Howard Phillips Lovecraft was a racist and an Anglo-supremacist. There is no defense to mount. Worse, his personal beliefs cannot be separated from his work without willful ignorance. This is not to suggest that Lovecraft should be relegated to the dustbin of history. His contributions to the genre of modern horror are immense, even with the shadow his racism casts over his Mythos.
In the documentary Lovecraft: Fear of the Unknown, director and screenwriter Guillermo del Toro defends Lovecraft's racism, arguing that "Every artist with every work of art is a product of his or her time, and [Lovecraft] reflected a lot of very American feelings." Author Nicole Cushing refutes this defense, arguing that if one compares Edgar Allan Poe's work to Lovecraft's, one will note a stark difference in the racism at play. Poe is a product of the antebellum South, and was raised by a slave-trader named John Allan. Poe's work is not without racism, such as the murderous black cook whom Poe describes as "a perfect demon" in The Narrative of Arthur Gordon Pym. But in many of Poe's stories, non-white characters are in the background if present at all. In contrast, racist thought is relevant to Lovecraft's work, whether as a subtle undercurrent or as the main point of the work. Poe never penned idle verse like Lovecraft's "On the Creation of Niggers."
Lovecraft's prose is fueled by his racist beliefs. Even "The Rats in the Walls" (published 1924), otherwise bereft of direct racism, features Delapore's cat Nigger-Man, named after one of Lovecraft's own childhood cats. His great comedy "Herbert West: Reanimator" (published 1922) contains an egregious episode featuring a minstrel caricature, the boxer Buck "The Harlem Smoke" Robinson. To extract the racism from other tales would destroy them.