About the book: 2020 / It is impossible to argue with the fact that by the beginning of the third millennium, the writer of "tabloid horror" H. P. Lovecraft became a cult figure . From his myths the universe of universes of any myth-making in modern culture was recreated. It's hard to argue with the fact that Lovecraft is a great American writer. Along with Poe, Thoreau, Mellville, Twain, Whitman and others, his works have been included in the Library of America since 2005. But isn't all this the influence of the spirit of the times? Is Lovecraft comparable in style to writers such as Proust and Joyce? American philosopher Graham Harman answers: “At a minimum.” And if the dominant figure of the previous philosophy (largely thanks to Heidegger) was the “poet of poets” - Hölderlin - then Lovecraft should become the figure of the new, realistic philosophy. Harman's reading of Lovecraft is interesting in several ways. Firstly, we are talking about demonstrating a kind of stylistic surplus value, which makes it impossible to reduce Lovecraft's stories to their literal reading and behind which lies the writer's unique technique. Secondly, this technique is associated with Lovecraft's ability to write gaps in his works that correspond to the four basic tensions of Harman's own object-oriented philosophy. The most characteristic here are allusiveness (a hint or a series of allusions to dark, hidden and real objects that cannot be reduced to any description, such as a figurine of Cthulhu or even Azathoth, “monstrous nuclear chaos”) and cubism (the language is deliberately overloaded with redundancy of plans, sections and aspects of the described object, for example, the Antarctic city in “The Ridges of Madness”). And thirdly, despite formalism of any kind, we must not forget that Lovecraft is first and foremost a horror writer and the cascades of allusions and heaps of fanciful descriptions he generates lead us to the alluring and frightening sides of reality.