To My Chums In This “Wretched Slum”

You’ve likely seen the late-night talk show bit before:  Their “man on the street” (read:  charismatic intern or witty sidekick) conducting random, sidewalk interviews, the topics of which your average, at-home viewer would have some knowledge or awareness—elementary-level history…a geographic softball…pop-culture trivia.  The edition I have in mind is a segment on Jimmy Kimmel Live over the past year or so, wherein participants are asked to simply name a book.  Any book.

Yes, yes:  The video has understandably been edited to highlight the more dopey pedestrians, and as a vox-populi viewer, I too chuckle as the participant struggles against the straightjacket restraints of fleeting recollection; but the composition also accentuates a suspicion (and corresponding, inextricable malaise) I’ve harbored for quite some time:  that our audience is not only dwindling, but writers are either fawning on or searching for an unknown audience that is increasingly indifferent.  As such, I have in mind a piece of a passage from Eudora Welty’s 1965 essay, “Words Into Fiction”:

[W]riting fiction, which comes out of life and has the object of showing it, can’t be learned from copying out of books.  Imitation, or what is in any respect secondhand, is precisely what writing is not.  How it is learned can only remain in general—like all else that is personal—an open question; and if ever it’s called settled, or solved, the day of fiction is already over.  The solution will be the last rites at the funeral.  Only the writing of fiction keeps fiction alive.  Regardless of whether or not it is reading that gives writing birth, a society that no longer writes novels is not very likely to read any novels at all.

Aside from my cooking endeavors in culinary school, my life is notably absent of a dossier for having been an academically stellar student.  Yet (along with heavy metal), books—even when I was not consistent about a readerly accumulation of pages in the later phases of adolescence (I was, for a time, deeply steeped in illustration, music, and the absorption of film)—have been a companionable constant; and although I submit the preceding paragraphs with mild irritation, it’s braided with an underpinning humility.  I am, to be grievously commonplace, grateful to have been provided modest quarters from which to communicate my fiction over these past ten years—the fiction being a manifest repercussion of my objective admiration of stories and their creators.

As I’ve consciously navigated these literary tributaries over the course of my adult life, the arteries and thoroughfares have repeatedly led me, and returned me, to horror.  And so before I continue, I’ll supply a name-a-book assist for those pitiful souls on the street.  I’ve even provided some delineation as to the most tangibly formative phases of my life and the books that compelled and indelible alterations to my creative habits:

Phase One (earliest memories):  Instillation

Instillation

Phase Two (elementary and middle-school years):  Dependence

Dependence

Phase Three (adolescence):  Transience-Insolence

insolence

Phase Four (young adult years):  Independence

Independence

####

Recently, while conducting a freelance class for client, someone casually asked what I wrote in my spare time.  Across disparate, overlapping discussions within the room, I said, “Horror.”  Mishearing, they (with no small amount of jocular shock) responded, “Porn?”

A hiccup of hesitation—a feeble, straightjacket clamoring for clarification.  I chuckled, this time projecting the word with precision.  Horror.  There was a moment of, perhaps, evident disappointment—as though the prospect of such a salacious avocation were of higher conversational value than the discipline of a genre category like Horror:  “literature’s,” wrote Straub with a fair amount of irony, “wretched slum.”  As the dialogue began to dissipate, I even admit to desperately term-dropping (with no small amount of capitulating shame, mind you) “literary” and “elevated horror,” with the intent of bringing some validating gravitas to my craft.

I’m still uncertain what my writing-product is considered.  I can, subjectively, term it whatever I wish, but it’s ultimately a determination of my audience and my critics.  My goal (sometimes engineered, though often jarringly organic) is to create stories that are braided with difficult-to-define helices.  An example would be something in the narrative and aesthetic effectiveness The Reflecting Skin (1990), not only one of my north-star films but a centrally formative creative compositions.

the-reflecting-skin

Nevertheless, while I continue to dwell on what the hell my thing is, the mere ambition and pursuit of writing for publication has been further complicated this coterie-based designation.  The result is a habit of contrarian withdrawal:  The closer I list toward one designation or another, I sense a shift in not only my personal habits, but also the sites of intrinsic excavation.

In all its chimeric characteristics (and no disrespect to Mario Vargas Llosa), one of the more hackneyed adages is that the discipline of writing is a form of exorcism.  It’s true, of course; but frequently, I’ve unearthed things in my own digging—wandered into curious corners in the catacombs of reflection and appraisal.  I have no regrets, but it does elicit the compulsion of more work:  Self-assigned homework which often compels some ugly calculus.

Which demands not only isolation but profound methods of balance in order for “work” to take place; too, within this self-imposed, though necessary isolation, comes the often self-defeating business of an inner voice that is not always coherent.  “Society is all but rude,” wrote Andrew Marvell, “[t]o this delicious solitude.”  But perhaps it’s more helpful to listen to Hermann Hesse’s hyperaware Harry Haller in Steppenwolf—an awareness that emerges in those who accept “no reality except the one contained within us.  That is why so many people live such an unreal life.  They take the images outside them for reality and never allow the world within to assert itself.”

It’s lonely work, in other words.  Work and exertion that demands an unceasing scramble as we seek fecund balance.

#

I imagine I have saved quite a bit of loot in my private writing endeavors—those early morning examinations that, I say with no small amount of insolence, go nowhere (when we intuit that they not futile).  More than that, I have come to understand, and be grateful for, the benefit of exchanges with other writers, some of whom often fill in as impromptu therapists.  These dialogues, on occasion, reveal infrequent covetousness that, left undiscussed, bears the potential for a distracting variety of corrosiveness.

I like to believe I’ve held up on my part of this unspoken bargain, offering help where I can, camaraderie where it’s perhaps lacking, all while attempting to maintain meaningful correspondences.  Though distance itself could be considered a drawback, I’ve found that, over the past few years, maintaining a correspondence across “place” has fortified a sense of devotion as the habit plays to counter inconvenience.

One of the more rewarding activities to which has proven a network proclivity is the exchange of books—perhaps a rather mundane activity in the estimation of some, but it has provided a dependable pulse in the isolated landscape of this often solitary discipline.

It was a coincidence that I was reading one of those friend-gifted books at the time of Dennis Etchison’s death.  “Only after the failure of consciousness can the dream come,” Etchison writes in his introduction to Cutting Edge.  “It is at this edge that change takes place.”

cutting edge

In this, Etchison mentions one of Kenneth Patchen’s lines in Sleepers Awake:  “It’s a long way to the morning, but there’s no law against talking in the dark.”

Etchison shares a touching anecdote about a series of correspondences he’d had with Kirby McCauley.  “[McCauley] taught me that I could, after all, survive without altering what I wrote, and that I was not alone on the rock.” / “This book, then is my offering of gratitude to those who have made the fever dream of safe harbor a reality.”

As journalist Anneli Rufus wrote in 2003’s collection of essays, Party Of One, “For loners, friends are all the more essential because in many cases they are our sole conduits to the outside world.  They are channels, filters, valves, rivers from the outback to the sea.  When we find good ones, we pour ourselves into them.”

And it’s in these friendships (casual or continual) that I have found most valuable byproduct over these past ten years of publishing stories—as I continue to shakily navigate daily productivity, my desire or dismissal to adhere to genre labels, my vacillating regard for status—and it’s in these kindred companions that provide the most sober galvanism…a little lantern light in those sinuous, subterranean conduits—some oxygen in the catacombs.

Advertisements

PLUTO IN FURS Anthology: “Behemoth” Claws Its Way Onto the TOC

I was recently notified that my “rough beast” of a short story, “Behemoth,” has been accepted to Scott Dwyer’s upcoming anthology, Pluto In Furs.  The spectrum of the tale pendulums between 1969 and 1987, as my protag, Dox Ingram, a mechanic, is inadvertently compelled to confront a protean horror inextricably braided to a disturbing encounter during his younger years as a soldier in Vietnam.

some bears, rolf armstrong

“Some Bears,” Rolf Armstrong (PUCK, March 27, 1915)

 

“The title, Pluto In Furs, is obviously a play on Sacher-Masoch’s Venus In Furs,” writes Dwyer. “But whereas his book postulates that the female and the cruel are his objects of a masochistic worship, Pluto In Furs will explore what it means if darkness and the nonhuman are also worthy of masochistic worship.” That said, the anthology will also include some loosely-themed horror tales compassing the surreal, erotica, weird, as well as “quiet” ghost stories. Some authors have announced, while others are keeping their cards close to their chests; but I’ve had a glimpse at some of the imposing contributors, and readers are in for a sinister treat.

UPDATE:  February 5, 2019:  Official Pluto In Furs table of contents announced at The Plutonian:

“An Abysmal Masochism” (An Introduction) 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’s aiming for an August, 2019 publication date.  More in due time…

An Unnerving Announcement: DEAD THINGS Redux

I’m elated to announce a recent collaboration with Unnerving and its helmer, Eddie Generous, who’s picked up my novella, When It’s Time For Dead Things To Die, originally published by Dunham’s Manor Press (2015), and has now been updated, expanded, and slated for re-release mid-March, 2019.

DeadThings

For those of you unfamiliar with this story, here’s a synopsis penned by the estimable C.M. Muller:

Things are in decline…for Joseph Lowe, a rootless young man who falls for the wrong girl; for Gregory Bath, an aristocratic magnate who spares Lowe an almost certain death for his ‘transgression,’ imposing upon him a kind of parasitic servitude. Now working as a line cook at Bath’s legendary Tudor Quoin, as well as catering to the growing needs of a man far older than he seems, Lowe desperately seeks release from a trap which has ensnared him for the past nine months. But who could possibly escape a family as powerful, as influential, or as far-reaching as the Baths? In the end, choices must be made, sides must be drawn, and for Lowe this means discovering an unlikely salvation between himself and his captor, as well as learning the true meaning of ‘family.’

From the scintillating mind of Clint Smith, author of Ghouljaw and Other Stories, comes a haunting, poetic novella, equal parts Dracula and Eastern Promises, set in modern-day Indiana but stretching its talons far back into history.

More news on the way; but in the meantime, check out Mr. Generous’s horror and dark fiction projects, submission guidelines, and other numerous upcoming releases over at Unnerving:

logo

Darkly Didactic: The Lingering Lessons from C.M. Muller’s HIDDEN FOLK


hidden-folk-cover

The ostensible simplicity of a line like, “Look, Dad, a door!” belies a complicated subtext in the story “Absconsa Laterna,” and acts as an unassuming invocation of irretrievable consequence.

Far from his first publication project, but his first fiction collection, many of the “strange stories” in C.M. Muller’s Hidden Folk possess such unpretentious portents, and those who follow Muller through these thresholds will certainly remain haunted and, likely in some way, fundamentally altered.

Muller’s aesthetic is one of calm, sharply-defined surfaces; and though the illustration of a quiet, dawn-dim pond—the scene of an early-morning fishing episode, say—may be a mundane metaphor, it’s serviceable for this assessment.  We read Muller, in part, because of his subdued execution:  beneath the superficiality of that peaceful, reflective epidermis is a dark district inhabited by shadowy entities.  Focusing on the surface yet coaxed by curiosity, we narrow our focus, shift the lenses of our eyeline toward a furtive movement below:  the languid sway of infected kelp…the peek-a-boo retreat of something sinuous…the serpentine flash of scales.

A sense of Muller’s aesthetic is gained after reading the collection’s opener, “Vranger,” but it’s with the conclusion of “The Dust Child” that readers begin to better understand not only Muller’s tonal wheelhouse but his artistic intentions.

d79aa5f091228bf7d492b0dfb04fd936--night-gallery-tv-landMuller comes from a line of writers (I count myself among their motley ranks) influenced and affected by a particular era of the late-1980s and early-90s horror and science fiction; and though not directly affected by it, the 80s produced a variety of fiction which reflected predecessors directly “shaped” by the time-bound structures of, sure, radio shows, but more specifically televised serials—especially Serling’s instructive segments on the Twilight Zone and, later, his morose portraits on The Night Gallery.

prayersSome fantastic commercial short fiction was borne out of that 80s-90s span.  It’s a subjective submission, but I’d point to the work of my personal North Star writers of Charles Grant, Norman Partridge, Ed Gorman; and to tighten my scope and intent here, I’d direct one to, notably, Robert McCammon’s wonderful Blue World and Dan Simmons’s indelible Prayers to Broken Stones.  It’s evident there’s quite a bit of DNA from imparted from these periods (I can’t help but think Muller is sharing a sly wink to Simmons’s “Metastasis”—which was, suitably, converted into a teleplay titled “The Offering” for the early-90s anthology series Monsters—in his presentation of the aforementioned “The Dust Child”).  The result, in Hidden Folk, is a collection showcasing a pleasing circularity.

In “Absconsa Laterna,” Muller constructs a scenario which is a suitable creative-process metaphor for, perhaps, the often aimless and meandering routes we take in order to gain genuine momentum, and as Muller submits, “[W]e were able to witness the slow and often painstaking process by which many artists constructed their fantasies.”  Here, Muller relies on a central topic that I, as a writer, often have trouble navigating:  the “loss” of a child.  And I mean it when I say that I’m still haunted by the nonchalant words of a child, “Look, Dad, a door!”

twice-told-3d-cover (1)“Resurfacing” and “Diary of an Illness” are essentially fraternal twins with dissimilar voices; but something realized in the scenarios is a glimpse at the author behind the barrier of glass; although “Resurfacing” is more potent and reflects some of that signature circularity.  Something else that occurs to me with this story is the reprisal of the doppelgänger device.  Muller is adept at portraying the dimensions of “the shadowed self” (“Krogh’s Remains”)—a motif which certainly telegraphs his forthcoming anthology, Twice-Told:  A Collection of Doubles (set to be released, quite appropriately, on February 2, 2019— 02/02, in case I was too subtle).

“The Church in the Field” captures many of the writer’s eruditic strengths and fiction-rhythmic tendencies, and is perhaps his most artistically didactic.  The story contains a line which might very well sum up this unsettling collection, as Muller’s effectively created “brooding sketches of darkness and hunger.”

My central, critical observations come in the form of my need for more interactive dialogue.  There are too few instances of Folks engaging in spoken interplay; and I find that the exhalation of conversation might dispel the murky mist of ambiguity.  But there is a knowing liberality in Muller’s vagueness, as if gifting his audience with a participatory reciprocity.  You have to want to see what he see; and I think he wants some questions to linger.  “There was nothing more pleasurable,” says one of his narrators, “than patience.”

As a writer, yes, but more so as an editor and scrivner, C.M. Muller is a commendable custodian of the horror medium and its continually forking branches.  Of course, writers are aware (in some cases to a debilitating degree) the nuances of dramaturgical interactions in which we all engage; but it’s a writer’s obligation to infuse their products with abundant gravity so as to, ideally, sufficiently drag the readers beneath the exhibited surface.  In Hidden Folk, Muller has succeeded at both.

And so, my encouragement to curious parities is this:  while I’m loath to surrender my own copy, I’d like you to imagine the rectangle of a dark bookcase, its shelves packed shoulder-to-shoulder with varying, somber volumes of traded tales…I would then gesture toward the slatey spine of Hidden Folk.  “Look,” I’d say to you, removing the object wrapped in overcast, “a door…”

“He who has begun is half done…”

And while Mike and Lawrence and Kevin and Harlen and Cordie watched the satellite pass over, their faces raised in wonder at the bright new age now beginning, Dale watched them, thinking of his friend Duane and seeing things through the words that Duane might have used to describe them…

—Dan Simmons, Summer of Night (1991)

As I’m wont to do on Thanksgiving evening, as dusk draws up on a day dedicated to frantic culinary endeavors, a spectrum of logistics, and general familial demands (I’m grateful for the chaos and chores in all their variegated forms), I also nurture a memory, a narrow moment which had a profound consequences.

DS

That day and date back in November, 2000, represent coordinates of a tectonic shift along what was, at the time, a rather ambitiously listless landscape.  As I, along with many of you, express sentiments of, I also grow preoccupied by a sense of melancholy at closing that crease-covered paperback—a daunting melancholy (The amount of time and attention it must take to be a writer…) which was not wholly unpleasant, as it compelled the dissective questions:  How is it done?…How does this work?…How do you get them to see?

I began studying.  I began dissecting.  I began.  Sapere Aude—Incipe!

####

(November, 2017)

20171123_2147513492415209868696562.jpg

Seventeen years ago this evening, I stole away from an acidic / insipid Thanksgiving-dinner-table conversation, retreating to an isolated, second-story bedroom to read the last eight pages of the Warner Books paperback-version of SUMMER OF NIGHT. I scrutinized / savored the novel’s last lines with the understanding that I’d inadvertently navigated myself toward a craft-creative crossroads…

I’m still trying to figure out what kind of writer I’m supposed to be…

 

An Eloquent Undulation: C.M. Muller’s NIGHTSCRIPT, Vol. 4

N.4

Now in its fourth permutation, C.M. Muller’s Nightscript anthology continues to house — within its slate-scrubbed clapboard, concealed behind murky panes — a series of stories which, due to their strangeness and peculiarity, may have never otherwise discovered a proper home.
A shrewd student of a number of creative mediums, Muller is neither clumsy nor casual in his execution of these annual projects; and it really is a demonstrative exercise in voice and vision — his conjuring, capturing, and making incarnate (from font, to paper, in artwork, in tonality) a singular aesthetic.

Nightscript, IV expectedly contains a number of top-notch stories penned by (as Muller is wont to do) many “unknown” scribblers — this is one of the fantastic aspects of the series, as Muller places emerging names in close proximity with established writers, as is the case in N.IV with appearances by V.H. Leslie (“Sugar Daddy”) and Steve Rasnic Tem (“By the Sea”). I was personally taken with L.S. Johnson’s “A Harvest Fit For Monsters” (a grim and ambiguous tale of war-torn grief); Farah Rose Smith’s “Of Marble and Mud” (a crisply written narrative focusing on the frightening and fragile bond between two sisters); and Mike Weitz’s “Rainheads” (bearing bleak shades of apocalyptic horror).  Joanna Parypinski’s “The Thing In the Trees” is a personal highlight for me—one of the most haunting and deftly-handled tales I’ve encountered for quite some time.

Nightscript alumnus Charles Wilkison (“The Dandelion Disorder”) makes a welcome appearance, as well as Christi Nogle (“Cinnamon to Taste”) and Daniel Braum (“The Monkey Coat”). Resonating, still, for me are the stories “There Has Never Been Anyone Here” by J.T. Glover; “By The Sea” by the aforementioned Mr. Rasnic Tem; and Kirsty Logan’s “My House Is Out Where the Lights End,” which serves as the publication’s breathtaking, closing punctuation.

Another part of Muller’s magic is his sapient strategy in weaving an ambiguous melody in the sequencing of the tales, yielding a unique resonance and eloquent undulation to each installment.
hidden-folk-cover

Nightscript is, of course, an annual celebration of the pleasant melancholies of autumn; but its contents are suitable for any timeframe in which a reader can carve out some solitudinal space, as the well-crafted tales call for your attention and close-reading consideration. More than this, Nightscript is — in Muller’s mental landscape — a vital venue for voices often lost beneath the wind-swept blanket of brittle, burnt-orange leaves — an otherwise unnoticed sibilance existing in the shadowed, foreboding fringes of a rickety-limbed forest.

Recently, Muller announced the forthcoming release of his first collection of tales, Hidden Folk. And if you’d like to get to know a bit more about this writer, editor, and self-described scrivener, check out an interview with Muller conducted by Scott Dwyer over the The Plutonian.

The Multiform Tongues of Krampusnacht

krampusnacht

I’m honored to announce that I’ll be participating in the Arcade Asylum Author Series, Krampusnacht, 2018 edition, hosted by the Lovecraft Arts & Sciences Council and NecronomiCon Providence. “In celebration of the longer, darker, colder nights,” writes the organizer, “we’re thrilled to welcome several exciting voices in weird and dark fiction.” Indeed, I have some formidable associates, as my fellow readers include Adam Golaski, Julie C. Day, Sheri Sebastian-Gabriel, Barry Lee Dejasu, and Larissa Glasser.

So, if you happen to be in the Providence, R.I. vicinity on Saturday December 1, I’d be keyed to meet you (particularly if we’ve been acquainted in the virtual realms but have never had a face-to-face encounter).

This free event runs from 6:30 to 8:30 p.m. at the Lovecraft Arts & Sciences Council. It’s open to the public, but seating is limited.