Maybe someday I’ll have more time to start tending The Teeming Brain again and stop leaving these gaps of weeks-turning-to-months. That time may still be a while off, however, since I’m currently buried under the equivalent of two and a half full-time jobs, what with the horror encyclopedia project eating up so many so-called “extra” hours each week that I’ve lost count. (It’s currently up to 69 contributors, most of them hailing from the US and UK, but also represented are Canada, Australia, Ireland, Germany, and China.)
At the moment, I wanted to make a point of poking my head above the snow (as in snowed under) to call attention to this, which should be of interest to many readers here.
With themes reminiscent of Shirley Jackson, Thomas Ligotti, and Bruno Shulz, but with a strikingly unique vision, Jon Padgett’s The Secret of Ventriloquism heralds the arrival of a significant new literary talent. Padgett’s work explores the mystery of human suffering, the agony of personal existence, and the ghastly means by which someone might achieve salvation from both. A bullied child who seeks vengeance within a bed’s hollow box spring; a lucid dreamer haunted by an impossible house; a dummy that reveals its own anatomy in 20 simple steps; a stuttering librarian who holds the key to a mill town’s unspeakable secrets; a commuter whose worldview is shattered by two words printed on a cardboard sign; an aspiring ventriloquist who spends a little too much time looking at himself in a mirror. And the presence that speaks through them all.
- Introduction by Matt Cardin
- The Mindfulness of Horror Practice
- Murmurs of a Voice Foreknown
- The Indoor Swamp
- Origami Dreams
- 20 Simple Steps to Ventriloquism
- Organ Void
- The Secret of Ventriloquism
“The Secret of Ventriloquism is horror with a capital H. Some of Padgett’s lines raised the hair on my neck.”
– Laird Barron, author of Swift to Chase
“Padgett…proves with his stunning debut collection [to be] a worthy successor to the master [Thomas Ligotti]. There’s no gristle, no bone, no dilly-dallying here: only pure meat whose terrors seamlessly grow into the metaphysical…this volume is jam-packed with the stuff that nightmares are made of.”
– Dejan Ognjanovic, Rue Morgue Magazine
“…a voice that lodges in the reader’s mind with colossal force and intensity, marking…this book as unforgettable.”
– Matt Cardin, from the Introduction
The Pseudopod site — where you can listen to Jon’s awesome reading of “20 Simple Steps to Ventriloquism” — has a good bio to give you a sense of who Jon is and where he’s coming from:
Jon Padgett…is the creator and long time administrator of the Thomas Ligotti Online website, and — as such — has been the first publisher for a number of Ligotti’s prose works over the years, including MY WORK IS NOT YET DONE and CRAMPTON….Padgett is a professional — though lapsed — ventriloquist who lives in New Orleans with his spouse, daughter, two cats, and dog. Padgett is also a professional voice-over artist with over thirty-seven years of theater and twenty years of audio narration experience.
Trust me. This book is something special. You might consider running, not walking, to secure a copy.
Fascinating reflections from “a psychologist specialising in sleep and dream medicine”:
Nyx and Hypnos were a dynamic duo of sorts — supernatural heroes who romanticised night and sleep. Nyx gave birth to sleep and created an aesthetic of darkness where Hypnos could flourish. And Hypnos loved sleep. Surrounded by fields of wild poppies on the River of Oblivion, his lair was a sanctuary — a cool, magical retreat open to all in celebration of the sensual, even sexy, mysteries of sleep.
Today, mother and son have been largely forgotten. Nyx has been in exile for well over a century as our night sky is eroded by light pollution. And Hypnos is remembered mainly by his namesakes, hypnosis and, surely to his chagrin, hypnotics. Sleep is no longer personal, transcendent and romantic — it is medical, mundane and pragmatic. . . .
The Industrial Revolution radically transformed our perception of sleep from a gracious, transcendent experience to a mechanistic, biomedical process. . . . In more recent decades, the domestication of sleep has given way to its medicalisation. Hypnos has been abducted and is being held captive in research labs, clinics and pharmacies. The field of sleep medicine has encouraged us to think of sleep as a complex biomedical process that lies outside of our awareness — a perspective that impedes our personal relationship with sleep. . . .
We are mired in a pre-Copernican-like, wake-centric era regarding consciousness. We presume waking to be the centre of the universe of consciousness, and we relegate sleeping and dreaming to secondary, subservient positions. . . . Medicalisation obscures sleep’s true nature — its breadth and depth and joy. It conceals the personal, transcendent and romantic dimensions of sleep. We are in dire need of restoring our sense of sleep’s mythic dimensions — of reimagining our personal experience of sleep. I believe this can be best accomplished through poetry, spirituality and, ultimately, personal investigation. . . .
Mythic perspectives suggest that there is something in the deep waters of sleep worth accessing, and invite us to personally investigate it. Metaphorically, they encourage us to practise our descent into the waters of sleep with our third eye open. . . .
Sleep loss, then, is not simply a medical problem; it is also a critical spiritual challenge. Our epic struggles with accessing deep sleep are, fundamentally, struggles with accessing deeper aspects of ourselves. As wakists, we presume that who we are is limited to our waking-world identity. Essential parts of who we are, however, are obscured by the glare of waking life. And these become more visible at night — in the deep waters of sleep and dreams.
FULL ARTICLE: “Falling for Sleep“
Image: Sleep and Death Carrying Away Sarpedon of Lycia by Henry Fuseli, 1893 [Public domain ], via Wikimedia Commons
Remember The Starry Wisdom Library, that unique Lovecraftian book project helmed by rare books expert Nate Pedersen, released by PS Publishing in 2014, and containing my faux scholarly commentary on the imaginary occult tome titled Daemonolorum, along with a plethora of similar fake commentary on other imaginary occult books by the likes of Ramsey Campbell, Michael Cisco, Gemma Files, Richard Gavin, Simon Strantzas, F. Paul Wilson, and more? Today I received word from Nate that he has just released an audiobook edition.
Here’s a reminder about the contents:
Scholars and book collectors across the country have long pondered the intended fate of the infamous collection of rare occult books left to rot in the Church of Starry Wisdom in Providence, Rhode Island, after the Starry Wisdom cult dispersed to parts unknown in the late 19th century.
The recent shocking discovery of a previously unknown book auction catalogue issued in 1877 offers insight into the myriad mysteries of the cult. Entitled Catalogue of the Occult Library of the Recently Disbanded Church of Starry Wisdom of Providence, Rhode Island, and issued by the notorious Arkham firm Pent & Serenade, the catalogue reveals the long-suspected fact that the church intended to sell its library to finance its removal from Providence. The sale, of course, never materialized, as later events make obvious, but the book auction catalogue informs us of the cult’s original intent and leaves for us an enormously valuable and fascinating piece of ephemera detailing the infamous collection of rare occult books in all of its dark and foreboding glory.
Furthermore, the book auction catalogue is unique among its contemporaries in that the auction firm Pent & Serenade, recognizing the importance of the exceedingly rare volumes in the cult’s possession, commissioned a wide variety of 19th-century scholars to write essays on the histories of the books offered at auction. As such, the catalogue is a uniquely, almost absurdly valuable item for scholars and collectors around the world and is presented here in exacting facsimile by PS Publishing.
The following two paragraphs are excerpted from what’s basically your everyday, run-of-the-mill article about the reality of demonic possession as distinct from mental illness. Written by a board-certified psychiatrist and professor of clinical psychiatry at New York Medical College. For The Washington Post.
Move along. Nothing to see here.
For the past two-and-a-half decades and over several hundred consultations, I’ve helped clergy from multiple denominations and faiths to filter episodes of mental illness – which represent the overwhelming majority of cases — from, literally, the devil’s work. It’s an unlikely role for an academic physician, but I don’t see these two aspects of my career in conflict. The same habits that shape what I do as a professor and psychiatrist — open-mindedness, respect for evidence and compassion for suffering people — led me to aid in the work of discerning attacks by what I believe are evil spirits and, just as critically, differentiating these extremely rare events from medical conditions.
Is it possible to be a sophisticated psychiatrist and believe that evil spirits are, however seldom, assailing humans? Most of my scientific colleagues and friends say no, because of their frequent contact with patients who are deluded about demons, their general skepticism of the supernatural, and their commitment to employ only standard, peer-reviewed treatments that do not potentially mislead (a definite risk) or harm vulnerable patients. But careful observation of the evidence presented to me in my career has led me to believe that certain extremely uncommon cases can be explained no other way.
(For more on the relationship — and distinction — between possession and mental illness, check your local library or any online bookseller for my Ghosts, Spirits, and Psychics: The Paranormal from Alchemy to Zombies, which contains separate entries on possession and exorcism. Also see relevant entries in editor Joe Laycock’s excellent Spirit Possession around the World: Possession, Communion, and Demon Expulsion across Cultures.)
Last week ABC-CLIO posted a cover design for Horror Literature through History: An Encyclopedia of the Stories That Speak to Our Deepest Fears. This is appropriate timing, since for the past month I’ve been fielding a flood of contributor submissions, and my editorial work on the project is eating up literally all of my extra time. (Well, that, plus editorial duties on the new Vastarien journal, which is progressing nicely.)
So here’s that cover (at fairly small size; it’s the only one available right now), along with a portion of the official description of the project. What that description doesn’t list, by the way, is the fact that the encyclopedia will have a fantastic lineup of contributors, including names that will be familiar to many Teeming Brain readers who are students and fans of horror fiction and its surrounding scholarship. A short “for instance” list to illustrate the point might include S. T. Joshi, Darrell Schweitzer, Michael Cisco, Richard Gavin, Stefan Dziemianowicz, Brian Stableford, June Pulliam, Steven Mariconda, and more.
Many of today’s horror story fans — who appreciate horror through movies, television, video games, graphic novels, and other forms — probably don’t realize that horror literature is not only one of the most popular types of literature but one of the oldest. People have always been mesmerized by stories that speak to their deepest fears. Horror Literature through History shows 21st-century horror fans the literary sources of their favorite entertainment and the rich intrinsic value of horror literature in its own right. Through profiles of major authors, critical analyses of important works, and overview essays focused on horror during particular periods as well as on related issues such as religion, apocalypticism, social criticism, and gender, readers will discover the fascinating early roots and evolution of horror writings as well as the reciprocal influence of horror literature and horror cinema.
This unique two-volume reference set provides wide coverage that is current and compelling to modern readers — who are of course also eager consumers of entertainment. In the first section, overview essays on horror during different historical periods situate works of horror literature within the social, cultural, historical, and intellectual currents of their respective eras, creating a seamless narrative of the genre’s evolution from ancient times to the present. The second section demonstrates how otherwise unrelated works of horror have influenced each other, how horror subgenres have evolved, and how a broad range of topics within horror — such as ghosts, vampires, religion, and gender roles — have been handled across time. The set also provides alphabetically arranged reference entries on authors, works, and specialized topics that enable readers to zero in on information and concepts presented in the other sections.
Full publisher description: Horror Literature through History
Here’s a generous chunk of a really interesting and incisive blog post by author and Presbyterian pastor C. R. Wiley, who has been articulating interesting and incisive thoughts on religion, science, culture, Lovecraft, C. S. Lewis, and an associated network of ideas and writers for a some time now:
For [my scientist friends] the imagination is just a tool for problem solving. It’s not a window to view the real world through; it’s more a technique for envisioning ways out of conceptual impasses.
They’re unable to get past the factness of things. Meaning eludes them. . . .
When I ask my scientific friends, “what does it say?” (referring to any work of art) they look at me blankly. They seem to be unable to move from facts to meanings. Worse, they reduce meaning to facts in some sense. There’s a savanna theory for instance, which asserts with darwinian certitude that the reason some landscapes seem beautiful to us is because our prehistoric ancestors found savannas conducive to survival. (Darwinians have the same answer for everything, what C. S. Lewis is said to have called, “nothing-butterism”, meaning, whatever you think is the case can be reduced to “nothing but” survival.)
Seeing that the scientific method is a fairly recent phenomenon and we’ve had interest in meaning of things from the very beginning of recorded history, what is going on here?
I can’t help but believe something has gone wrong, that in the interest of understanding the world we’ve lost the world. The world is reduced to cause and effect, but its meaning is something we can no longer see.
FULL TEXT: “Is the Scientific Method a Form of Mental Illness?“
You may recall Wiley as the impetus behind one of the more popular posts here at The Teeming Brain in the past few years, “C. S. Lewis and H. P. Lovecraft on loathing and longing for alien worlds.” He’s well worth following. (For a relevant case in point, see his March blog post “H. P. Lovecraft, Evangelist of the Sublime.”)
For more on the mental illness that is scientism and the threat it poses to authentic imagination, see the following:
- Scientism, the fantastic, and the nature of consciousness
- The bias of scientism and the reality of paranormal experience
- Reclaiming Art in the Age of Artifice: An Interview with J. F. Martel
Wonderful to come across this new article from Michael Dirda at Barnes & Noble Review, which offers — in typical Dirda fashion — a thoroughly absorbing, insightful, and well-written treatment of a fun and fascinating subject:
Over the past few months I’ve read, or reread, some of the most famous stories about mummies, Egyptian curses, reincarnation and love that prevails over death and the passage of centuries. Unlike other monsters of the id, the mummy lacks a central master text—there is no equivalent to Mary Shelley’s Frankenstein or Bram Stoker’s Dracula. Instead, these tales display a surprising variety. In 1827 Jane Loudon Webb’s The Mummy!, set in an imagined 22nd century future, employs a revived Cheops to comment on society, ethics and religion. Edgar Allan Poe’s “Some Words with a Mummy” is distinctly satirical and ends with the narrator, sick of his shrewish wife, planning to have himself embalmed for a couple of hundred years. A comparably light-hearted spirit pervades Grant Allen’s “My New Year’s Eve Among the Mummies” (1880). In this instance, a fortune-hunting cad discovers that on one evening every thousand years the mummies inside the pyramid of Abu Yilla return to life. He intrudes upon their millennial banquet, flirts with Pharaoh’s daughter, and decides to have himself embalmed so that he and the princess can be resurrected together in the future. Alas, the elaborate process is interrupted — Or was it all just a dream?
Even as mummies themselves exist in a kind of halfway-state between life and death, so tales about them frequently blur the line between reality and hallucination. . . .
While it might be tempting to shrug off tales of mummies and Egyptian magic as mere period pieces, in fact, they remain astonishingly contemporary. They deal with racial and religious hatred, the place of women in society, our desire for perennial youth, the relationship of modern science and ancient belief, and, surprisingly often, the question of sexual orientation. In his excellent study, The Mummy’s Curse: The True History of a Dark Fantasy Roger Luckhurst further stresses that narratives about the mummy’s curse are the West’s guilt-ridden response to, or way of “acknowledging and negotiating,” its own imperialist violence in the Middle East.
Click through to read Michael’s reflections on various mummy fictions, including Arthur Conan Doyle’s “The Ring of Thoth,” Bram Stoker’s The Jewel of Seven Stars, Sax Rohmer’s Brood of the Witch-Queen, and Riccardo Stephens’s obscure 1912 novel The Mummy. He also mentions a couple of recent anthologies devoted to such things.
And of course, for more on everything to do with mummies in fiction and fact, you can consult my Mummies around the World: An Encyclopedia of Mummies in History, Religion, and Popular Culture.
Image by Unknown – Science & Avenir Hors Série n°157 – Janvier/février 2009. Page 66., Public Domain, https://commons.wikimedia.org/w/index.php?curid=5864757
I assembled this a couple of months ago, near the end of the college semester, as background accompaniment for the mountain of papers and exams that I was then grading. It also works as an expressive playlist for greeting and fulfilling emotions of cosmic melancholy and infinite solitude, with a couple of palate-cleansing musical moments in a different direction. (Perhaps the fact that I originally made this as a soundtrack for grading student work says something about the emotions that I tend to attach to that particular endeavor.)
As with the previous playlist that I shared here (“Soundtrack for a Dark Enlightenment,” which duplicates a handful of the items on this new playlist), I have carefully arranged the order of things to provide effective transitions in mood and meaning from one piece of music to the next.
- “Untold Stories” by David Darling
- “Engravings II” by Ira Stein and Russel Walder
- “Abraham’s Theme” by Vangelis, from the soundtrack to Chariots of Fire
- “Escape (Piano Theme”) by Philip Glass, from the soundtrack to The Hours
- “Drowning in a Feeling” by Alexander Daf, featuring Maria Grigoryeva
- “Farewell No. 1” by Shigeru Umebayashi, from the soundtrack to House of Flying Daggers
- “The Great God Pan Is Dead” by Jóhann Jóhannsson
- “Blood for Dracula” by Claudio Gizzi, from the soundtrack to Blood for Dracula, a.k.a. Andy Warhol’s Dracula
- “The Last Man” by Clint Mansell, from the soundtrack to The Fountain
- “Into the Twilight” by Bill Douglas
- “How We Left Fordlandia” by Jóhann Jóhannsson
- “Stones Start Spinning” by David Darling
- “Mille Regretz” by Jordi Savall
- “Opium” by Dead Can Dance
- “Orphée’s Bedroom” by Philip Glass, Movement II from The Orphée Suite for Piano
- “Bibo No Aozora” by Ruichi Sakamoto
- “Death Is Disease” by Clint Mansell, from the soundtrack to The Fountain
- “Sun and Water” by Danny Heines
- “Knocking on Forbidden Doors” by Enigma
- “Back to the Rivers of Belief” by Enigma
- “How Fortunate the Man with None” by Dead Can Dance
A puppet is a magical object. It is not a toy, is it? Here they see it as puppet theatre, as puppets for kids. But it’s just not like that. These native tribes — in Africa or Oceania, etc. — the shamans use puppets in communication not only with the upper world, with the gods, but even in relation when they treat a sick person. Those shamans, when they dress as some demon or some deity, they incarnate genuinely. They are either the totem animal or the demon.