Month: May 2019

Cover Art Reveal: PLUTO IN FURS

/ Clint Smith / Leave a comment

Here we have the stunning cover art (created by the brilliant Matthew Revert) for Scott Dwyer’s forthcoming anthology, Pluto In Furs:  Tales of Diseased Desires and Seductive Horrors.  My story, “Behemoth,” is contained therein.

Pluto In Furs, cover

Cover Art by Matthew Revert

I’ve once before shared the table of contents, but will do so again to emphasize the chilling talent Dwyer’s assembled for his latest endeavor:

Introduction:  “An Abysmal Masochism” by Scott Dwyer
“The Tangible Universe” by Jeffrey Thomas
“The Wolf At The Door Or The Music Of Antonio Soler” by Devora Gray
“Other Yseut And Romance Tristan” by Adam Golaski
“Dermatology, Eschatology” by Kurt Fawver
“Headsman’s Trust: A Murder Ballad” by Richard Gavin
“It’s Hard To Be Me” by John Claude Smith
“The Gutter At The Bottom Of The World” by David Peak
“Tender Is The Tether” by Rhys Hughes
“With Shining Gifts That Took All Eyes” by Mike Allen
“Stygian Chambers” by Orrin Grey
“Behemoth” by Clint Smith
“Worm Moon” by Gemma Files
“The Silvering” by Thana Niveau
“Walking In Ash” by Brendan Vidito

Dwyer has his sights set on an August, 2019 release — keep your eyes peeled for news and announcements here (and drop a “like” while you’re at it).

RUE MORGUE Gives a Grim Wink at the Duality of TWICE-TOLD

/ Clint Smith / Leave a comment

Dejan Ognjanović, in Rue Morgue, Issue #188, provides a tidy synopsis of several stories in C.M. Muller’s doppelgänger-based anthology, Twice-Told: A Collection of Doubles (Chthonic Matter, 2019).  My contribution, “Details That Would Otherwise Be Lost to Shadow,” receives a generous mention, along with several astute scribblers including Gordon B. White, Tim Jeffreys, Shannon Lawrence, Jason Wyckoff, and Jack Lothian.

RueMorgue 188

This story (running a touch over 8,000 words) was a challenge to compose, in great part due to its structure, but more so in my attempt to bring some nuance to the tropes of duality.  The key was employing the presence of what I’ve termed as the Motley House, a sort aesthetic tessellation, the construction of which, perhaps, warps the perspective of my central character, Tara Keltz.  On the other hand, the house’s personality may be the only thing providing clarity, even if it elicits a realization which is not only difficult to perceive, but also to accept.