Chronicles of the End: from Machen's โ€œTerrorโ€ to Lovecraft's โ€œColorโ€

On the occasion of the 83rd anniversary of the death of HP Lovecraft, which took place on March 15, 1937, and given the period of stasis we are experiencing, what better occasion to reread one of his most terrifying stories, "The Color came from Space", light the parallels with another apocalyptic novel released more than a century ago that today seems so prophetic, Arthur Machen's โ€œThe Terrorโ€?


di Marco Maculotti
cover: illustration for HP Lovecraft, "The Color from Space"

"I, who am the last, will speak to the listening void ...
I don't remember when it all began, maybe months ago. The tension was at its maximum, frightening: to a period of political and social upheaval there was added the strange indefinable feeling of horrendous physical danger. An enormous danger, which weighed on everything, as can be conceived in the most anguished nightmares. I remember people walking around with pale, worried faces, whispering warnings or prophecies that no one dared to consciously repeat or just admit to having heard. The earth was oppressed by a monstrous sense of guilt and from the abysses between the stars icy currents blew that made men shiver in the dark and lonely places. The course of the seasons had undergone a catastrophic alteration: the warmth of autumn lingered to leave and we felt that the world, perhaps the universe, had escaped the control of the unknown gods or forces that govern it and nothing resembled itself anymore. same ยป

HP Lovecraft, โ€œNyarlathotepโ€, 1920

The apocalyptic suggestions of the last few weeks seem to have suddenly catapulted the world into a Lovecraftian nightmare: to be exact, a nightmare that the Master of Providence had during a night in 1920, just a century ago. Coincidences or not, the scenarios from "End of the World" lived dreamily by Lovecraft on that occasion they were put in writing in one of his best known stories, despite the extreme brevity: Nyarlathotep, which, in the same way as other visionary works of distinguished writers of the fantastic of the preceding decades - for example the kubla khan by Samuel T. Coleridge (1816) and Lo Strange case of Dr. Jekyll and Mr. Hyde by Robert L. Stevenson (1886) -, is therefore to be ascribed to the group of literary creations received in dreams, similar to the visions that the mystics of the ancient world considered to be true and proper prophecies.

On the other hand, few writers like Lovecraft - who abandoned his mortal remains on March 15 83 years ago - have based their literary mythopoiesis on catastrophic and apocalyptic visions: the same Call of Cthulhu (1928), perhaps his best known masterpiece also because of the numerous sequel which inspired (we suggest in this regard the anthology Stellar wisdom, published in 1997 by Einaudi, which contains short stories by JG Ballard, William S. Burroughs, Ramsey Campbell and Michael Gira, just to name a few), ultimately focuses on the idea so well known in the ancient traditions of "cosmic upheavalWhich, in a more or less near future, would have decreed the end of the world as we know it.

But if in ancient traditions it was most often believed that the final catastrophe would be followed by the genesis of a perfect world - it is the famous myth of the return of the Golden Age or, for the indigenous cultures of the Americas and the South Seas, the millennial beliefs in the advent of the so-called "Earth-Without-Evil" -, in Lovecraft's story il return of the stars "to the right place" (a reference to the phenomenon of precession of the equinoxes) will mark the "beginning of a New Dark Age", in which the terrifying divine powers known as "Great Ancients" will once again take the power of our planet and our destinies, significantly reducing the illusion nurtured by the human being regarding his supposed importance in universal history (a theme, this, very dear to Lovecraft - and then also to Thomas Ligotti - which emerges in the case of the first especially in the letters [1]).

Here, however, we want to talk about another story by the Providence Dreamer, whose reading, now as never before, in the moment of stasis in which we find ourselves, seems to make the most of its exceptional expressive power: we are talking about theย Color from Space (1927), a story attributable to the vein of "cosmic horror" in which it is described the sudden encounter with the most classic of "horrors from another world" โ€” plotย which will find, in the second half of the century, new life in the cinematographic field, for example with The Invasion of the Body Snatchersย eย The thing. But before analyzing the Color by Lovecraft we would like to do the same with a work, released exactly ten years earlier, which partly anticipates its narrative suggestions, as well as another ideal text to be (re) read in these days: and this work we are talking about is The Terrorย by the Welsh writer Arthur Machen.

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Arthur Machen, The Terror

โ€œIt's more than incredible. It is a dramatic situation. It is the terror of the dark and it is the worst. It's just like that young man I told you about earlier said: "When you are fighting at the front at least you know who your enemy is". "

A. Machen, โ€œThe Terrorโ€, 1917

There is, above all, a peculiarity of this work that must be emphasized before any other, as it rightly did Enrico Macioci in its introduction to the Theoria edition of 2017, released to commemorate the centenary of its first publication [2]:

ยซ[โ€ฆ] The sense of claustrophobia that Machen evokes while setting the story in open places, between countryside and mountains. The pursuit of an ambiguous danger pushes humans to retreat both materially and emotionally, it is a virus that plagues the atmosphere and spreads a cloud of psychic ghosts. Psychosis generates psychosis. [โ€ฆ] Moreover, one could suppose that a mystery, in order to remain so, must take place within a closed and restricted placehectogram [โ€ฆ]; instead Machen scatters it everywhere, in the woods and on the cliffs, at the bottom of the marshes and on the surface of the sea, in the sky and among the fields. [...] Terror is everywhere but not seen; better, only those who die of it see it and cannot report it. Terror is among us but not in us [โ€ฆ]; Terror is no longer external and not yet internal, it occupies the free zone that separates faith from intellect. ยป

It is precisely the absolute incomprehension of the situation and the consequent impotence of the human consortium in the face of the sudden "epidemic of madness"To give rise to the most bizarre hypotheses: having just ended the First World War, it is assumed that the Germans are behind them, a typical defense mechanism of the human being who blames what his opponent / political enemy does not understandย [3].

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Illustration for Arthur Machen, "The Terror"

Any hypothesis, however far-fetched, seems welcome in the eyes of citizens, who do not know what to fish for when the number of dead people inexplicably becomes higher and higher: "[the] population", writes Machen, "accepted this hypothesis because at least it granted the consolation of an explanation, and any interpretation, even the most trivial, is far more acceptable than a terrifying, unbearable mysteryยป [4]. It's still [5]:

"There is no one who knows what is happening - Merritt reiterated and went on to tell of the disorientation and terror that, like a cloud, loomed over the important industrial town of the Milands: and the impression that they were trying to hide something, some secret and terrible threat, which no one had to talk about, was probably the most exhausting thing [...] we all have the impression that we are dealing with something horrible; and nobody knows what it is. This leads people to rumor. Terror is in the air. "

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In fact, it also contributes to overheating the minds the silence of the press and the reluctance of the so-called "upper floors" [6], which, while deploying armed sentries in the streets to prevent free movement for citizens, continues to deny the relentless spread of the Terror [7]:

ยซ[โ€ฆ] The inhabitants of this western county understood that not only death, lurking in their quiet lanes and their quiet hills, came from outside, but also that, for some reason, all this was not to be disclosed. The press could not publish information about it and the juries, who had been called to investigate, had no freedom to do so. "

Yet, although the crimes seem to follow contrasting dynamics (an exterminated and horribly disfigured family, other corpses found at the bottom of a ravine, near the coast, and so on), the lowest common denominator can be identified in the a state of "terror, anguish and panic" which seems to momentarily possess men and animals [8]. On this apocalyptic stage during the night a bizarre sound can be heard, "as if the same ether resounded and quivered as it resounds in cathedrals when the organ through its immense pipes makes its own voice heard" [9].

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Later in the narrative this enigmatic sound, coming from the hills and valleys, is defined ยซsimilar to a scream, a terrible long and muffled lament, which seemed to come from afar [โ€ฆ]. Like the ghost of a voice [โ€ฆ]. As if it came from the depths of the earth " [10]. This description brings to mind the ancient legends about "Cosmic fatigue" and on "Weeping of the earth" who, now harassed and overly exploited by humanity less and less aware of the need to maintain the balance of natural rhythms, begs the heavenly god to free her from his yoke: for example, in Mahฤbhฤrata Indian the earth personified in the goddess Prthivฤซ asks Brahmฤ to reduce the number of creatures since he is no longer able to bear the weight which has now become unsustainable, and the Guarani of Mato Grosso they think that nature is "old and tired of living" and their dreams repeatedly medicine-man they have heard the Earth beg: ยซI have devoured too many corpses, I am full and exhausted. Father, let this end! " [11]. It is no coincidence that one of the characters in Machen's novel, having heard this sound, compares it to "Lament of the Day of Judgment" [12].

Even in Terror, indeed, the tremendous spread of panic madness and the sudden discovery (with immediate disappearance by order of the military authorities) of dozens and dozens of corpses coincides with a revolt of the natural kingdom against Man, guilty of not having respected the ancient pact stipulated in illo tempore: dogs and horses go mad, swarms of moths attack aviation planes, bizarre clouds and trees dotted with ethereal lights similar to fireflies or will-o'-the-wisps suddenly loom on the horizon, taking citizens' anguish to levels never known before: not only, as it is explicitly written, "the animals had risen against man" [13], but so to speak all of Nature, which suddenly seems to "untie" from its ordinary limits to give life to protein and terrifying forms never even dreamed of before, in total disagreement with the laws on which our own reality is based.

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The explanation is revealed in the last pages of the novel [14]:

"Man had subjugated animals over the centuries, the spirit has dominated the intellect by means of the extraordinary grace of spirituality which men possess and which is the substance of man himself. And as long as he retained this power and this grace, I think it's pretty clear that there was an agreement and a coalition between him and the animals. [...] For many centuries [the man] has put away his royal robes and is pulling the balm of consecration from his chest. He has stated millions of times that his nature is not spiritual, but rational, therefore akin to the animals of which he was once ruler. He vowed not to be Orpheus, but Caliban ยป

The topical scene of theย Terror (which, as we will see later in this article, will greatly inspire The Color Out of Space) is, however, undoubtedly the posthumous letter written by Secretan, which tells of how the Terror took possession of the whole Treff Loyne, where the latter lived with his family. It is from this delusional testimony that we understand how Terror also invests the human mind, increasingly overwhelmed by the rebellion of cosmic and natural forces to the point of continually confusing reality and nightmare, which gradually takes on more and more dreamlike and rarefied features. [15]:

ยซ We fall asleep, dream and wander around the house immersed in our dreams, and I often can't tell if I'm awake or still dreaming. In this way the days and nights mix in my mind. [โ€ฆ] There doesn't seem to be any hope for us. We are inside the dream of deathโ€ฆ [โ€ฆ] If what is happening here is also happening in other places, then I think the world is ending its days. [...] we wondered if these contradictions, which are essential when you start thinking about time and space, are not the objective evidence that life as a whole is but a dream and the stars and moon shreds of a nightmare [โ€ฆ]. Maybe we are our own jailers, but in reality we can freely get out of here and live. "

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Once all the limits and cosmic balances have been skipped, the real world seems to transform itself into a "world upside down", similar to the dream realm or land of the dead or the feral entities of pre-modern traditions: "Mrs. Griffith said that the ancient evil spirits, now free, had emerged from the trees and the ancient hills for the cruelty that was on Earthยป [16]. It is precisely the appearance of a procession of these enigmatic supernatural entities that arouses particular terror in Secretan, which he writes in his final letter [17]:

โ€œAt dawn, then, silhouettes dressed in black with lighted candles in their hands, walked slowly back and forth. And I hear the massive sound of an organ, echoing as if a terrifying rite is about to begin, and aching voices singing an ancient shrill song from the depths of the earth. A little while ago I heard a voice ringing as if it were in my ears, ringing and echoing and thundering as if bouncing off a cathedral vault, singing with frightening modulations. I heard the words quite distinctly: "Incipit liber irae Domini Dei nostraโ€(Here begins the book of the wrath of the Lord our God). Then the voice emitted singing the word "Alephโ€œ, Prolonging it, as if it were going through eternity [โ€ฆ]. "On that day, the Lord said: there will be a cloud over the Earth and within the cloud an explosion and a form of fire, and from the cloud my messengers will rise: they will all run together, without looking back: this will be one day of incredible bitterness and there will be no redemption. And on the top of the hills, said the Lord of hosts, I will place my keepers and my troops will camp in all the valleys [โ€ฆ] โ€. Even now I can hear the voice booming from afar, as if it came from the altar of a large church and I was near the door. There are lights far away, in the middle of a deep darkness, and one by one they fade. I still hear a voice singing those interminable modulations that reach up to the stars, and up there they shine and then sink into the dark abyss of the earth and then rise again: by word it is "Zain" ยป

It is significant that the words cadenced by the enigmatic entities are "Aleph" and "Zain", that is to say the sacred letters which in the kabbalistic tradition are respectively equivalent toAlpha and Omega: that is to say, the Beginning and the End. In fact, in Machen's novel the end is not definitive, but rather presupposes a new beginning: "during the winter of 1915-16, the Terror disappeared with the same speed with which it had appeared [...] and the consonance and the spirit of evil vanished from the hearts of the animals " [18]. "It is not a real end", Lewis comments,"or rather, like every end of human research, it brings us before a great mysteryยป [19]: the Great Mystery, we conclude, of universal balances and cosmic cycles, which Man cannot master except by adopting a holistic and sacred approach, having ascertained that mere rationalism and arid materialism can only lead to the ruin of Whole Created.

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Illustration for HP Lovecraft, "Color from Space"

HP Lovecraft, Il Color from Space

"It looked like a vision of Fuseli: over everything reigned a tumult of chaotic polychromies and the shapeless phantasmagoria of unknown miasmas that flowed relentlessly from the old well, stirring, sparkling, enveloping, reaching forward, flowing and seething maliciously. "

ยซ It is a color foreign to our space, a fatal messenger who came from shapeless patches, infinitely distant from every known aspect of Nature.; from places so foreign that the mere intuition of their existence can make our intellect waver, or freeze it with the vision of the black extracosmic abysses that could open wide before our terrified eyes. "

HP Lovecraft, "The Color Out of Space", 1927

If in the Terror Machen's balance of natural elements is upset, in all probability, by the abdication of Man from his role within the circle of the cosmos, in theย Color from Space by Lovecraft to cause the sudden undoing of the order on which the survival of any form of life on the planet is based is an alien body that crashes one June night near the well of the Gardner's farm, near the left town of Arkham; or, rather, the Color that this meteorite contains, in the innermost part of its core. Those days are still remembered today - notes the narrator - with the phrase "the strange daysยป, And the landed estates of the unfortunate family, completely annihilated after the passage of the terrifying" guest ", from the time of the tragedy are definedยซthe electrocuted landยป [20].

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ยซBut how is it possibleยป, asks the narrator, ยซthat not a blade of grass had grown back on those five acres of gray desolation, which stretched naked under the sky like a scar?ยป [21]. It is easy to say: questioning an old local named Ammi, who was a neighbor of the Gardners and who lived the tragedy alongside them and on his own skin, a terrifying story emerges: the Color that came from the cosmic abysses, with the passing of those "Strange days", literally transfigured the whole world into whose underground recesses he had plunged, first infesting with its inconceivable nuance the vegetation and fields of the unfortunate poor [22]:

ยซIn April it seemed that the inhabitants were all going out of their minds and they began to avoid the old road [โ€ฆ]. It was the vegetation's fault: the fruit trees were covered with incredible flowers, and bizarre arborescences sprouted between the stones of the courtyard and adjacent fields, in which only an experienced naturalist would have recognized the caricature of the normal flora of the region. Nowhere were there more normal and healthy colorsliexcept for the green of the grass and foliage. In every other vegetable, more or less absurd variants of that unhealthy chromatic nuance were recognizable, which had little to do with the colors of our world. Harmless field flowers were transformed into anomalous things, made menacing and sinister by the insolence of their chromatic perversions. Ammi and the Gardners recognized the colors as something obsessively familiar, and agreed that it was an affinity with the fragile globule nestled in the meteorite. "

To be affected by the alien disease is then the fauna: the horses go wild for no apparent reason; the footprints in the winter snow of squirrels, foxes and rabbits suddenly seem to no longer "quite correspond to the anatomy and habits of those animals"; finally, a specimen of marmot captured during a hunting trip exhibited "body proportions [...] all wrong [...], and the muzzle had an expression that no one, before, had ever seen in a marmot" [23]. Farm animals show "horrifying symptoms", flaking off like corpses even before they die, leaving a gray dust of unknown origin on the ground [24]. The branches and the tops of the trees move frantically, as if shaken by an infernal thrill and, when night falls, the vegetation seems to emanate a diffused light everywhere., without a precise origin and no material support: "By now, everything that was growing was totally strangeยป [25].

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Illustration for HP Lovecraft, "Color from Space"

Soon the Gardners themselves begin to lose their sanity, also due to the water they draw from the well, which is now infected by the treacherous alien agent. The first to yield is Mrs. Gardner, who - in a passage that closely resembles an almost identical one from the previous story The escaped houseย (1924) - [26]:

"[...] he began to talk about things that were in the air that she could not describe. Her was a delusion without names: she pronounced only verbs, pronouns and adjectives, or vague and contradictory expressions; something moved, floated, changed shape, made sounds that weren't really sounds, although it was her ears that picked them up. Something was being stolen or sucked out of her. Something was around her, something that shouldn't have been there. We had to send him away, get him off him. Not everything was still at night. He had seen a wall, a window sway [โ€ฆ]. He lost the use of speech and began to crawl; [โ€ฆ] In the dark it was surrounded by a slight luminescence similar to that which [โ€ฆ] was emitted by all forms of plant life around the farm. "

Then it's the turn of Thaddeus, the eldest son, who after going to the well had returned empty-handed, gesticulating and muttering about "colors that stir at the bottom of the wellยป [27]; Locked up like his mother in an attic room, it didn't take long for an inexplicable death to take him away, his body sucked in in a bizarre way as had previously happened to fruit trees and cattle. Then it is the turn of the other two children, little Merwin and Zenas, both of whom have mysteriously disappeared near the well [28]. To put an end to Mrs. Gardner's suffering will instead be Ammi himself, after having stumbled upon with horror the metamorphosis in the protoplasmic state of the latter [29], worthy of a film by David Cronenberg.

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Illustration for HP Lovecraft, "Color from Space"

Nahum himself, the head of the family of the Gardners, finally disintegrates within a few hours, under the astonished and horrified eyes of his neighbor, revealing before his death the cause of the abominable transfiguration and the sudden deterioration of all that once was. grew up and lived on his land [30]:

ยซ It'sโ€ฆ nothingโ€ฆ just a color. It burnsโ€ฆ it's cold, wetโ€ฆ but it burns. He lives in the well. I saw it ... it's like smoke ... like flowers, do you remember? ... the well shone, at night ... Thad, Merwin, Zenas ... all that is alive ... he sucks the life out of him... in the stone ... it must have arrived with the stone ... when they broke it ... it was the same color ... it comes from another place ... one of the professors said so ... he poisoned everything ... plants, flowers, even the seeds ... [...] first it takes your brain, and then ... it burns you ... [...] Zenas has never returned ... from the well ... it's always like this ... you can't go away ... it attracts you ... you know that sooner or later it will come to get you, but it's useless ... "

A later reconnaissance by Ammi together with police officers reveals the presence of the skeletons of Merwin and Zenas in the well, as well as the remains of a small deer and a dog, as well as the bones of many smaller animals. [31]. โ€œIt sucks life and burns,โ€ Ammi says, โ€œand it's the same color as the light out there; a color that exists and it is impossible to explain what color it is. [โ€ฆ] She feeds on everything she lives, and by feeding herself she becomes stronger and stronger. [...] It comes from somewhere other than our world, from space. [โ€ฆ] They are things that do not belong to the world that God created and do not behave like the things of this world. They come ... from outsideยป [32].

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Illustration for HP Lovecraft, "Color from Space"

Unlike Machen's novel, in which the revolt of animals and the natural world appears as an implicit consequence of a "ritual flaw" on the part of the human being, inย Color Out of Space man is thrown, starting from the arrival of the meteorite from the cosmic abysses, down the food chain, at the same level as the fauna and flora: for the Color coming from Space it is nothing more than a form of life like all the others, to be satisfied at will until leaving only the crumbs. Who knows if Lovecraft wanted to suggest somehow with this expedient a retaliation for the endless greed of the species to which he belonged, which he had seen embodied with almost demonic traits especially in the Babelic New York metropolis, precisely in the years preceding the writing of the story in question.

But, like Machenian Terror, Lovecraftian Color also seems to finally leave our planet - of course, after having satiated sufficiently. Unforgettable is the nocturnal scene towards the end of the story, with the group of men locked inside the ancient Gardner property - which emits a faint luminescence in its own walls and now also betrays a sort of indescribable possession on the part of the Color. [33] - staring in horror "at the bare ends of the trees [...] throbs [re] in an absurd and spasmodic way" and reaching out "as if guided by invisible connections with underground horrors", until finally covering himself, as in the aforementioned novel by Machen, from "countless dots of light, faint and unholy radiation that gravitated around the ends of the branches like tiny St. Elmo's firesยป [34]:

โ€œThey resembled absurd constellations, swarms of fireflies fed on corpses weaving infernal sarabands on the swamps of a cursed swamp, while their color was that of the nameless agent Ammi had learned to recognize and fear. Meanwhile the phosphorescent beam that issued from the well became more and more intense, arousing in the minds of the men crowded at the window a sense of impending doom that overwhelms and dispels all other thoughts. He gushed out more and more abundantly, and as soon as he came out of the dark underground refuge he pointed decisively towards the sky ยป

The color


Film remakes

One cannot fail to notice the remarkable parallels between Machen's novel (especially the chapters dedicated to the tragedy of Treff Loyne) and the story, written a decade later, by colleague Lovecraft: for his part, in any case, The Color Out of Space inspired entire successive generations of writers of horror and fantasy, also giving life to several film remakes, among which we remember Death from the crystal eyeย (Die, Monster, Die!) by Daniel Heller (1965),ย The cursed farmย (The Curse) by David Keith (1987),ย The color by Huan Vu (2010) - most likely the remake best -, and the very recent and over-the-top Hollywoodย [35] Color Out of Space by Richard Stanley with Nicolas Cage (2019).

A makeover in the form of a short film can also be found in the episodic film Creepshow by George Romero (1982): this is the segment The Lonesome Death of Jordy Verrill, which is also inspired by Weedsย by Stephen King (1976), a story that in turn is more than clearly influenced by the Lovecraftian influence. Also the episode of the US seriesย The X-Filesย entitledย Darkness Fallsย (season 1 ร— 20) betrays the inspiration of theย Color from Space: in this case, however, the actual Color is replaced by a swarm of luminescent insects that literally suck the life out of their human prey, wrapping them in abnormal cocoons and sucking the lifeblood minute by minute until total decay.

Like the worst Lovecraftian demons, curiously, they will be found to have remained in one state of "life-in-death" for centuries, waiting for the right moment to return and spread panic among men: and their resuscitation, also in this case, is a direct consequence of human greed, which comes to cut down secular trees for the sole taste of vile gain to all costs.

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Note:

[1] See. HP Lovecraft: The horror of reality (edited by G. de Turris), Mediterranee, Rome 2007

[2] E. Macioci, Terror according to Arthur Machen, introduction a The Terror, Theoria, Rimini 2017, pp. X-XI

[3] Machen, though Welsh, spent most of his life in England; and with the aforementioned 1914 novel The Bowmen it even anticipated the genesis of one of the best-known legends of the First World War, according to which the victory of the English would have been favored by angelic intervention from the celestial realms.

[4] A.Machen, Terror, op. cit, p. 23

[5] Ibid, p. 51

[6] Ibid, p. 29

[7] Ibid, p. 32

[8] Ibid, p. 41

[9] Ibid, p. 43

[10] Ibid, p. 85

[11] M. Eliade, Myth and reality, Borla, Rome 1963, pp. 84-85

[12] A.Machen, Terror, P. 88

[13] Ibid, p. 122

[14] Ibid, pp. 127-128

[15] Ibid, pp. 99-102

[16] Ibid, p. 108

[17] Ibid, pp. 110-111

[18] Ibid, p. 126

[19] Ibid, p. 113

[20] HP Lovecraft, The Color came from Space, no The myths of horror, Mondadori, Milan 1989/90, pp. 186-187

[21] Ibid, p. 186

[22] Ibid, p. 195

[23] Ibid, p. 193

[24] Ibid, p. 199

[25] Ibid, p. 196

[26] Ibid, p. 198

[27] Ibidem

[28] Ibid, pp. 200-201

[29] Ibid, p. 202

[30] Ibid, pp. 203-204

[31] Ibid, p. 205

[32] Ibid, p. 207

[33] Ibid, p. 209

[34] Ibid, p. 208

[35] With all the defects that this entails, even more so starting from a screenplay signed by an author "of the past" like Lovecraft


Bibliography:

ELIAS, Mircea,ย Myth and reality, Borla, Rome 1963

LOVECRAFT, Howard Phillips,ย The Color came from Space, no The myths of horror, Mondadori, Milan 1989/90

LOVECRAFT, Howard Phillips,ย Nyarlathotep, no The myths of horror, Mondadori, Milan 1989/90

MACHEN, Arthur The TerrorTheory, Rimini 2017