“Colour out of Space, The“

Colour out of Space, The
   Short story (12,300 words); written in March 1927. First published in Amazing Stories(September 1927); first collected in O;corrected text in DH;annotated version in An1and CC A surveyor for the new reservoir to be builtwest of Arkhamencounters a bleak terrain where nothing will grow; the locals call it theblasted heath.” The surveyor, seeking an explanation for the term and for the cause of the devastation, finally finds an old man, Ammi Pierce, living near the area, who tells him an incredible tale of events that occurred in 1882. A meteorite had landed on the property of Nahum Gardner and his family. Scientists from Miskatonic University who examine the object find that its properties are very bizarre: the substance refuses to cool, displays shining spectroscopic bands never seen before, and fails to react to conventional solvents. Within the meteorite is alarge coloured globule:The colourwas almost impossible to describe; and it was only by analogy that they called it colour at all.” When tapped with a hammer, it bursts. The meteorite itself, continuing anomalously to shrink, finally disappears.
   Henceforth increasingly odd things occur. Nahums harvest yields apples and pears unprecedentedly huge in size, but they prove unfit to eat; plants and animals undergo peculiar mutations; Nahums cows start to give bad milk. Then Nahums wife Nabby goes mad, “screaming about things in the air which she could not describe”; she is locked in an upstairs room. Soon all the vegetation starts to crumble to a grayish powder. Nahums son Thaddeus goes mad after a visit to the well, and his sons Merwin and Zenas also break down. Then there is a period of days when Nahum is not seen or heard from. Ammi finally summons the courage to visit his farm and finds that the worst has happened: Nahum himself has gone insane, babbling only in fragments; but that is not all:That which spoke could speak no more because it had completely caved in.” Ammi brings policemen, a coroner, and other officials to the place, and after a series of bizarre events they see a column of the unknown color shoot into the sky from the well; but Ammi sees a small fragment of it return to earth. The gray expanse of theblasted heathgrows by an inch per year, and no one can say when it will end. The reservoir in the tale is the Quabbin Reservoir, plans for which were announced in 1926, although it was not completed until 1939. And yet, HPL declares in a late letter that it was the Scituate Reservoir in Rhode Island (built in 1926) that caused him to use the reservoir element in the story (HPL to Richard Ely Morse, October 13, 1935; ms., JHL). He saw the reservoir when he passed through the west-central part of the state on the way to Foster in late October 1926. But HPL surely was also thinking of the Quabbin, which is located exactly in the area of central Massachusetts where the tale takes place, and which involved the abandonment and submersion of entire towns in the region. Also, Clara Hesss statement that HPLs mother once told her aboutweird and fantastic creatures that rushed out from behind buildings and from corners at darkreminds one of Nabby Gardners madness.
   HPL felt the story was more anatmospheric study” ( SL2.114) than an orthodox narrative. The lack of clear answers to many of the central issues in the talespecifically, the nature of the meteorite (is itor the colored globule inside itanimate in any sense that we can recognize? Does it house a single entity or many entities? What are their physical properties? What are their aims, goals, and motives?)—is not a failing but a virtue. As HPL said of MachensThe White People,” “the lack of anything concreteis the great assetof the story” ( SL3.429). It is precisely because we cannot define the natureeither physical or psychologicalof the entities inThe Colour out of Space” (or even know whether they are entities or living creatures as we understand them) that produces a sense of horror. In this story HPL most closely achieves his goal of avoiding the depiction ofthe human formand the local human passions and conditions and standards—…as native to other worlds or other universes” ( SL2.150).
   The story is the first of HPLs major tales to effect the union of horror and science fiction that became the hallmark of his later work. It is therefore not surprising that Amazing Stories(the first science fiction pulp magazine) readily accepted it upon submittal, early in the summer of 1927. But Amazing Storiesbecame a closed market to HPL when editor Hugo Gernsback paid him only $25 for the storya mere? per wordand then only after three dunning letters. Although in later years
   HPL briefly considered requests from Gernsback or from his associate editor, C.A.Brandt, for further submissions, he never again sent a tale to Amazing Stories. He always remembered Gernsback asHugo the Rat.”
   Sam Moskowitzs assertion that HPL submitted the story first to WT,and then to Argosy,is unwarranted; see HPL to Clark Ashton Smith, July 15, 1927 (ms., JHL):As forThe Colour Out of Space’—Wandrei tells me that Amazing Storiesdoesnt pay well, so that Im sorry I didnt try WT first.”
   See Will Murray, “Sources forThe Colour out of Space,’” Crypt No. 28 (Yuletide 1984): 35; Steven J.Mariconda, “The Subversion of Sense inThe Colour out of Space,’” LS Nos. 19/20 (Fall 1989): 2022; Donald R.Burleson, “Prismatic Heroes: The Colour out of Dunwich,” LSNo. 25 (Fall 1991): 1318; Robert M.Price, “A Biblical Antecedent forThe Colour out of Space,’” LS No. 25 (Fall 1991): 2325; Donald R.Burleson, “LovecraftsThe Colour out of Space,’” CryptNo. 93 (Lammas 1996): 1920.

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