The Colour Out of Space

Howard Phillips Lovecraft


About Lovecraft:


Howard Phillips Lovecraft was an American author of fantasy, horror and science fiction. He is notable for blending elements of science fiction and horror; and for popularizing "cosmic horror": the notion that some concepts, entities or experiences are barely comprehensible to human minds, and those who delve into such risk their sanity. Lovecraft has become a cult figure in the horror genre and is noted as creator of the "Cthulhu Mythos," a series of loosely interconnected fictions featuring a "pantheon" of nonhuman creatures, as well as the famed Necronomicon, a grimoire of magical rites and forbidden lore. His works typically had a tone of "cosmic pessimism," regarding mankind as insignificant and powerless in the universe. Lovecraft's readership was limited during his life, and his works, particularly early in his career, have been criticized as occasionally ponderous, and for their uneven quality. Nevertheless, Lovecraft’s reputation has grown tremendously over the decades, and he is now commonly regarded as one of the most important horror writers of the 20th Century, exerting an influence that is widespread, though often indirect. Source: Wikipedia


West of Arkham the hills rise wild, and there are valleys with deep woods that no axe has ever cut. There are dark narrow glens where the trees slope fantastically, and where thin brooklets trickle without ever having caught the glint of sunlight. On the gentle slopes there are farms, ancient and rocky, with squat, moss-coated cottages brooding eternally over old New England secrets in the lee of great ledges; but these are all vacant now, the wide chimneys crumbling and the shingled sides bulging perilously beneath low gambrel roofs.

The old folk have gone away, and foreigners do not like to live there. French-Canadians have tried it, Italians have tried it, and the Poles have come and departed. It is not because of anything that can be seen or heard or handled, but because of something that is imagined. The place is not good for imagination, and does not bring restful dreams at night. It must be this which keeps the foreigners away, for old Ammi Pierce has never told them of anything he recalls from the strange days. Ammi, whose head has been a little queer for years, is the only one who still remains, or who ever talks of the strange days; and he dares to do this because his house is so near the open fields and the travelled roads around Arkham.

There was once a road over the hills and through the valleys, that ran straight where the blasted heath is now; but people ceased to use it and a new road was laid curving far toward the south. Traces of the old one can still be found amidst the weeds of a returning wilderness, and some of them will doubtless linger even when half the hollows are flooded for the new reservoir. Then the dark woods will be cut down and the blasted heath will slumber far below blue waters whose surface will mirror the sky and ripple in the sun. And the secrets of the strange days will be one with the deep's secrets; one with the hidden lore of old ocean, and all the mystery of primal earth.

When I went into the hills and vales to survey for the new reservoir they told me the place was evil. They told me this in Arkham, and because that is a very old town full of witch legends I thought the evil must he something which grandams had whispered to children through centuries. The name "blasted heath" seemed to me very odd and theatrical, and I wondered how it had come into the folklore of a Puritan people. Then I saw that dark westward tangle of glens and slopes for myself, and ceased to wonder at anything beside its own elder mystery. It was morning when I saw it, but shadow lurked always there. The trees grew too thickly, and their trunks were too big for any healthy New England wood. There was too much silence in the dim alleys between them, and the floor was too soft with the dank moss and mattings of infinite years of decay.

In the open spaces, mostly along the line of the old road, there were little hillside farms; sometimes with all the buildings standing, sometimes with only one or two, and sometimes with only a lone chimney or fast-filling cellar. Weeds and briers reigned, and furtive wild things rustled in the undergrowth. Upon everything was a haze of restlessness and oppression; a touch of the unreal and the grotesque, as if some vital element of perspective or chiaroscuro were awry. I did not wonder that the foreigners would not stay, for this was no region to sleep in. It was too much like a landscape of Salvator Rosa; too much like some forbidden woodcut in a tale of terror.