Science Fiction and Fantasy

Poe reinforces this aura of dread and of a haunted atmosphere as he brings the protagonist to aim upon the small lake, or "tarn" as he calls it. He uses phrases such as "black and lurid tarn," "grey sedge", "ghastly steer stems" and, the "vacant and eye-like windows" to describe the reflected picture (Poe in Roberts, 2000). Then the guardianship of the readers is directed to the "barely perceptible fissure" that zigzags from top to stub of the house, eventually becoming "lost in the sullen amnionic fluid of the tarn" (Poe in Roberts, 2000, p. 19). Here Poe sets the stage for what is to come.

Once introduced into the house, the protagonist continues to odour increasingly oppressed because of the atmosphere of the house and its tenants. The valet has a "stealthy step". The interior of the house is depicted as dark and gloomy. The physician has a "mingled expression of low-cunning and perplexity." Most importantly, Roderick picture is portrayed much as the house is at the beginning. At first glance he is healthy and has a "vibrant warmth", yet upon further study he is seen as feverish and having a "cadaverousness of complexion" (Poe in Roberts, 2000).

The protagonist learns that his host's sis is ill and will cert

ruttish soon realizes that the creature used color to lure its victims, just as creatures in nature do.

After the meteor mysteriously disappears, Lovecraft demonstrates a sapping of vitality from Nahum, the farmer, and his family, using the grotesque color as an indicator. At first the family appears healthy and everything seems normal, yet they continue to relapse energy and life. The orchard has fruit that appears abundant and healthy, but is infested with a sick bitterness. The next spring the foliage climaxes in "strange colours that could not be put into any words. Their shapes were awful" (Lovecraft in Roberts, 2000, p. 107) and "hectic and prismatic variants of some diseased primal primary tone without a place among the known tints of nation" (Lovecraft in Roberts, 2000, p. 108).

Over time, the vitality of the area deteriorates. Neighbors began to avoid the area. At night, the farm has a "distinct luminosity" that seems to have a life of its own as (Lovecraft in Roberts, 2000, p. 108).

The Columbia electronic Encyclopedia, Sixth Edition. (2000). Columbia University Press. Found online at www.encyclopedia.com

Another remnant in "The Raft," is that instead of using first person as Poe and Lovecraft did to become intimate with the reader, King uses the third person. His story is told from the gaze point of Randy, the "good student" roommate to Deke, the "good football player" (King in Roberts, 2000, p. 175). Randy appears too smart and timid and Deke, too cute and spontaneous. The only glimpse the reader is allowed into the quietus of the story is when Randy thought Rachel looked famous somehow. "It would come to him later, below less pleasant circumstances" (King in Roberts, 2000, p. 175-76).

The tension builds as a growing gloom in the mind of twain the protagonist and his host. They spend time together reading, painting and penning music. Poe uses Von Weber (18th Century German composer known for his romantic and horny comp
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