ICFA 37 & The Horror of It All

iafa logoICFA 37 promises to be exciting, and the preliminary program has been posted. I’m looking forward to talking with friends and colleagues old and new. My activities are mostly horror-related, and include…

Thursday, March 17, 2016 8:30-10:00 a.m., Dogwood
(HL) Paranormal Publishing and Pedagogy
[Paper session. I’ll be giving “Anxiety, Nomenclature, and Epistemology after the Horror Boom.”]

Friday, March 18, 2016  10:30 a.m.-12:00 p.m., Oak
(HL/FL) Cosmic Panic: The Continuing Influence of Lovecraft’s Supernatural Horror in Literature (1927)
[Panel discussion on Lovecraft’s “Supernatural Horror in Literature,” chaired by the estimable Sean Moreland.]

Saturday, March 19, 2016 10:30-12:00 a.m., Cove
(HL/FL/VPAA) Folkloric Monsters Old and New
[Paper session I’m chairing.]

Saturday, March 19, 2016  2:00-3:30 p.m., Cove
Words & Worlds: Prose I
[Long-running ICFA group reading series, in which I’m delighted to be included.]

Recent Publications

cover for THINKING HORRORHalloween 2015 marked the launch of Thinking Horror, a new non-fiction journal co-edited by s.j. bagley and Simon Strantzas, which focuses on horror and philosophy. The first issue is themed “Horror in the Twenty-First Century,” and I’m delighted to have an essay in it. My piece is entitled “Against Nature,” and is about the sorrows of naturalism and the merits of flash fiction for horror, touching on fiction by Thomas Ligotti and Laura Ellen Joyce, as well as art by Amy Bennett and Gregory Crewdson.

Frankly I’ve been excited ever since Thinking Horror was announced. It’s right up my alley as a reader, and it features a ton of articles and interviews that look outstanding.  Even better news for all interested in such things, this journal is the initial offering of TKHR, which will be publishing a variety of works on contemporary horror, from further themed projects to other delights that are yet to be revealed. You can purchase a print copy of Volume One from Amazon, and an electronic version is just around the corner.

cover for weirdbook 31September saw the release of Weirdbook 31, the first issue in the revival of Weirdbook, a classic publication. I aspired to publication in its pages during it’s previous run, and I’m delighted to appear in this magazine now. It’s chock-full of good horror, fantasy, baroque fantasy, weird horror, etc., including (if I may be so immodest) a fable of my own devising, entitled “Wolf of Hunger, Wolf of Shame.” While this is “issue 31” of a magazine, note that it’s 160 pages, almost all of which are fiction, so it can hang with plenty of anthologies out there! You can pick up a copy at Amazon, or directly from Wildside Press.

Of late I’ve been busy enough that under-the-radar has been more necessity than convenience, but I have been reading various things. I’d like to point your attention to Orrin Grey’s new short story collection, Painted Monsters. It’s a fine book, and I hope to post a writeup down the road. I’d also like to highlight Molly Tanzer’s forthcoming novel, The Pleasure Merchant, which I had the pleasure of hearing an excerpt from earlier this year at World Horror. It’s gonna be fab, and I can’t wait to read it.

A Friday Miscellany

library of congress photo

  • This will be my last rambling, bloggy post about “writing activity.” Two years ago I wrote a lengthy piece about stagnation in my writing, and since then I’ve thoroughly unstagnated. From regular productivity to setting goals to having projects lined up for at least the next six months, it would appear that writerly ennui is a luxury I can happily no longer afford, at least at such length.
  • I have fiction forthcoming in multiple venues, one of which is the reborn Weirdbook. When I first got serious about writing many years ago, I would blog, or later Facebook, every bit of writing news (“I got a rejection with feedback!” “My story is being held for consideration!” etc.). This seems like a reasonable time to stop doing so much of that, not least to improve the signal:noise ratio.
  • I have essays and critical non-fiction about horror or the Weird either forthcoming or with proposals accepted in multiple venues. One will be in a new non-fiction journal, Thinking Horror, and others will, all things going as planned, appear in 2017 publications. I also have various conference papers lined up  for 2016, so we’ll see how that goes.
  • The tide of readers and critics of the Weird, literary/cosmic horror, etc. is rising. I’ll  have more to say about that elsewhere at some point, I expect, but I come across roughly one interesting new (to me or otherwise) blogger, essay, review, etc. in this vein per week. This week I’ve encountered two: Celluloid Wicker Man and ClaireQuip Books.
  • The short story collection manuscript is one, or perhaps two, stories away from complete in rough. It’s lengthened and shortened a couple times now, but at this point it really does feel something like closing in on “done.” Various bits of polishing and editing remain, but my goal of finishing and submitting the ms before year’s end seems reasonable, if the rest of life cooperates.
  • One of the unanticipated side-effects of creating the list of weird fiction publishers is that not a few publishers have been offering or sending me free fiction, journals, etc. As a slow reader, I’ve been eyeing my TBR pile, thinking about ethics in reviewing, etc. The answer will probably be a generic disclaimer somewhere on this site to the effect that I’m a bastion of unbiased something or other.
  • Last weekend was Necronomicon 2015 in Providence, and not attending was one of the dark spots of the year, but I’ve been fortunate enough to attend  various literary conferences and conventions of late, learning a great deal in the process. I’ve come to realize that the people who attend the event make the event, but that most of us live in a world that doesn’t allow for infinite travel, and that many things make a literary community.
  • Finally, I’ve been enjoying horror shorts lately. As with shorts generally, they vary in quality, but the length allows for a broad range of tasting. He Took His Skin Off For Me is a grotesque that I enjoyed very much, describing it elsewhere as maybe, kind of, what you’d get if Raymond Carver and Kelly Link had collaborated to write Hellraiser:

Further Insight into Basic Mysteries

cover of pulp fiction essay collectionThis weekend I read an essay by Andrew J. Wilson in Pulp Fiction of the ’20s and ’30s, a volume in the Critical Insights series: “The Last Musketeer: Clark Ashton Smith and the Weird Marriage of Poetry and Pulp.” I read it partly as potential grist for something I’m working on, but also simply because I was curious to read more criticism of Smith, an author of weird fiction and poetry who continues to be read, but who has received little critical attention when compared with the likes of Chandler or Lovecraft. Wilson inserts a quotation from Smith’s “notebook of ideas” that resonates with the thinking of any number of  people in the pulp era, weird fiction writers or otherwise:

The weird tale is an adumbration or foreshadowing of man’s relationship—past, present, and future—to the unknown and infinite, and also an implication of his mental and sensory evolution. Further insight into basic mysteries is only possible through future development of higher faculties than the known senses. Interest in the weird, unknown, and supernormal is a signpost of such development and not merely a psychic residuum from the age of superstition.

About that List of Weird Fiction Publishers

A little over a month ago, I assembled and posted a list of weird fiction publishers. I shared it widely at the time, and in turn it’s been shared and reposted in a number of places, including Reddit. It’s gotten traffic most every day since then, and the overall number of visits here has risen to (for now) a steadily higher level than in past:

 

recent blog stats

 

My process for assembling the list was fairly straightforward. I reeled off a list by memory, took a quick-but-not-exhaustive look at my bookshelves, looked at websites of high-profile writers of weird fiction and link lists from high-profile publishers of weird fiction, and trawled social media. As such things inevitably do, all of that took longer than I’d planned. Originally I’d intended simply to do a list of names & links, but the speed with which the list grew, along with comments from a bunch of people, led me to organize it a little bit. Maybe not surprising for a librarian.

The list serves my original, stated purpose: a list for me and the world to use in order to find publishers of weird fiction. That said, lately I’ve been reading about the history of publishing, as well as literary sociology, and because I tend to overthink things, and because I’m having an especially ruminative year, I started pondering where this fits into the list of literary activities that are not creative writing: readings, social media, agenting, editing, reviewing, criticism, publishing, awards, conventions, conferences, affinity groups, etc. I don’t have any grand conclusions to articulate here, other than that I feel like the list is an attempt on my part to engage a little more fully with and contribute to the Weird-o-sphere.

And on the off chance you’re reading this and don’t know what weird fiction is? Here’s Stephen Graham Jones‘ Flowchart of the Weird [BoingBoing; Weird Fiction Review; flickr]:

weird fiction flowchart

Stephen Graham Jones’ Flowchart of the Weird

For Your Listening Enjoyment: The Outer Dark

Do you like weird fiction? The odds are reasonable if you are reading this that you do, and the odds seem conversely small that, if you do, you haven’t heard about Scott Nicolay‘s new radio show, The Outer Dark, [Project iRadio][iTunes] where he interviews leading lights in the Weird. If you haven’t, however, check it out!

Thus far I’ve only listened to his interview of Livia Llewellyn, but it was a corker. Livia says miscellaneous interesting and horrifying things, and Scott interviews her from a position of real knowledge about the Weird, which not every interviewer has. This week’s interviewee is Mr. Gaunt himself, John Langan, and previous interviewees have included S.P. Mikowski and  Jayaprakash Satyamurthy. I have a lengthy patch of home improvement looming in just a couple days and expect to catch up with the rest of the interviews then.

logo for the outer dark radio show

Ramsey Campbell and the World Fantasy Lifetime Achievement Award

If you haven’t already heard, Ramsey Campbell will this year receive a World Fantasy Lifetime Achievement Award, along with Sheri S. Tepper. Phrases like “this award is long overdue” are overused, but I’m very glad to see an author often regarded variously as the greatest living writer of weird fiction or the greatest living writer of horror fiction receive this honor. For my money, his Midnight Sun is among the great novel-length achievements in the tradition of the Weird, and I’ve re-read both it and The Hungry Moon many times.

ramsey campbell booksWhere I first encountered Campbell’s work, I don’t know, but the first of his books I remember reading was The Hungry Moon, either in ’86 or ’87. Strange to think, but I read Campbell before Lovecraft, Machen, Blackwood, etc. The first weird fiction I encountered was Stephen King’s “The Mist,” and it opened the door, but Hungry Moon was a longer, slower meditation on darkness, mobs, religion, and the horrors of the English village, and the author’s ability to maintain a mood of subtle, strange dread over the length of a novel was a revelation. Midnight Sun came out in the U.S. in 1991, and it was another revelation for me, drawing as heavily as it did on atmospheric effects and nature to tell the story. It’s a novel-length exploration of the kind of terror of nature that previous authors like Algernon Blackwood had deployed in “The Willows,” “The Wendigo,” etc., or Ralph Adams Cram in “The Dead Valley.”

While I don’t generally like litmus tests, Ramsey Campbell’s work is one such for me when talking with fellow readers. His work looms large in and is essential to discussion of the field of weird fiction, but I do think his novels serve as a useful A|B test. Must atmospheric work be short story-length, or can a reader appreciate it at novel length? I feel that Campbell carefully builds a mood of the brooding and numinous, sustaining every story I’ve read by him at whatever length he chose to write. The term “master” is as overused for authors as “overdue” is when applied to awards, but in this case I feel both terms are apt.

Congratulations, Ramsey Campbell, and thanks for the terrors.