Cthulhu Mythos (wikia classifications)
This article uses material from the Cthulhu Mythos (wikia classifications) article on the Lovecraft wiki at Fandom and is licensed under the Creative Commons Attribution-Share Alike License.
Created: February 2017
| Updated: February 2017
for a full article on the the literary history of the Mythos, see Cthulhu Mythos
It is the philosophy of this wiki to be as inclusive as possible, and the following categories represent an attempt of finding an overall harmony by which to organize the works of the Mythos.
It may well be argued that all works in the "Greater Cthulhu Mythos" may be universally reconciled, if not harmonized, by virtue of the first-person and third person limited perspectives in which the majority of the works in the Greater Cthulhu Mythos are written.
If we are to take all accounts of every narrator as gospel, then there can be no reconciliation of the facts. However, if one begins with the idea that the observations and accounts made by all of the narrators are merely grasping at the straws of the incomprehensible universe Lovecraft originally envisions, there is at the very least cohesive whole. This is to say, each main character/narrator (many of which assert their unreliability) is at best partially correct, and the information they acquire in the course of their uncanny experiences is of even lesser reliability.
Lovecraft reminds us that we cannot understand the universe as it is, and perhaps gives us the key to the "harmony" of the Mythos: it is only discord. However, it is the opinion of most current Lovecraft scholars, and of this wiki, that the closer one comes to the original Lovecraft Myth Cycle, the closer to the "truth" one gets.
There can never be a true accounting or authoritative canon, but one can gather the facts as they are presented and organize them in a coherent way. The following is an attempt to do so.
The term "Greater Cthulhu Mythos" is an attempt by this wiki to create a big tent under which all Mythos works might be collected.
There can be no debate that the Mythos has expanded rapidly since its birth, and that the works subsequent to Lovecraft's death contain material that has become problematic when compared to the vision Lovecraft laid out not only in his stories, but in his essays concerning his philosophy of horror writing.
This said, the enduring value of Lovecrafts vision, and the abundance of works written in the Mythos demand that there be some larger category in which all such works can find a home, regardless of accepted quality or adherence to a "canon".
The Lovecraft Myth Cycle specifically refers to works written by H.P. Lovecraft alone, were completed before his death in 1937 and published during his lifetime or soon thereafter. These are generally believed to be the most distilled heart of the Mythos. This is not in any way to suggest that these works were not influenced or heavily edited by others, rather that they may be understood as "most true" to Lovecraft's individual vision.
His solo fictional works that are generally considered mythos works are:
His poetical works in the Mythos are:
His additional works that may or may not be related to the Mythos are:
The "Lovecraft Circle" Myth Cycles compose the rest of the "core" stories of the Mythos Proper. These are the stories written by Lovecraft's contemporaries, either co-authored with him or under his supervision and in concordance with his vision. Many were written in part or entirely before Lovecraft's death in 1937, and are generally regarded as being accepted by Lovecraft as adhering with his vision. Other writings by these writer cohorts constitute the rest of the stories in this category.
Traditionally, the "Lovecraft Circle" has been limited to Robert Bloch, Clark Ashton Smith, Robert E. Howard, Frank Belknap Long, and August Derleth (who's works are in a different category). However, it would seem appropriate to expand that circle to include his other contemporary collborators, and those whose writings he revised and expanded upon: Zealia Bishop, Hazel Heald, Adolphe de Castro, and the numerous other writers he worked with over his lifetime.
Co-written stories that are consider in the Mythos include:
Co-written stories that may or may not be considered to be in the Mythos include:
This category includes all of August Derleth's work, and has been separated from the rest of the Mythos writings due to its unique and sometimes divergent vision from the previous categories.
After Lovecraft's death, August Derleth began to shape the existing Myth cycles of Lovecraft and the "Lovecraft Circle" into something he would call the "Cthulhu Mythos", which is the term which persists to this date. During his tenure as the one of the leading voices of Lovecraft's legacy, he was an extremely prolific writer to rival Lovecraft himself.
However, during that time he introduced certain concepts and themes into the Mythos that would become problematic for fans of the Lovecraft Myth Cycle and of the Lovecraft Circle Myth Cycles. Among these, were a concept of cosmic good and evil, a set of benevolent Elder Gods, and an elemental categorization of the existing Mythos deities. These ideas have been carried in some form the present Expanded Mythos, but many authors and creators have cherry-picked from Derleth's creations and some of the more troubling and divergent ideas have been ignored.
A complete list of these works can be found in his Mythos Bibliography.
This category includes all works of fiction, film and additional media not previously defined. This is by far the broadest and most diverse category.
After Lovecraft's death, his friends and admirers continued to write in his shared universe. Many imitators good and bad have come and gone, and a great number of popular authors from Neil Gaiman to Stephen King have contributed their voices to the Mythos. Additionally, there has been a myriad of content produced for video games, board games, and RPGs. All of these have grown the Cthulhu Mythos to what it is today.
This category contains all works that have either cross-pollinated with the Mythos, i.e. their ideas have been acquired by it, or all works which use some ideas from the Mythos, but are not directly set in the Mythos proper.
This category includes works that draw upon themes and concepts that originated with the Mythos, but are not intended to be set within the same continuity or share the same characters, locations, etc.