Late night in Harlem on a Friday and the streets more full than at rush hour. Tommy Tester cherished the closeness, to his father and to all the bodies on the sidewalks, in their cars, riding buses, perched on stoops. The traffic and human voices merged into a terrific buzzing that seemed to lift Tommy and Otis, a song that accompanied them—carried them—all the way home.
—Victor LaValle, The Ballad of Black Tom 36
Places have character in the fiction of H. P. Lovecraft. Dunwich and Arkham, Kingsport and Innsmouth, these are Lovecraft country and as much a part of the stories as any of the human characters taking part in the narrative. New York City was a character in Lovecraft’s stories too—in “The Horror at Red Hook,” “He,” and “Cool Air”—yet there are parts of the city conspicuous by their absence. There is no Harlem in Lovecraft’s New York tales, scarcely any mention of Harlem in any of his fiction.
Lovecraft’s Mythos is expressly not a mythic white space. People of color exist, and are subject to the common contemporary prejudices that Lovecraft knew. They are supporting characters, often derided and stereotyped. Because there is a New York City in Lovecraft’s stories, we can assume there is a Harlem somewhere in it, and that African-Americans live there. Harlem as the center of the Harlem Renaissance, though; Harlem as the cultural center of African-Americans in New York; that Harlem is not present. Lovecraft never tried to capture the soul of Harlem in his fiction, and nor did many writers that came after him in the Mythos.
2016. Enter Victor LaValle with The Ballad of Black Tom. The novella is a re-working of “The Horror at Red Hook,” but this time Harlem is present. Tommy Tester and his father live there, it is their home, their haven, though even they don’t know all of its secrets. LaValle’s book expressly addresses the systemic racism and discrimination of 1920s New York, tries to tie it in to the fabric of Lovecraft’s stories and the geography of New York.
Even then, LaValle struggles with the portrayal of Harlem. The geography is right, but the descriptions are spare, often less than compelling, and mostly avoids major landmarks or descriptions of street life. “The Horror at Red Hook” takes place mostly in Brooklyn, so for much of The Ballad of Black Tom the main characters are not in Harlem itself, and consequently there is less opportunity to develop the character of the place. It isn’t Harlem as Lovecraft would have seen it—but then, what would that have looked like? What would it be like for a white man, known for his racism and cosmic horror fiction, to visit the Black Mecca of the United States?
Lovecraft in Harlem
At the elevated station at 6th Ave. and 42nd St. I lost my fellow Anglo-Saxon, whose home is far to the north in the semi-African jungles of Harlem […]
—H. P. Lovecraft to Maurice W. Moe, 18 May 1922, Letters to Maurice W. Moe 95
The Great Migration saw thousands of African-Americans move from the rural South to the cities of the North. In Manhattan, the neighborhood of Harlem became a center of black demographics and, as the 1920s wore on, black culture. Harlem became the geographic center of and gave its name to the Harlem Renaissance, a literary, artistic, and intellectual movement that celebrated the best that African-Americans had to offer. Many white people during this time were more interested in Harlem’s nightlife, the cabarets, clubs, speakeasies, and sexual underworld which rose to legendary proportions during Prohibition, as chronicled in Carl Van Vechten’s Nigger Heaven (1926).
H. P. Lovecraft first visited Harlem in 1922. The native of Providence, Rhode Island had been invited to visit New York City by Sonia H. Greene, an amateur journalist who wished to disprove some of Lovecraft’s prejudices by broadening his horizons (Ave Atque Vale 148). The thirty-two-year-old weird writer, who had not yet made his first professional publication, traipsed through much of the city, visiting museums, parks, admiring the remaining old architecture, and visiting with friends such as James F. Morton, a progressive-minded white man who had authored The Curse of Race Prejudice (1906), was a member of the National Association for the Advancement of Colored People, and whose apartment was in Harlem.
Morton and Lovecraft had “met” in 1915, where they ended up on opposite sides of an argument over race and prejudice in the amateur journals In A Minor Key and The Conservative (see “Concerning the Conservative”). Disagreement led eventually to correspondence, and then to friendship—though they never came to agreement on the issue of racial equality, they enjoyed the debate, and had other common interests in amateur journalism and writing.
There is no indication that Lovecraft stayed long or delved deep into Harlem on that first visit, or any subsequent visit to Morton’s, but he would later write to his aunt:
After a period of discussion & repartee, which Mrs. Long said reminded her of the epigrammatic paradoxes of Oscar Wilde & Whistler, the gang adjourned to Morton’s chaotic apartment in Harlem. I had never before seen Morton’s abode, & naturally I was interested. He dwells in a street now overrun by niggers of the cleaner & less offensive sort—decayed, but still retaining the outlines of its former beauty. There are pleasing trees on both sides, & the architecture of the houses is highly prepossessing. No. 211—the Morton mansion—is an old brick single house owned by an elderly eccentric named Edwin C. Walker; a spacious & unkempt edifice, thick with dust, & with half the rooms unused. Morton’s room is on the top floor, reached by dark & winding stairs, & is remarkably neat though atrociously dusty.
—H. P. Lovecraft to Lillian Clark, 13 Sep 1922, Letters to Family and Family Friends 1.64
Walker was a noted freethinker who had founded the interracial Sunrise Club in 1889 and served as its secretary until his death in 1931; he and Morton were both advocates of free love, although it is not clear if this was in any way involved with how Morton came to live in Harlem. Nor did Lovecraft have go to Harlem to be aware of it, on the same trip he visited the Bronx Zoo:
Before the chimpanzee cage; gazing with rapt interest, & unconscious of the time, we noted two huge, jet-black buck niggers; one of them—curiously enough—in army uniform with a very businesslike trench helmet.
—H. P. Lovecraft to Lillian Clark, 29 Sep 1922, Letters to Family and Family Friends 1.79
The United States Army was still segregated in 1922, and most troops were relegated to non-combat roles. An exception was the 369th Infantry Regiment, which gained popular renown during World War I as the Harlem Hellfighters. The unit was demobilized in 1918, but the segregated 15th New York National Guard Regiment from which it was formed continued. It is possible this was a member of that unit.
Lovecraft’s eye was mainly captured by the architecture, although on subsequent visits he would pay more attention to the inhabitants. The sheer numbers of black people living together in New York was amazing to Lovecraft—while Providence was not legally segregated in the sense of the Jim Crow South at that time, Lovecraft had always lived in the predominantly white portions of the city, though he was aware that there were black neighborhoods:
I hardly wonder that my racial ideas seem bigoted to one born & reared in the vicinity of cosmopolitan New York […] Over on the “West Side”, it is very cosmopolitan, but the East Side child might as well be in the heart of Old England so far as racial environment is concerned. Slater Avenue school was near my home, & the only non-Saxons were niggers whose parents work for our families or cart our ashes, & who consequently know their place.
—H. P. Lovecraft to Rheinhart Kleiner, 6 Dec 1915, Letters to Rheinhart Kleiner & Others 47
To put the demographics in perspective, the 1920 census put the total population of Providence at 237,595; in New York City in 1920, the black population alone was 152,467—and by 1930, there would be more African-Americans in New York than there were people of all races combined in Providence (1920 Census, 1930 Census). For a white man who had spent probably his entire life without seeing more than a handful of black people at a time, visiting Harlem would have been an eye-opening experience. He would visit New York, and Harlem, again.
In 1924, Lovecraft would return to New York to marry Sonia H. Greene, and to take up residence in the city. It was a tumultuous time in the writer’s life, as he struggled with domesticity, inability to find work, his wife’s illness, financial struggles, and finally separation as she left to take a job in the Midwest, leaving Lovecraft alone in a Brooklyn apartment. One of Lovecraft’s pleasures during this period were his outings with ‘the Boys,’ or as they became more formally known, the Kalem Club—a loose association of writers who would gather at each other’s houses and apartments to converse on every subject from poetry to politics. Morton held his share of the meetings:
Sonny [Frank Belknap Long, Jr.] and I settled the fate of literature betwixt us and parted early in the evening—with the understanding that The Boys meet up there on Thursday, August 7th, if Mrs. Long is well enough to stand the racket. Otherwise we convene at Morton’s dump in Bantu and barbaric Harlem, our first meeting there, by the way.
—H. P. Lovecraft to Lillian Clark, 1 Aug 1924, Letters to Family and Family Friends 1.145
In the evening The Boys met at Morton’s—up in niggerville—and had a great time despite the African cast of the contiguous terrain.
—H. P. Lovecraft to Lillian Clark, 20 Aug 1924, Letters to Family and Family Friends 1.147
Few accounts of these meetings survive outside of Lovecraft’s letters, although fellow Kalem-club member George C. Kirk once recalled:
August 15. Friday. Went to a party in black belt last night. If Lovecraft is a prince James F. Morton Jr. is a king. (Ave Atque Vale 223)
As time went on, Lovecraft found himself in Harlem again for other purposes than visiting Morton’s. Accounts are generally few and far-between; Lovecraft was a teetotal, against interracial relationships, and disliked jazz, and so appears to have had zero interest in the more “touristy” parts of Harlem that Carl Van Vechten might have showed him.
Saturday was a hectic round of the shops—both Harlem & Brooklyn—on Kirk’s behalf; & in the evening we parted laden with vases, candlesticks, sofa pillows, steins, Japanese panels, & the like—which Kirk bore to his room whilst I returned to 169 [Clinton St.] for slumber.
—H. P. Lovecraft to Lillian Clark, 22 Jan 1925, Letters to Family and Family Friends 1.239
However, for the most part during this period Lovecraft was only aware of Harlem from stops on the subway station at 125th street and Lenox Avenue. These were unsegregated cars, as Lovecraft would attest to an aunt who had experienced Jim Crow conditions in Georgia:
The separation of people & niggers at the stations is an excellent idea—which ought to be practiced on the Harlem subway trains here—& it would please me always to alight at the quaint & picturesque town of WHITE.
—H. P. Lovecraft to Annie Gamwell, 10 Feb 1925, Letters to Family and Family Friends 1.243
Lovecraft’s experience of encountering African-Americans on New York subways is among his more odious anecdotes of living in New York, as evidenced by a trip to Pelham Bay Park:
It took an hour to get there; & since the train was uncrowded, we formed the highest expectations of the rural solitudes we were about to discover. Then came the end of the line—& disillusion. My Pete in Pegāna, but what crowds! And that is not the worst . . . . for upon my most solemn oath, I’ll be shot if three out of every four persons—nay, full nine out of every ten—weren’t flabby, pungent, grinning, chattering niggers! Help! It seems that the direct communication of this park with the ever thickening Harlem black belt has brought its inevitable result, & that a once lovely soundside park is from now on to be given over to Georgia camp-meetings & outings of the African Methodist Episcopal Church. Mah lawdy, but dey was some swell high-yaller spo’ts paradifyin’ roun’ dat afternoon! Wilted by the sight, we did no more than take a side path to the shore & back & reënter the subway for the long homeward ride—waiting to find a train not too reminiscent of the packed hold of one of John Brown’s Providence merchantmen on the middle passage from the Guinea coast to Antigua or the Barbadoes.
—H. P. Lovecraft to Lillian Clark, 6 July 1925, Letters to Family and Family Friends 1.310
It is worth pointing out that Lovecraft was more vocally racist in his letters to his aunts than to pretty much any of his other correspondents; whether this is because they shared his prejudices or that he was simply more relaxed about writing to them is unclear. The tendency to slip into farcical vernacular English and African-American dialect is typical of Lovecraft—he was a student of dialect and did the same thing for many accents, in New England, New York, the South, and elsewhere in his letters, often playing for comedic effect—but even so, the naked prejudice on display shows how far out of his element Lovecraft felt. In large part, the degree of prejudice evidenced in Lovecraft’s few mentions of Harlem is because race is what set Harlem apart, at least in his mind.
The New York adventure ended in 1926. Separated from his wife, still with no job, and having had his apartment broken into and clothes stolen, Lovecraft finally packed his things and left New York to return to Providence. For the rest of his life, Lovecraft would maintain a detestation for the city—with its vast hordes of immigrants, Jews, and African-Americans. The rhetoric of Lovecraft’s prejudice increased during the rising tide of antisemitism that accompanied the rise to power of Adolf Hitler, as can be seen in one of Lovecraft’s more egregious statements:
I’d like to see Hitler wipe Greater New York clean with poison gas—giving masks to the few remaining people of Aryan culture (even if of Semitic ancestry). The place needs fumigation & a fresh start. (If Harlem didn’t get any masks, I’d shed no tears ….. & the same goes for the dago slums!)
—H. P. Lovecraft to James F. Morton, 12 Jun 1933, Letters to James F. Morton 325
Morton had by this point moved from Harlem to New Jersey, so Lovecraft wasn’t literally calling for his death, and the full horrors of Hitler’s policy of genocide were not understood when he came to power in 1933. The callous suggestion for mass murder is hyperbole, a statement about his dislike of New York as a whole. The quote is worse in hindsight, knowing as we do today about the Holocaust and Nazi Germany’s use of poison gas to murder millions. Lovecraft did not know about that—but it speaks to the depths of his antipathy to the multiracial, multicultural melting pot that he had failed to find a place in.
Yet Lovecraft also retained ties to the city in the form of friends like the Longs, and would revisit it several times during his travels. He would also write of the city to his friends. When one young correspondent considered visiting New York, Lovecraft provided a list of places to visit, and included:
Harlem negro district (sinister & fascinating—not a white face for blocks—Lenox Ave. subway to 125th St.—walk N.)
—H. P. Lovecraft to Donald Wandrei, 1 Jul 1927, Letters with Donald and Howard Wandrei 128
The longest and most detailed account that Lovecraft ever gave of Harlem was to another young friend, a jazz pianist and aficionado of Duke Ellington:
Black Harlem—of possible interest to you as a source of sy[n]copated melody—is impressive to the Easterner chiefly on account of its size, since all the eastern towns have large African sections. To many westerners—as, for instance, a friend of mine in Appleton, Wisconsin, who never saw a nigger till he was in college—it would be quite stupefying. I don’t know whether there are any blacks in your part of the world or not—of, if so, how thick they are. In Harlem there must be about as many as there are in all the southern states put together—one realises it unpleasantly in the uptown Broadway subway, one of whose three branchings above 9th St. leads to the black belt. The Bronx trains are bad enough—packed solidly with bulbous-nosed or Mongoloid-faced Jews—but de Lenox Ab’noo trains sho’ ain’t no place fo’ no blond of any kind! Black Harlem itself I know largely from ‘bus windows—the coach lines from Providence passing down Lenox or upper 7th Ave. through the heart of the district. It is the extent which almost stupefies one…block after block after block…outdoing anything that Charleston or Richmond or Savannah or Atlanta or New Orleans can produce. You’d never think there were so many niggers in the world, or that there were so many denizens of New York that aren’t Jews! I’ll bet Senegal & Nigeria look white as compared with that zone from about 150th St. down to 125th & beyond. Africa pushes south all the time—crowding the Jews & impinging on the white Puerto-Ricans (who nosed out the Jews in their region about 1930) of upper 5th Ave. And yet this whole black colony scarcely dates from before 1913, when the blacks of “San Juan Hill” downtown were evicted to make room for the new Pennsylvania station. The dispossessed families found some cheap tenements in upper Harlem (then mainly Nordic-Aryan) & formed a nucleus—quickly spreading as the white families on their borders moved away. How far they will get, no one can tell. The Jews don’t retreat before them as rapidly as the Aryans did, but they begin to go when the blacks get very thick in a block. The northern rim of Central Park will probably check them & turn their spread eastward—where they’ll displace great Greek & Hungarian colonies. The most amusing parts of Harlem are where the rich blacks dwell—these being almost as neat & spruce as Aryan neighbourhoods. The houses include some of the most elegant reliques of the Stanford White period, & the prosperous professional Æethiops keep them spic & span! Amusing in another way are the shop windows of Lenox & 7th Aves. All the drug stores carry rabbit’s-foot luck charms, dream books, anti-kink fluid & pomade for the wool of dusky sheiks & sirens, & (also for the rites of Congolese coiffure) devices called “straightening-irons.” The clothing-stores feature gaudy & eccentric suits & flaming haberdashery. Sharp social distinctions are said to exist among the blacks—for example, West Indian negroes are disliked by the coons of the continental U.S. Some of the West Indians—who speak with a British accent & have an independent arrogance which grates on Southerners—despise the American blacks as much as the latter hate them. Portuguese negroes—so-called “Bravas” from the Cape Verde Islands, unpleasantly common in Providence & other southern New England ports—appear to be absent from nigger Harlem. While the black belt has no well-defined eastern limit, it is checked abruptly on the west by the rocky precipice of St. Nicholas Heights, atop which are the Gothic quadrangles of N.Y. City College (whose student body is almost solidly Jewish) & the streets of a rather passable & fairly Aryan neighbourhood amidst which can be found (overtaken & packed in among modern city blocks) the old country seat (built about 1800) of Alexander Hamilton, out of whose door he walked to his death on that fatal duel morning in 1804.
—H. P. Lovecraft to F. Lee Baldwin, 27 Mar 1934, Letters to F. Lee Baldwin &c. 65-67
There is some excellent detail here—one would not normally look for a random white tourist in Harlem to comment on straightening irons—but it is notable that by 1934 Lovecraft had traveled much more widely, visiting as far south as Key West and as far east as New Orleans. He had seen segregated buses and work gangs down South, visited the Cuban enclave of Ybor City and the Hispanic old city of St. Augustine, and yet he still found Harlem fascinating in its own unique way.
There are a few more scattered references to Harlem in Lovecraft’s letters, but with no friends to visit and not living in the city himself, he does not appear to have visited the city except passing through on bus trips for the rest of his life. The exploitative image of Harlem that Carl Van Vechten and others portrayed of Harlem appear to have largely passed Lovecraft by. Yet that was not quite the end of the connections that Lovecraft had with Harlem.
Lovecraft and the Harlem Renaissance
The published letters and essays of H. P. Lovecraft include few mentions of any African-American writers or artists directly apart of the New Negro Movement or the Harlem Renaissance. This does not mean that Lovecraft was completely ignorant or unaffected by the work of such creatives—we know for example that Lovecraft was gifted a copy of Paul Morand’s Black Magic (1929) in 1931, and that book is illustrated by Harlem Renaissance artist Aaron Douglas. But the main works of that movement appear to have passed Lovecraft by.
This lack is particularly notable in his critical essay “Supernatural Horror in Literature,” first published in 1927. This survey of weird fiction misses contributions to horror fiction by black authors, including Harlem Renaissance writers like Zora Neale Hurston, whose anthropological writings on folklore such as Mules & Men (1935) and Tell My Horse (1938) would expand on subjects such as Haitian voodoo. Such a blind spot is understandable as Lovecraft explains in one letter:
Ordinarily voodoo & Yogi stuff leaves me cold, for I can’t feel enough closeness to savage or other non-Caucasian magic.
—H. P. Lovecraft to J. Vernon Shea, 3 Sep 1931, Letters to J. Vernon Shea 45
Lovecraft was not generally derogatory toward fiction written by African-Americans, and could even praise the efforts of individuals, but he simply had very little interest in the black point of view, and consequently read very little of such works.
By an odd coincidence, however, Lovecraft did have relationships with two individuals who were connected with the Harlem Renaissance. In 1921, Winifred Virginia Jackson and William Stanley Braithwaite established the B. J. Brimmer Company, which published a number of works by Harlem Renaissance artists such as Georgia Douglas Johnson’s Bronze: A Book of Verses (1922).
Jackson was white, divorced, a poet and writer who sometimes contributed poems to W. E. B. du Bois’ The Crisis. She had met Lovecraft through amateur journalism in 1918, and they had collaborated on two stories together: “The Green Meadow” and “The Crawling Chaos.” R. Alain Everts and George T. Wetzel in Winifred Virginia Jackson—Lovecraft’s Lost Romance (1977) repeated gossip that Jackson and Lovecraft may have been in a relationship, though there is no evidence of this in Lovecraft’s letters. The same source claimed that Jackson was the mistress of William Stanley Braithwaite, though there is no evidence for that either. Whatever the case, in 1921 Lovecraft met his future wife Sonia H. Greene, and his friendship with Jackson faded.
Braithwaite was mixed-race, but in the United States at that period that made him “colored.” Lovecraft was aware of him as a prominent Boston editor and critic, but did not become aware of his race until 1918, when he read a newspaper account of Braithwaite winning the Spingarn Medal by the NAACP, which occasioned a stunningly racist outburst (LRKO 112). Whatever Lovecraft’s feelings, they did not extend to discourtesy: a letter at the John Hay Library from Lovecraft to Braithwaite survives, dated 7 February 1930, and is formal but cordial, and Lovecraft’s surviving letters to Jackson that mention Braithwaite praise him as a poetry critic.
Harlem in Lovecraft’s Fiction
The match had been between Kid O’Brien—a lubberly and now quaking youth with a most un-Hibernian hooked nose—and Buck Robinson, “The Harlem Smoke”. The negro had been knocked out, and a moment’s examination shewed us that he would permanently remain so.
—H. P. Lovecraft, “Herbert West—Reanimator” (1922)
Buck Robinson as a black boxer echoes Jack Johnson, the African-American heavyweight boxing champion (1908-1915) whose very existence caused white America to clamor for a “Great White Hope” to unseat him—and Lovecraft began writing this story in 1921, before he had gone to New York or seen Harlem. He had that much cultural knowledge of Harlem, as center of black population and black culture, to provide that detail. “The Harlem Smoke” is the only explicit reference to Harlem in Lovecraft’s fiction.
Which is a very weird absence when it is remembered that Lovecraft was writing fiction in New York, and those particular tales he wrote while living there—“The Shunned House,” “The Horror at Red Hook,” “He,” “In the Vault,” and “Cool Air”—were set in or take inspiration from his experiences in the city. The only reference to black people among these stories is a brief mention of “an Arab with a hatefully negroid mouth” and “population is a hopeless tangle and enigma; Syrian, Spanish, Italian, and negro elements impinging upon one another,” in “The Horror at Red Hook,” which is set in Brooklyn.
The conspicuous absence of Harlem from Lovecraft’s fiction is somewhat characteristic. Lovecraft wasn’t shy about including depictions of race prejudice in his fiction, so since Lovecraft basically didn’t write anything about Harlem in his stories means he inadvertently avoided saying anything negative about that place and its inhabitants. There were none of the exaggerated or exploitative material about Harlem that was characteristic of white writers like Carl Van Vechten.
On the other hand, it is also something of a tradition of erasure. Because there is no Harlem in these stories, there are also very few black characters and almost nothing about black culture in the Lovecraft Mythos. So while Lovecraft managed to minimize saying anything explicitly racist about Harlem in his fiction, there is also literally nothing about Harlem for later writers to expand off of. Harlem in the Lovecraft Mythos is effectively a blank slate, on which anyone might write anything.
So they did.
Harlem in the Cthulhu Mythos
Almost all of Lovecraft’s contemporaries at Weird Tales and his correspondents were white; the bulk of those did not live in or near New York City. At the time of his death in 1937, Lovecraft was an obscure author who never achieved widespread or enduring publication; his fanbase was small but loyal and vocal. Two in particular, August Derleth and Donald Wandrei, sought to get Lovecraft’s fiction and letters into hardback publication, and to this end they formed the small publisher Arkham House—and managed through legal wrangling and much self-advertisement to establish a near-monopoly on Mythos fiction until Derleth died in 1971.
Which is to say that it took several decades for Harlem to really make any substantial appearance in the Mythos after Lovecraft’s death, but by the time that it did, the United States was in many ways a different place. Jim Crow and segregation had ended in the 1960s through decisions like Brown v. Board of Education of Topeka (1954) and passage of the Civil Rights Acts of 1964 and 1968. The legal successes of the Civil Rights Movement did not translate into financial or social equality, as African-American science fiction fans, writers, and artists remained in the minority, though increasingly they were given opportunities to make their talents known and voices heard.
This is the context in which The Ballad of Black Tom was written: faced with a mostly blank slate, trying to address a notable gap in Lovecraft’s corpus. Not just the absence of Harlem itself, but the absence of an African-American point of view. While LaValle’s Harlem may not come through as visceral as Lovecraft depicts it in his letters, he does succeed in depicting a Harlemite, and a much-neglected viewpoint.
Victor LaValle was not the only writer in the wider Cthulhu Mythos to attempt and address this gap. The most extensive effort to bring Harlem into the Mythos has been, not in short fiction, but in tabletop roleplaying. Chaosium, Inc. produced the Call of Cthulhu Roleplaying Game in 1981, based on Lovecraft’s fiction and with a primary focus on characters assuming roles in the period in which Lovecraft’s fiction is set (1920s-1930s). Settings for this game include New York with books like Secrets of New York (2005, Chaosium), and entire third-party settings such as Harlem Unbound (2017, Darker Hue Studios). In these works, the focus is much less on Lovecraft’s prejudices and more “filling in the gaps” by addressing both what he did and especially what he did not write about. As editor Chris Spivey put it:
There’s a feeling of possibility in the air, like never before. But even in this land of promise, Harlem’s time is fleeting. While classes, sexuality, and cultures collide, Lovecraftian horrors lurk beneath the streets, creeping through dark alleys and hidden doorways into the Dreamlands. What Great Old One shattered our reality? Can you hold it together and keep the Mythos at bay for one more song? (8)
There are differences between Secrets of New York and Harlem Unbound. The former is a product for a general audience; that is, the players and their characters are not assumed to be of any particular race or ethnicity—while Harlem Unbound focuses in on the black experience in Harlem, and while the players may by of any race, with the assumption that the player characters at least are going to be black Harlemites, like Tommy Tester in The Ballad of Black Tom. In that respect, Harlem Unbound has the heavy lifting to do of trying to show what Harlem was like, during Lovecraft’s life, as well as to find angles with which to connect Harlem with the Mythos.
For writers like Victor LaValle and Chris Spivey, Harlem is unclaimed territory, a blank space on the map where they can imagine and write their own stories. Yet it is not a place without a history; books have been written about Harlem, movies set there, contemporary street maps and photographs are available, and not a few stories left from people that remember what it was like when they were children there—if not during the 20s and 30s, then in later decades. Plenty of colorful detail where a savvy writer can fit in some aspect of the Mythos, either one dreamed up by Lovecraft or a brand new horror that ties into the greater framework.
Which is the promise and possibility of the Cthulhu Mythos and Harlem going forward: having been neglected for so long, we have arrived at a point where people of color can write and publish their own approach to what horrors might lurk in the shadows of Harlem, and how the Harlemites might deal with it. Which may ultimately be the way forward when it comes to Lovecraft’s fiction: to see and go beyond his personal limitations and prejudices, to explore the possibilities that his fiction offers, and to carve a new Mythos that can address the fears and experiences of all people.