the comfort of being eaten
Lovecraft’s set-ups are much more horrifying than the spaces he generates from them. The repetitive elements of the mythos act as a sort of refamiliarisation of that which has been deeply defamiliarised by the set-up. By the end of “Dreams in the Witch House”, for instance, a substitution has taken place. The human condition of being alive in a highly debatable space–a space the mathematical underpinnings of which seem to suggest something so undependable about our structures of perception that all we can do is struggle to reaffirm them–has been replaced by the condition of being alive in a threatening but clearly structured universe. The “imagined” replaces the real as a real. The new space isn’t entirely heimlich. It still trails some of the mystery implied by the set-up. But it has become describable, despite Lovecraft’s typical insistence that it isn’t. This is less an intensification of than a relief from the terror of the Witch House. In the same way, the moment the eponymous Colour Out of Space begins to act in a structured fashion, to feed itself and make its escape from our side of things, it ceases to undercut anthropocentric definitions and becomes a reassertion of them; the universe, though weird, is seen to operate on–or at least to be describable by–understandings we already possess. The discomfort of the unknowable is replaced by the comfort of being eaten by a creature with perfectly recognisable motives. Substitution of a false real is the disappointment of most generic fantasy: once the author has ushered us through an exhilaratingly scary liminal space, in which anything might be possible, new norms arrive and everything becomes ordinary again. The suggestion that things are not what they seem is always more exciting than the alternative provided. We wish we were back in the condition of not knowing. I do, anyway.
–reblogged from September 11, 2007