The colour out of space — Context and Discussion

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In Category - Space Future
Lovecraft, H. P. (Howard Phillips), 1890-1937, Aragon, J. M. de [Illustrator] Project Gutenberg 2022 Not confirmed
Science fiction; Horror tales; Extraterrestrial beings -- Fiction; Human-alien encounters -- Fiction; Farmers -- Fiction; Families -- Fiction; Meteorites -- Fiction Readers of public-domain and historical texts
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Words 15,593
Reading time 68 min
Text sections 2

This digital edition of The colour out of space — Context and Discussion is described by source-level measurements including 15,593 words, 1 hr 8 min estimated reading time, and 2 detected text sections.

The text analysis averages about 22.3 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Science fiction,” connecting these edition facts with the source record’s subject description.

Lovecraft's story of a meteorite that brings an alien color to a New England farm, slowly corrupting the land and the Gardner family. The narrative unfolds through a surveyor's investigation of a 'blasted heath' and the recollections of the sole survivor, Ammi Pierce.
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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 be something which grandmas 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 besides 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.

But even all this was not so bad as the blasted heath. I knew it the moment I came upon it at the bottom of a spacious valley; for no other name could fit such thing, or any other thing fit such a name. It was as if the poet had coined the phrase from having seen this one particular region. It must, I thought as I viewed it, be the outcome of a fire; but why had nothing new ever grown over those five acres of grey desolation that sprawled open to the sky like a great spot eaten by acid in the woods and fields? It lay largely to the north of the ancient road line, but encroached a little on the other side. I felt an odd reluctance about approaching, and did so at last only because my business took me through and past it. There was no vegetation of any kind on that broad expanse, but only a fine grey dust or ash which no wind seemed ever to blow about. The trees near it were sickly and stunted, and many dead trunks stood or lay rotting at the rim. As I walked hurriedly by I saw the tumbled bricks and stones of an old chimney and cellar on my right, and the yawning black maw of an abandoned well whose stagnant vapours played strange tricks with the hues of the sunlight. Even the long, dark woodland climb beyond seemed welcome in contrast, and I marvelled no more at the frightened whispers of Arkham people. There had been no house or ruin near; even in the old days the place must have been lonely and remote. And at twilight, dreading to repass that ominous spot, I walked circuitously back to the town by the curving road on the south. I vaguely wished some clouds would gather, for an odd timidity about the deep skyey voids above had crept into my soul.

The story opens with a surveyor's matter-of-fact report of a place locals call the 'blasted heath,' a tract of land so unnerving that 'foreigners do not like to live there.' The narrator's initial skepticism—he assumes the evil is 'something which grandmas had whispered to children through centuries'—establishes a rationalist perspective that will be gradually eroded. The landscape is described with precise, unsettling details: 'dark narrow glens where the trees slope fantastically,' and 'squat, moss-coated cottages brooding eternally over old New England secrets.' This opening immediately signals that the horror is rooted in the physical environment, not in supernatural folklore.

The Unreliable Witness and the Landscape of Decay

The narrative is filtered through two key perspectives: the unnamed surveyor, who frames the story as a retrospective investigation, and old Ammi Pierce, the only remaining resident who 'dares to talk of the strange days.' Ammi's reliability is subtly undermined early on—his head has 'been a little queer for years'—yet his account forms the core of the tale. The landscape itself becomes a character, described in terms of decay and abandonment: 'the wide chimneys crumbling and the shingled sides bulging perilously.' The surveyor's rational approach contrasts with Ammi's fragmented, sensory memories, creating a tension between objective observation and subjective experience that the reader must navigate.

The Meteorite and the Unnameable Colour

Lovecraft avoids describing the alien entity directly, instead focusing on its effects. The meteorite that falls on Nahum Gardner's farm is not a rock but a source of 'a kind o' smoke' and a colour 'jest the same, like the flowers an' plants.' This colour is never named—it is simply 'the colour,' an absence in the spectrum that defies human categorization. The excerpts show how it manifests: a 'pale phosphorescence' on woodwork, a 'luminosity of all the woodwork in sight,' and a 'faint but unmistakable' glow. The horror lies not in a visible monster but in a pervasive, sucking presence that 'burns an' sucks' life from everything it touches.

The Gardner Family's Deterioration

The excerpts trace the slow disintegration of the Gardner family through Ammi's recollections and Nahum's dying words. Nahum's final speech is a stream of broken observations: 'Thad an' Merwin an' Zenas ... everything alive ... suckin' the life out of everything.' The colour 'beats down your mind an' then gits ye,' suggesting a psychological as well as physical corruption. The family members vanish one by one—Zenas 'never come back from the well'—and the house itself becomes a site of 'horrible brittleness' and 'dry fragments.' Lovecraft builds dread through accumulation of detail rather than explicit violence, leaving much to the reader's imagination.

The Well as a Source of Contamination

The well on the Gardner property emerges as a focal point of the contamination. Ammi's horse bolts after hearing a 'liquid splash' from the well, and Nahum's final words confirm its role: 'it lived in the well.... the well shone at night.' The colour 'pizens' the water, turning it into 'evil water' that draws victims in. The surveyor's initial description of the 'blasted heath' hints at a future where the site will be 'flooded for the new reservoir,' suggesting that the contamination will be submerged but not destroyed. The well becomes a symbol of hidden, ongoing threat—a source of horror that remains active even after the immediate crisis passes.

Readers should pay close attention to Lovecraft's use of sensory details—the 'detestably sticky noise' of suction, the 'pale phosphorescence' on wood, the 'cleft, bulging lips' of Nahum's final moments. The story's power lies not in plot twists but in the gradual accumulation of uncanny impressions. The surveyor's frame narrative invites the reader to piece together the truth from fragmented testimony, much like an investigator at a crime scene. Trust the landscape; it holds the key to the horror.

That tale of the poisoned heath stayed with me long after, that creeping sense of time itself turning wrong. It made me think of another one, Equation for Time — Story, Setting & Ideas, which feels like a quieter, more personal echo of that same strange ache. Some stories just leave a shadow in the mind.

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