bottom the horrors that filled men's dreams. Once more under control, the ship was making good progress when held up by the Alert on March 22nd, and I could feel the mate's regret as he wrote of her bombardment and sinking. Of the swarthy cult-fiends on the Alert he speaks with significant horror. There was some peculiarly abominable quality about them which made their destruction seem almost a duty, and Johansen shews ingenuous wonder at the charge of ruthlessness brought against his party during the proceedings of the court of inquiry. Then, driven ahead by curiosity in their captured yacht under Johansen's command, the men sight a great stone pillar sticking out of the sea, and in S. Latitude 47° 9′, W. Longitude 126° 43′ come upon a coast-line of mingled mud, ooze, and weedy Cyclopean masonry which can be nothing less than the tangible substance of earth's supreme terror-the nightmare corpse-city of R'lyeh, that was built in measureless aeons behind history by the vast, loathsome shapes that seeped down from the dark stars. There lay great Cthulhu and his hordes, hidden in green slimy vaults and sending out at last, after cycles incalculable, the thoughts that spread fear to the dreams of the sensitive and called imperiously to the faithful to come on a pilgrimage of liberation and restoration. All this Johansen did not suspect, but God knows he soon saw enough!

I suppose that only a single mountain-top, the hideous monolith-crowned citadel whereon great Cthulhu was buried, actually emerged from the waters. When I think of the extent of all that may be brooding down there I almost wish to kill myself forthwith. Johansen and his men were awed by the cosmic majesty of this dripping Babylon of elder daemons, and must have guessed without guidance that it was nothing of this or of any sane planet. Awe at the unbelievable size of the greenish stone blocks, at the dizzying height of the great carven monolith, and at the stupefying identity of the colossal statues and bas-reliefs with the queer image found in the shrine on the Alert, is poignantly visible in every line of the mate's frightened description.

Without knowing what futurism is like, Johansen achieved something very close to it when he spoke of the city; for instead of describing any definite structure or building, he dwells only on broad impressions of vast angles and stone surfaces-surfaces too great to belong to any thing right or proper for this earth, and impious with horrible images and hieroglyphs. I mention his talk about angles because it suggests something Wilcox had told me of his awful dreams. He had said that the geometry of the dream-place he saw was abnormal, non-Euclidean, and loathsomely redolent of spheres and dimensions apart from ours. Now an unlettered seaman felt the same thing whilst gazing at the terrible reality.

Johansen and his men landed at a sloping mud-bank on this monstrous Acropolis, and clambered slipperily up over titan oozy blocks which could have been no mortal staircase. The very sun of heaven seemed distorted when viewed through the polarising miasma welling out from this sea-soaked perversion, and twisted menace and suspense lurked leeringly in those crazily elusive angles of carven rock where a second glance shewed concavity after the first shewed convexity.

Something very like fright had come over all the explorers before anything more definite than rock and ooze and weed was seen. Each would have fled had he not feared the scorn of the others, and it was only half-heartedly that they searched-vainly, as it proved-for some portable souvenir to bear away.

It was Rodriguez the Portuguese who climbed up the foot of the monolith and shouted of what he had found. The rest followed him, and looked curiously at the immense carved door with the now familiar squid-dragon bas-relief. It was, Johansen said, like a great barn-door; and they all felt that it was a door because of the ornate lintel, threshold, and jambs around it, though they could not decide whether it lay flat like a trap-door or slantwise like an outside cellar-door. As Wilcox would have said, the geometry of the place was all wrong. One could not be sure that the sea and the ground were horizontal, hence the relative position of everything else seemed phantasmally variable.

Briden pushed at the stone in several places without result. Then Donovan felt over it delicately around the edge, pressing each point separately as he went. He climbed interminably along the grotesque stone moulding-that is, one would call it climbing if the thing was not after all horizontal-and the men wondered how any door in the universe could be so vast. Then, very softly and slowly, the acre-great panel began to give inward at the top; and they saw that it was balanced. Donovan slid or somehow propelled himself down or along the jamb and rejoined his fellows, and everyone watched the queer recession of the monstrously carven portal. In this phantasy of prismatic distortion it moved anomalously in a diagonal way, so that all the rules of matter and perspective seemed upset.

The aperture was black with a darkness almost material. That tenebrousness was indeed a positive quality; for it obscured such parts of the inner walls as ought to have been revealed, and actually burst forth like smoke from its aeon-long imprisonment, visibly darkening the sun as it slunk away into the shrunken and gibbous sky on flapping membraneous wings. The odour arising from the newly opened depths was intolerable, and at length the quick-eared Hawkins thought he heard a nasty, slopping sound down there. Everyone listened, and everyone was listening still when It lumbered slobberingly into sight and gropingly squeezed Its gelatinous green immensity through the black doorway into the tainted outside air of that poison city of madness.

Poor Johansen's handwriting almost gave out when he wrote of this. Of the six men who never reached the ship, he thinks two perished of pure fright in that accursed instant. The Thing cannot be described-there is no language for such abysms of shrieking and immemorial lunacy, such eldritch contradictions of all matter, force, and cosmic order. A mountain walked or stumbled. God! What wonder that across the earth a great architect went mad, and poor Wilcox raved with fever in that telepathic instant? The Thing of the idols, the green, sticky spawn of the stars, had awaked to claim his own. The stars were right again, and what an age-old cult had failed to do by design, a band of innocent sailors had done by accident. After vigintillions of years great Cthulhu was loose again, and ravening for delight.

Three men were swept up by the flabby claws before anybody turned. God rest them, if there be any rest in the universe. They were Donovan, Guerrera, and Ångstrom. Parker slipped as the other three were plunging frenziedly over endless vistas of green-crusted rock to the boat, and Johansen swears he was swallowed up by an angle of masonry which shouldn't have been there; an angle which was acute, but behaved as if it were obtuse. So only Briden and Johansen reached the boat, and pulled desperately for the Alert as the mountainous monstrosity flopped down the slimy stones and hesitated floundering at the edge of the water.

Steam had not been suffered to go down entirely, despite the departure of all hands for the shore; and it was the work of only a few moments of feverish rushing up and down between wheel and engines to get the Alert under way. Slowly, amidst the distorted horrors of that indescribable scene, she began to churn the lethal waters; whilst on the masonry of that charnel shore that was not of earth the titan Thing from the stars slavered and gibbered like Polypheme cursing the fleeing ship of Odysseus. Then, bolder than the storied Cyclops, great Cthulhu slid greasily into the water and began to pursue with vast wave-raising strokes of cosmic potency. Briden looked back and went mad, laughing shrilly as he kept on laughing at intervals till death found him one night in the cabin whilst Johansen was wandering deliriously.

But Johansen had not given out yet. Knowing that the Thing could surely overtake the Alert until steam was fully up, he resolved on a desperate chance; and, setting the engine for full speed, ran lightning-like on deck and reversed the wheel. There was a mighty eddying and foaming in the noisome brine, and as the steam mounted higher and higher the brave Norwegian drove his vessel head on against the pursuing jelly which rose above the unclean froth like the stern of a daemon galleon. The awful squid-head with writhing feelers came nearly up to the bowsprit of the sturdy yacht, but Johansen drove on relentlessly. There was a bursting as of an exploding bladder, a slushy nastiness as of a cloven sunfish, a stench as of a thousand opened graves, and a sound that the chronicler would not put on paper. For an instant the ship was befouled by an acrid and blinding green cloud, and then there was only a venomous seething astern; where-God in heaven!-the scattered plasticity of that nameless sky-spawn was nebulously recombining in its hateful original form, whilst its distance widened every second as the Alert gained impetus from its mounting steam.

That was all. After that Johansen only brooded over the idol in the cabin and attended to a few matters of food for himself and the laughing maniac by his side. He did not try to navigate after the first bold flight, for the reaction had taken something out of his soul. Then came the storm of April 2nd, and a gathering of the clouds about his consciousness. There is a sense of spectral whirling through liquid gulfs of infinity, of dizzying rides through reeling universes on a comet's tail, and of hysterical plunges from the pit to the moon and from the moon back again to the pit, all livened by a cachinnating chorus of the distorted, hilarious elder gods and the green, bat-winged mocking imps of Tartarus.

Out of that dream came rescue-the Vigilant, the vice-admiralty court, the streets of Dunedin, and the long voyage back home to the old house by the Egeberg. He could not tell-they would think him mad. He would write of what he knew before death came, but his wife must not guess. Death would be a boon if only it could blot out the memories.

That was the document I read, and now I have placed it in the tin box beside the bas-relief and the papers of Professor Angell. With it shall go this record of mine-this test of my own sanity, wherein is pieced together that which I hope may never be pieced together again. I have looked upon all that the universe has to hold of horror, and even the skies of spring and the flowers of summer must ever afterward be poison to me. But I do not think my life will be long. As my uncle went, as poor Johansen went, so I shall go. I know too much, and the cult still lives.

Cthulhu still lives, too, I suppose, again in that chasm of stone which has shielded him since the sun was young. His accursed city is sunken once more, for the Vigilant sailed over the spot after the April storm; but his ministers on earth still bellow and prance and slay around idol-capped monoliths in lonely places. He must have been trapped by the sinking whilst within his black abyss, or else the world would by now be screaming with fright and frenzy. Who knows the end? What has risen may sink, and what has sunk may rise. Loathsomeness waits and dreams in the deep, and decay spreads over the tottering cities of men. A time will come-but I must not and cannot think! Let me pray that, if I do not survive this manuscript, my executors may put caution before audacity and see that it meets no other eye.

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'the call of cthulhu' by h. p. lovecraft

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"The Call of Cthulhu" by H. P. Lovecraft

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'The Call of Cthulhu' by H. P. Lovecraft

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Dracula is one of the most recognizable names within the horror genre. "Dracula" is about a man who has been asked to stay with a local lord named Dracula, in his castle in Transylvania, but the count is not as he appears. The book shows some of the best horror, with a dark setting and creative concept it is truly scary. This book was so influential in horror that it defines what people think of when it comes to vampires. What makes this book scary is the mood, powerful descriptions, and a grisly death to make the book truly spooky. For an activity, students can find some of the cliches defined in this book that still follow in today's media.

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One of the most famous horror authors is well known for a reason. He uses a very effective form of foreshadowing in his books in order to create a sense of dread and impending doom that keeps the reader guessing as to when the danger is really present. "IT" being one of his many popular novels showcases this concept amazingly. Stephen King also ties in elements from different genres like supernatural, cosmic, and psychological horror to add to the effect. For the activity, the students can try to find moments in the book that foreshadows upcoming events.

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"I felt a Funeral, in my Brain" by Emily Dickinson

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"I felt a Funeral, in my Brain" by Emily Dickinson

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This poem takes a different perspective on horror. The poem is about the protagonist's personal mind decay and how it feels and affects them. The reason this is different from most is due to the danger coming from internal sources, rather than external. What truly makes this story scary is due to relatability of it. Because everyone is afraid of this happening to them, being trapped in a breaking mind, is truly terrifying. For an activity, students can write their own short horror poem.

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In "The Silence of the Lambs" the FBI is hunting a serial killer, but the only way to get insight into the case is by communicating through the convicted serial killer and cannibal, Hannibal Lecter. What makes this movie frightening is the portrayal of Hannibal, he is cold and calculated, but his motives and next move are always unknown. This was a defining movie in this genre for good reason, it is truly chilling to watch, especially considering that Hannibal Lecter is based on several real-life serial killers. For an activity, the student can research who Hannibal is based on and what they did.

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This article breaks down the actual scientific reasons as to why some people enjoy the feeling of terror and fright. One of the driving factors is the chemical reactions that someone experiences when they are scared. This is because when you are scared, your body releases adrenaline as it activates your fight or flight response, but since you can't use the adrenaline it turns into energy, dopamine, and serotonin. For this activity, a person can watch a scary movie/film and record their heart rate before and after to see how their body reacted to being scared.

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The numbers don't lie: horror is a popular genre no matter what time of year it is.

In September 2019, "It Chapter Two" (based on Stephen King's famous book about a town terrorized by a demon) grossed $473 million at the box office, according to ScreenRant. In March of the same year, "Us" (about a family who must fight off their evil doppelgangers) earned $255.1 million in theaters.

Horror lovers are a devoted crowd, too. According to a 2018 article from Variety, 44% of paranormal horror fans and 56% of scifi horror fans go to the movies more than 12 times a year, while on average, horror enthusiasts spend more at the box office each month even though their average admission per visit is less.

The horror genre craze goes beyond movies. Bookstores and libraries feature shelves full of scary stories. Every Halloween, people line up for live haunted attractions such as Fear Factory in Salt Lake City and Castle of Chaos in Midvale.

It all begs the question: Why do so many people enjoy being scared?

Multiple reasons for seeking fear

If you ask Kevin John, it's difficult to pin down a single reason that people seek out terrifying experiences.

John is the Director of the BioComms Lab at Brigham Young University, which uses physiology to study media consumption patterns. For instance, he said techniques like eye tracking and facial recognition can help researchers recognize what a person may be feeling but not verbalizing.

The BioComms Lab has done several small studies on fear, John said, including one he's currently working on with another faculty member about why people consume horror-based media.

So far, he said, they're finding that some people enjoy the thrill of violence while some like the sense of mystery. Others enjoy the relief that comes when the story is over, he said.

Shane Bench, a social psychologist and an assistant professor at Utah State University, agreed there's not one definite reason that people enjoy scary experiences.

Bench said his research specializes in the function of negative emotions, including why these emotions exist and if they're ever beneficial.

One reason people might enjoy negative emotions such as fear, he said, is that they provide a high arousal experience, such as an elevated heart rate.

"Physiologically, [fear] activates the body, which at times can be a desirable experience," he said.

Another reason Bench said people might seek out negative emotions is for the novelty of them. For instance, someone who's bored - particularly someone who's bored of being in a positive state - is more likely to choose experiences that result in negative emotions, he said.

Bench added that Halloween may prompt this reaction in some people, since the holiday makes horror media more accessible and "so it's time to have something new."

Finally, some people simply like being scared, he said.

"The most popular experience on average is happiness," Bench said. "But there is a variability in what people prefer to experience, with some people preferring to experience states like fear and sadness more than other people."

A safe way to be scared

Science may never fully explain society's love of chills and thrills, but it's not difficult for some horror movie aficionados to pinpoint exactly why they go back to the horror genre again and again.

Adam Mast is a festival director with St. George's HorrorFest International (part of the Film and Media Alliance of Southern Utah) that each October features a variety of original horror movies and shorts from filmmakers all over the world. (This year's event ended on Oct. 23.)

Mast said he watches horror movies for the same reason he rides roller coasters: it's a safe way to experience terror.

"You can seek solace in horror," he said. "It's a safety net... knowing you're just watching a movie."

There's also a cathartic element to horror movies, he said, as they can include themes like grief, guilt and dysfunctional relationships.

Tori Baker, president and CEO of the Salt Lake Film Society, added that the horror genre exploits the fears people have about humanity, society and their own psychological well-being.

Horror movies are "a great way to explore those fears, as we know the movie will end," she said. "Our fight-or-flight response while viewing a horror film can have us on the edge of our seat, but then comes the huge, cathartic release when the movie ends and the lights come up."

She also said that horror movies often invoke current issues and anxieties.

For example, HBO's "Lovecraft Country" (featuring a young Black man in the 1950s who faces monsters from writer H.P. Lovecraft's tales) and "Candyman" (about the vengeful spirit of a Black man who was unjustly killed by police) both "boldly explore race and racism," she said. "The genre will reflect what we're experiencing because the artists behind these works have important things to say, comment on or explore."

Do horror movies promote violence?

While horror movies can tell compelling stories and reflect current events, some may worry that the popularity of a genre which often features blood and gore has given rise to greater real-life violence.

But Mast said he feels this is an unfair oversimplification.

While art can affect people in different ways, particularly when mental health comes into play, "I don't watch 'Silence of the Lambs' and then feel compelled to go out and skin somebody," he said. "I hate when a film or any kind of art is used as a scapegoat."

John said when people routinely expose themselves to horror media, it can't help but impact them, particularly among people who already have psychopathic tendencies such as reduced empathy.

However, "I'm not saying that you're going to have a situation where somebody is triggered [by horror media]," John said. "If violent content led directly to violent actions, then our society would be a lot more violent than it actually is."

Rather, media effects research is messy, he said, and it's important to consider the nuances of individual content viewers.

Benefits of fear

Some feel that scary experiences can even have good outcomes. Heidi Dunfield, co-owner of Fear Factory, said the most positive impact of fear, which she sees "on a daily basis" during the Halloween season, is bonding between friends and family.

She's also noticed that people often like the feeling of having persevered through a scary experience, she said.

"I'll go through and look at the hashtags on social media," Dunfield said. "I see people saying 'We made it out!' and just hugging each other."

Bench added that in real life, negative emotions like fear "absolutely have a function and a purpose and at times are good to experience."

For instance, he said if he came across an angry bear while hiking and wasn't scared, he could end up seriously harmed.

To that end, scary stories can sometimes serve as lessons on what not to do or what to avoid, Bench said.

John's BioComms Lab has come to a similar conclusion. In one study, he said they found that people who were shown pictures of ultraviolet damage to their skin became motivated by the fear of skin cancer to use sunscreen more often.

Fear can also be harnessed to overcome phobias, John said. For example, he cited a virtual reality game where people with arachnophobia go through different levels. In the first level, they simply see a spider in a glass jar. The levels progress from multiple spiders in the jar to spiders outside of the jar to spiders crawling on their hands.

However, though fear isn't always a negative thing, John said it can cause people to shut down if used incorrectly.

"It's so easy to get exposed to all types of visuals, some that we want and some that we don't," he said.

That said, good art sometimes makes people feel uncomfortable, John added, which is why it's important for people to be aware of their own comfort levels.

"I'm a fan of people being in-tune with what they feel drives them and [knowing] what benefits that they're getting out of the media that they're using," he said. "Because ultimately, we are still in control of what we choose to watch."

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The science of fear: Why do people like being scared?

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Horror movies generate millions of dollars in revenue each year. Bookstores and libraries feature shelves full of scary stories. Every Halloween, people line up for live haunted attractions. It all begs the question: Why do so many people enjoy being scared?

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Why do people like being scared? (Cont.)

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Why do people like being scared? (Cont.)

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In this article, it touches more on the emotional aspect of terror. In most people, the feeling of immediate fright is not was is really enjoyable, but instead the build-up and tension that leads to that moment. It is the same reason why people enjoy mystery and suspense novels, the build-up is what makes the climax more impactful. For this activity, a student can write a short scary story to see the impact of suspense.

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The heartbeat quickens, muscles tense and the stomach churns - all telltale signs of fear.

For some, fear is an unpleasant experience they avoid at all costs. But many others revel in the adrenaline rush of a good scare. They dash off to catch the latest horror flick or gleefully enter a haunted house to be terrorized at Halloween.

So why might we subject ourselves to these frightful ordeals? The answer lies within both the mind and the body, according to USC experts in all things spooky.

Why we like to be scared

Being petrified can be exhilarating and addictive, said Irving Biederman, a specialist in cognitive neuroscience and the Harold W. Dornsife Professor of Neuroscience at the USC Dornsife College of Letters, Arts and Sciences.

"We like novelty, something that departs from our everyday experience," he said. "Some of the attraction of being scared comes from the deviation of having a new experience that we know is safe."

A flood of fear paired with the relief of safety can release naturally occurring opioids like endorphins that signal pleasure, along with a hit of dopamine, a chemical linked to the brain's reward center.

Young children can get especially excited because they don't yet grasp that a haunted attraction or a creepy movie are just make-believe, Biederman said.

"Your amygdala will give you a fear response, an avoidance response to stay away from something that is legitimately frightful," he said. "So, for a child, going to one of these haunted houses could be truly scary."

That might explain why slasher films and scary stories are primarily geared toward people in their late teens and early 20s, said Tok Thompson, an associate professor of anthropology and communication at USC Dornsife.

The transition to adulthood, Thompson said, is "an interesting phase of life in which people are establishing their belief system. They are away from their parents and are often trying to test themselves, to figure out what scares them."

Life lessons lurk in ghost and monster tales

Thompson is an expert in folklore who studies how cultures use stories about ghosts and monsters to shape personal identities and systems of morality.

Fear-inducing tales were useful in early societies as a way to teach children about natural predators like bears and wolves, he said. But as people started to ponder the meaning of life and death, their stories began to reflect that self-recognition and struggle with inner demons.

"The monsters are us, in a sense," Thompson said. "They are that very dangerous part of us. And it's good to recognize and be afraid of those evil parts of yourself."

A good example of ethical guidance embedded in a scary story can be found in the Latin American tale of La Llorona. The spirit of a mother who drowned her children in a fit of jealous rage, La Llorona wails as she regretfully searches for their bodies, bringing misfortune to those who hear her cries.

La Llorona subverts the societal norm of mothers as loving and protective, Thompson said, becoming a cautionary lesson for others to consider when they get angry with their children.

Scary stories can reflect a culture's hidden demons

Thompson teaches "Ghost Stories: Throughout Time and Across the World," a freshman seminar at USC. In it he covers common themes in the folklore of fright across cultures.

Stories of ghosts are prevalent in most societies and often carry cultural implications. In the United States, they feature prominently in connection with slavery and the mistreatment of native tribes, like the trope of the American Indian burial ground as an explanation for supernatural events.

"We like to think of ourselves as a good society in America, and yet we're aware of these horrible things that happened," Thompson said. "They are still haunting us in a metaphorical sense."

Folklore about monsters is also useful when tracking the influence of cultures as people spread across the globe, he said. Zombies are part of West African traditions, vampires have been traced back to Eastern Europe and genii likely originated in the Arabic world.

There's an interesting role these monsters play in shaping our cultures.

Tok Thompson

"There's an interesting role these monsters play in shaping our cultures," he said. "And people are constantly reinventing these stories to talk about what they fear and are haunted by."

Newer themes often deal with science, particularly the potential for technology to turn against its creator. Evil robots and smart devices that turn malevolent abound, like the computer Hal in 2001: A Space Odyssey. Thompson also noted the rise of internet monsters like Slender Man, an abnormally tall humanoid that stalks and abducts children online.

"When these new monsters come up, that shows you people aren't too sure about some of this new technology, that maybe there is something to be frightened about," he said.

Cinema offers window into society's collective fears

Similar trends can be seen in recent films, said Alex Ago, a horror movie buff and director of programming and special projects at the USC School of Cinematic Arts. Modern-day thrillers often reflect fears over technological and biological experimentation, such as the accidental release of a man-made contagion in 28 Days Later.

"Horror as a genre is an expression of the collective anxieties of a society at the time in which these films are made," Ago said. "They allow us to collectively get a sense of catharsis by the vanquishing of these fears."

His go-to example is Godzilla, the classic 1954 sci-fi film featuring a dinosaur-like monster created by nuclear radiation. It's a thinly veiled representation of shared anxiety in Japan about the lingering effects of the atomic attacks during World War II.

"You've got this nuclear monster that's a stand-in for the bomb that rampages through a city like Tokyo," Ago said. "It's only by defeating Godzilla that you achieve that collective catharsis."

Other films in the vein of Halloween and its many knockoffs and sequels, like the Friday the 13th series, tapped into growing fears in the 1980s of random acts of violence and the emergence of the serial killer in the public consciousness.

Zombie films are another illustration of this point, Ago said. A zombie movie might represent concerns about the atomic age as in Night of the Living Dead, fear of supernatural religious forces like in The Serpent and the Rainbow or a critique of mass consumerism as in Dawn of the Dead.

"Conquering the fear of death is at the core of all horror films," he said. "It's the way in which that problem is presented by the film that speaks to the specifics of the society at any given time."

More stories about: Cinematic Arts, Entertainment, Faculty, Research

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Why do we like to be scared? USC experts explain the science of fright

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The heartbeat quickens, muscles tense and the stomach churns - all telltale signs of fear. For some, fear is an unpleasant experience they avoid at all costs. But many others revel in the adrenaline rush of a good scare. They dash off to catch the latest horror flick or gleefully enter a haunted house to be terrorized at Halloween.

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This article also touched on how cultural differences impact what some people are scared of. For example, in some cultures, demons are a physical embodiment of evil, while in other cultures they act as merely a medium in order to contact and communicate with the supernatural side of things and aren't inherently bad. So then writing a story about demons can be a frightening concept to some, but it will be equally non-threatening to others. Another thing is how some scary stories are told to teach lessons to people. One such example is Krampus, who kidnaps bad children on Christmas and eats them. This was to keep children in line. For an activity, students can do research on scary stories from different cultures.

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The heartbeat quickens, muscles tense and the stomach churns - all telltale signs of fear.

For some, fear is an unpleasant experience they avoid at all costs. But many others revel in the adrenaline rush of a good scare. They dash off to catch the latest horror flick or gleefully enter a haunted house to be terrorized at Halloween.

So why might we subject ourselves to these frightful ordeals? The answer lies within both the mind and the body, according to USC experts in all things spooky.

Why we like to be scared

Being petrified can be exhilarating and addictive, said Irving Biederman, a specialist in cognitive neuroscience and the Harold W. Dornsife Professor of Neuroscience at the USC Dornsife College of Letters, Arts and Sciences.

"We like novelty, something that departs from our everyday experience," he said. "Some of the attraction of being scared comes from the deviation of having a new experience that we know is safe."

A flood of fear paired with the relief of safety can release naturally occurring opioids like endorphins that signal pleasure, along with a hit of dopamine, a chemical linked to the brain's reward center.

Young children can get especially excited because they don't yet grasp that a haunted attraction or a creepy movie are just make-believe, Biederman said.

"Your amygdala will give you a fear response, an avoidance response to stay away from something that is legitimately frightful," he said. "So, for a child, going to one of these haunted houses could be truly scary."

That might explain why slasher films and scary stories are primarily geared toward people in their late teens and early 20s, said Tok Thompson, an associate professor of anthropology and communication at USC Dornsife.

The transition to adulthood, Thompson said, is "an interesting phase of life in which people are establishing their belief system. They are away from their parents and are often trying to test themselves, to figure out what scares them."

Life lessons lurk in ghost and monster tales

Thompson is an expert in folklore who studies how cultures use stories about ghosts and monsters to shape personal identities and systems of morality.

Fear-inducing tales were useful in early societies as a way to teach children about natural predators like bears and wolves, he said. But as people started to ponder the meaning of life and death, their stories began to reflect that self-recognition and struggle with inner demons.

"The monsters are us, in a sense," Thompson said. "They are that very dangerous part of us. And it's good to recognize and be afraid of those evil parts of yourself."

A good example of ethical guidance embedded in a scary story can be found in the Latin American tale of La Llorona. The spirit of a mother who drowned her children in a fit of jealous rage, La Llorona wails as she regretfully searches for their bodies, bringing misfortune to those who hear her cries.

La Llorona subverts the societal norm of mothers as loving and protective, Thompson said, becoming a cautionary lesson for others to consider when they get angry with their children.

Scary stories can reflect a culture's hidden demons

Thompson teaches "Ghost Stories: Throughout Time and Across the World," a freshman seminar at USC. In it he covers common themes in the folklore of fright across cultures.

Stories of ghosts are prevalent in most societies and often carry cultural implications. In the United States, they feature prominently in connection with slavery and the mistreatment of native tribes, like the trope of the American Indian burial ground as an explanation for supernatural events.

"We like to think of ourselves as a good society in America, and yet we're aware of these horrible things that happened," Thompson said. "They are still haunting us in a metaphorical sense."

Folklore about monsters is also useful when tracking the influence of cultures as people spread across the globe, he said. Zombies are part of West African traditions, vampires have been traced back to Eastern Europe and genii likely originated in the Arabic world.

There's an interesting role these monsters play in shaping our cultures.

Tok Thompson

"There's an interesting role these monsters play in shaping our cultures," he said. "And people are constantly reinventing these stories to talk about what they fear and are haunted by."

Newer themes often deal with science, particularly the potential for technology to turn against its creator. Evil robots and smart devices that turn malevolent abound, like the computer Hal in 2001: A Space Odyssey. Thompson also noted the rise of internet monsters like Slender Man, an abnormally tall humanoid that stalks and abducts children online.

"When these new monsters come up, that shows you people aren't too sure about some of this new technology, that maybe there is something to be frightened about," he said.

Cinema offers window into society's collective fears

Similar trends can be seen in recent films, said Alex Ago, a horror movie buff and director of programming and special projects at the USC School of Cinematic Arts. Modern-day thrillers often reflect fears over technological and biological experimentation, such as the accidental release of a man-made contagion in 28 Days Later.

"Horror as a genre is an expression of the collective anxieties of a society at the time in which these films are made," Ago said. "They allow us to collectively get a sense of catharsis by the vanquishing of these fears."

His go-to example is Godzilla, the classic 1954 sci-fi film featuring a dinosaur-like monster created by nuclear radiation. It's a thinly veiled representation of shared anxiety in Japan about the lingering effects of the atomic attacks during World War II.

"You've got this nuclear monster that's a stand-in for the bomb that rampages through a city like Tokyo," Ago said. "It's only by defeating Godzilla that you achieve that collective catharsis."

Other films in the vein of Halloween and its many knockoffs and sequels, like the Friday the 13th series, tapped into growing fears in the 1980s of random acts of violence and the emergence of the serial killer in the public consciousness.

Zombie films are another illustration of this point, Ago said. A zombie movie might represent concerns about the atomic age as in Night of the Living Dead, fear of supernatural religious forces like in The Serpent and the Rainbow or a critique of mass consumerism as in Dawn of the Dead.

"Conquering the fear of death is at the core of all horror films," he said. "It's the way in which that problem is presented by the film that speaks to the specifics of the society at any given time."

More stories about: Cinematic Arts, Entertainment, Faculty, Research

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Why do we like to be scared? USC experts explain the science of fright

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The heartbeat quickens, muscles tense and the stomach churns - all telltale signs of fear. For some, fear is an unpleasant experience they avoid at all costs. But many others revel in the adrenaline rush of a good scare. They dash off to catch the latest horror flick or gleefully enter a haunted house to be terrorized at Halloween.

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"The Conjuring" follows a pair of demonologists as they go through the house of a family who has been encountering paranormal occurrences throughout their home. This movie uses what most movies use to scare people. They resort to easy scares. The way they do this is most commonly jumpscares, where they use sudden surprising imagery to catch viewers off-guard to scare them. While good in concept, if the movie does not support these scares, it is easy for them to lose their effectiveness. They do the same thing with building suspense. Instead of using good storytelling themes, they use external ways to do this. For example, they use sound to their advantage. It is shown that certain sounds build tension and suspense, and every modern horror movie uses those sounds. For this activity, a student can watch the movie and see if they can use context clues to guess when a scare will occur.

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This movie, it follows a teenager named Donnie Darko, who after having a traumatic brain injury, begins to meet with a rabbit named Frank. Frank starts pressuring Donnie to start committing ever-worsening crimes. What is scary about this movie is the uncertainty of everything. It is not definitive if anything in the movie ever actually accrued or not. So by the end, you don't know what happened and what didn't. This was what made the film actually scary. For this activity, students can try to interpret their own meaning behind the movie.

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These sources contain many subliminal and hidden meanings/interpretations that can only be understood by careful understanding of the sources.

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The movies require interpretation through the imagery shown throughout in order to draw a good conclusion.

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Horror heavily relies on specific word choices in order to build good suspense to make the text scary.

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Many texts use the same techniques in order to build they universe and create a great story.

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Had to read and comprehend the texts well in order to get the real meaning behind the text, as well as understand the aspects of what makes the stories scary.