The reading of H. P. Lovecraft's work by the American philosopher Graham Harman is interesting in several senses. 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 allusivism (a hint or a series of hints at dark, hidden and real objects that cannot be reduced to any description, like the 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.