Monica J. O’Rourke and Wrath James White ‘Poisoning Eros’ Review

Source: Monica J. O’Rourke and Wrath James White ‘Poisoning Eros’ Review

For Fans of extreme horror, this article from Horror Novel Reviews has something titillating for you.

 

Ramsey Campbell’s ‘Thirteen Novels on the Edge of Horror’

Source: Ramsey Campbell’s ‘Thirteen Novels on the Edge of Horror’

In this fun, engaging article from Horror Novel Reviews, Ramsey Campbell lists thirteen thrilling novels from the last fifty years that should be on any horror enthusiast’s list of novels to read.

6 Horror Books Based On Real Events

Source: 6 Horror Books Based On Real Events

Check out these six books on events forming the basis for some well-known fictional horror.   Good recommendations for reading over the holidays, particularly Halloween.

Review of “The Vampyre” by John William Polidori

John William Polidori 1795-1821 (from Wikimedia)
John William Polidori
          1795-1821
    (from Wikimedia)

Today I finished reading “The Vampyre” by John William Polidori.  Polidori was a friend of Lord Byron and wrote this story during the famous writing contest between Byron, Polidori, Percy Bysshe Shelley, and Mary Shelley, in which Mary Shelley wrote the initial draft of “Frankenstein” (see my post on Polidori and “The Vampyre” dated July 12, 2013).  Tonight I wrote up a quick review for Goodreads, which I have pasted here for your enjoyment.  I gave the story three stars out of five.

“The action was somewhat fast moving and the ending unexpected, but the plot is rather simple and the narration is hampered by a lack of dialog. There are probably less than five lines of dialog in the entire story of 9,223 words (I copied and pasted the story from the Project Gutenberg version minus the “Extract of a Letter from Geneva” and the “Extract of a Letter Containing an Account of Lord Byron’s Residence in the Island of Mitylene” into Word then used their word count feature). One interesting aspect of Lord Ruthven’s (the vampire) character is that he cannot survive on just anyone’s blood; he has to feed only on the blood of those he loves. That would make an interesting twist to any vampire tale. As the Goodreads summary notes, this is also the start of the motif of the vampire as aristocratic seducer. While this story is probably of mediocre quality at best for today’s literary audiences, it is interesting from the perspective of literary history as the origin of today’s vampire stories and all the cultural offshoots that have sprung from those (such as the Goth movement). Bottom line: it’s worth taking the time to read, especially if one has an interest in the historical basis for today’s horror literature and the vampire subculture.”

Thoughts?  Comments?

 

The Annotated Lovecraft

Farmington, New Mexico, March 20, 2015
Farmington, New Mexico, March 20, 2015

While over at Hastings tonight (not much to do in Farmington on a Monday night), I saw a new book entitled “The Annotated Lovecraft” (I hope I have the title right).  It’s about 8″ x 10″ x 2-3″ thick.  It contains a lot, if not all, of Lovecraft’s works with copious notes and illustrations, including photos of his home area.  It sells for about $25 and would a terrific gift for any Lovecraft aficionado.  I looked at it only briefly, but it did not occur to me until I arrived at home that I should write up a few notes on it for those who may not have encountered it.

Thoughts?  Comments?

Clive Barker ‘The Scarlet Gospels’ Advance Review

100_1736Good review:  Clive Barker ‘The Scarlet Gospels’ Advance Review.   As you can see in my comments, the review sounds fair, honest, and straightforward.  Also,  I enjoyed his comments on Barker’s other works.  Unfortunately, I have read only The Hellbound Heart and Books of Blood, but I want to read the others as soon as I can dedicate the time to each.  However, I already have a couple of dozen works on my “to read” list including those on my Goodreads “to read” list.  It is unfortunate that Mr. Barker may be going through a down period, but many, if not most, authors and artists of all types do.  What is important is how long the down turn lasts.

Recommendation: “Best New Horror 25” edited by Stephen Jones

Please respect any copyrights pertaining to this cover.
Please respect any copyrights pertaining to this cover.

One of the best gifts I received this Christmas was Best New Horror 25 (for the year 2013) edited by Stephen Jones.   I consider this book a must-have for any serious horror aficionado.

In addition to having 21 stories by such icons as Clive Barker, Ramsey Campbell, and Neil Gaiman (among others),  Mr. Jones provides a ninety page synopsis of horror in 2013, a “necrology” (list of those having died) in 2013, and a list of useful addresses for the horrorphile of small press publishers, websites, organizations, and magazines.

I had not heard of Mr. Jones before receiving this book, but the biography the book provides shows him to a well-respected editor of horror in many genres and a recipient of many awards, some a few times over, including the Bram Stoker Award,  Horror Guild awards, British Fantasy awards, and other.  For those desiring more background on  Mr. Jones, please visit his website at http://www.stephenjoneseditor.com.

Of course, I have not had the time in the past two days to start reading this volume in any depth, but I have skimmed through it and found it to be very informative.  As you who follow my blog can guess, I love the ninety-page intro, because it gives a thorough overview of what happened in 2013 from something of a historian’s viewpoint.

The only downside I have found, so far, is that the Necrology includes several non-horror entertainers and figures, which are superfluous to the work’s theme.  For example, Mr. Jones mentions the death of Annette Funicello, who, so far as I know, was never in a horror film.  If anyone knows of a horror film she was in, please let me know so that I can post an apology to Mr. Jones.

This 592-page volume is a welcome addition to my horror library and I look forward to exploring it in great depth as it will help me catch up on the current state of affairs in horror (which some of you no doubt know that I seriously need as I tend to focus on classic horror of the 20th and 19th centuries).   I recommend this book to anyone else who has a serious desire to survey the current state of the art.

For a detailed review of the book, visit either the Amazon.com article or visit http://www.locusmag.com/Reviews/2014/09/stefan-dzaimianowicz-reviews-stephen-jones-best-new-horror-25/.

Thoughts?  Comments?

Notes on “The Hellbound Heart” Part 2 of 2

Clive Barker, Seattle, 2007 by Steven Friederich
Clive Barker, Seattle, 2007 by Steven Friederich

I finished reading The Hellbound Heart several weeks ago.  As noted previously, it is a truly terrific read.    I suggest reading it after seeing the movie (if you have somehow repeatedly missed your chances of seeing “Hellraiser” over the last twenty or so years).   Reading it beforehand will just spoil the movie, whereas reading it afterwards may enlighten parts of the movie.

I don’t have much to add to what I have previously stated, except that, if you are a student of storytelling, the book warrants a detailed examination for narrative technique as it exhibits some basic techniques of storytelling that Mr. Barker carries out very well.   I could go through the book page by page and expound on each ad nauseam, but instead I will focus now on one that sticks in my mind.

I do not recall if this is in the movie, but toward the end where Kirsty is trapped in the “damp room” by Frank, she slips on a bit of preserved ginger lying on the floor enabling Frank to catch her.  The method by which Barker establishes why that ginger is on the floor fascinates me.

Although I have one or two dictionaries of literary terms, I do not recall the name for this technique and I think of it as simply setting the stage for a future scene.  It shows the foresight, planning, and attention to detail that must go into any good story.

Earlier in the story, after Julia has released Frank from the Cenobite hell and he has regained enough flesh that he can once again eat, he asks Julia for a few of his favorite victuals, including preserved ginger.   At the moment I read this, I thought it was simply a natural but insignificant detail.  Of course, I could not know then that that bit of ginger would  skyrocket the dramatic tension later on in one of the novel’s most important scenes.

Anyway, that’s my post for the day.

I have been very negligent in posting anything over the last months,  my daytime job and personal matters consuming much more of my time than usual.  I have recently come to find out though, that many more people in my home town of Frankfort, KY, were enjoying my postings than I had known or even believed possible and sorely missed it during this hiatus.  For them and all the others who silently enjoy my works, I shall endeavor to pick up the thread.

I have not lost my desire to write fiction, however, and I am currently trying to finish a sci-fi/horror novella that I started sometime back.  The work is going well, but I am having to change some of my original concept to make it more exciting.  I would like to make it as gripping as some have found my “Murder by Plastic” (published at www.everydayfiction.com), but that will be quite difficult for something as long as a novella.  The part I find most challenging is to coordinate the details much as Barker did in the example I give above.  I would expound on the subject, but I do not want to give away the plot or run the risk of some unscrupulous cur stealing my idea and publishing it before I do–particularly as I am so close to finishing it.  After this I have another three or four unfinished works to bring to a close.  I could probably write eight hours a day like Thomas Mann and still not be finished by spring.

Thoughts?  Comments?

Notes on Clive Barker’s “The Hellbound Heart”…so far….

I am just past the halfway point in Clive Barker’s The Hellbound Heart, the novella upon which the orginal “Hellraiser” movie was based. This is one really terrific read.  It is one of those that is hard to put down, even though you know what happens next, because the movie, which you saw twenty years ago and have seen periodically since then,  so closely resembles the book. 

Clive Barker, Seattle, 2007 by Steven Friederich
Clive Barker, Seattle, 2007 by Steven Friederich

The prose is simple, but not Hemingway simple, and there are moments of actual narrative beauty (such as when Barker poignantly describes the passing of seasons in the beginning of one chapter) that seem to be glimpses of insight into a latent aspect of Barker’s immense talent:  that he is able to write actually artistic prose that captures a moment, an emotion, or a sensation with a light touch that carries over to the reader.  I have read the first two volumes (so far) of Barker’s Books of Blood and this quality seems to be lacking in them.  In Books of Blood, he writes splendidly, but not beautifully, not poignantly.  

I also love the way he keeps his characters to a minimum, so that seeing the complex relationships between them is easy.

Another fascinating aspect of Barker’s storytelling in this instance is that he can put his characters in horrifying situations, yet he does not try to be any more graphic than is necessary to invoke an emotional response in the ready.  The few truly graphic scenes I have encountered so far are graphic, but not gratuitously graphic.  An example would be when the recently-resurrected Frank starts to have sex with with brother’s wife Julia.  He shows the act beginning and ends the chapter leaving what happens up to the reader’s imagination.  Yes, this is an old trick straight out of made-for-TV movies, but do you really need to visualize every gory detail of a woman having sex with someone who is still half-corpse?  I didn’t.  And seeing that would not have helped the storytelling and if anything, it would have only detracted from it.   Besides, if someone wants to visualize that unnerving scene for themselves, they are going to whether or not Barker describes it for them.  All that is necessary to show the development of the characters and the plot is to show that they did have sex, because that act in itself shows something about them.  About Frank it show how incredibly callous he is to Julia and how centered he is in the world of his own pleasure.  About Julia, it shows her love for Frank is so self-sacrificing that she is willing to commit the most vile acts for him while taking obscene pleasure in them in her own way. 

Anyway, those are just a few notes so far.  I need to have dinner and do some housework and to read more of this fascinating work.   Hopefully, I will be able to write more soon.

Thoughts?  Comments?

Notes on “The Martian Chronicles”

 

Ray Bradbury in 1950 (age 30), the year he published "The Martian Chronicles"
Ray Bradbury in 1950 (age 30), the year he published “The Martian Chronicles”

Someone once told Ray Bradbury that “The Martian Chronicles” was not prose, but poetry.  Technically, he was probably wrong, but in spirit truer words were probably never spoken.

I have a habit of reading several books at once.  I will pick up one, read a few pages (unless it is so engrossing that I cannot put it down), then later pick up another and read a few pages or so of it, then still later read a few pages of another and so forth until I may be reading half a dozen books a few pages at a time.  Then I may finish one and pick up another, something like the juggler who keeps the china plates spinning on sticks.

I picked up “The Martian Chronicles” while on a trip to Santa Fe in December, 2012 at The Collected Works bookstore.  Since then it has stayed in my suitcase and I pick it up and read more every time I travel.

I have not read much of late and have written less, but on trip last week, I made use of my relatively new Kindle for the first time and read three stories of Poe’s (“A Descent into the Maelstrom”, “The Facts in the Case of M. Valdemar”, and “The Imp of the Perverse”) along with the original German version of “Little Red Riding Hood” by the Brothers Grimm.   This has started my interest in literature and writing to smoulder once again.   After I returned home, I decided to take “The Martian Chronicles” out of the suitcase and reluctantly finish it.

I say “reluctantly” because, while reading it, it is one of those beautifully eloquent novels that you don’t want to put down much less ever see come to an end.   On those nights I read a few chapters at a time in the comfort of a well-kept hotel, I never really wanted to put it down and only did so when the hour was late and I was struggling to stay awake after a long day, a good suppper, and a few glasses of wine.

The stories are always poignant, captivating, and sometimes heart-rending.  The characters have a depth that draws you in as if you could step inside their bodies and see their world from their perspectives.   Of course, your tendency is to side with the humans as they colonize the red planet, but at the same time you sympathize with the Martians as they watch their civilization dwindle and gradually vanish under the onslaught of alien explorers and settlers.  However, what is the most beautiful facet of the novel is its use of English.

Bradbury’s nascent style (as I understand from one website, he had been writing seriously only seven years when he

Ray Bradbury  by Lou Romano
Ray Bradbury
by Lou Romano

published this, his first novel) uses simple, clear, easy-to-understand prose that highlights only enough important details to enable the reader to vicariously experience the story.   The fact that the prose is very simple and lacking in needlessly ostentatious words helps the reader to see clearly the interaction of the characters and their mindsets and the underlying motivations and plots.  For me, if a work is full of big words, I spend too much time either trying to decipher them or running to the dictionary that I lose the tenuous feeling for what is happening in the story.   His use of language clarifies rather than obscures.   The sentences are generally of medium length and this helps the story to flow without becoming monotonous.

The plots of the stories are deceptively simple in design, but most still manage to have an unexpected denouement that leaves the reader feeling like a simpleton that he did not see it coming.  Some, though, have such completely unexpected endings that there is no way they could be anticipated but in retrospect the denouement is incredibly logical.  The first chapters describing explorer’s first encounters with the Martians are wonderful examples of this while the story I read only last night, “The Off Season”, has such a brilliantly ironic twist that it has to be a prime example of Bradbury’s genius.

I suppose I could continue on for a while raving about Bradbury’s art, but it is getting late and I have had a long day and still have dinner and drinks awaiting my arrival at home. 

But what has any of this admiration for a science-fiction writer’s skill have to do with the art of writing?  

Beauty is beauty no matter what the genre.  Skill in writing is skill in writing.

I wish I had at least a smidgen of Bradbury’s talent so that I could make use of it in the field of horror.  What depths of emotion and terror could I then reach?

Having read “Fahrenheit 451” many years ago, next on my list of Bradbury works is “The Illustrated Man”.  I can hardly wait, but will probably have to–having five or six other books that I am currently reading.  Still…that hasn’t stopped me yet from picking up a novel to be explored.

Please, even if you are a diehard horror aficianado, read “The Martian Chronicles” to learn something about writing as an art that you can apply to your own endeavors.   The experience will definitely be rewarding and perhaps even enlightening.

Thoughts?  Comments?