Category Archives: Writing & Creativity
In this just-published episode of the This Is Horror Podcast, Jon Padgett and I talk with hosts Michael David Wilson and Bob Pastorella about our new project Vastarien: A Literary Journal, along with other matters of interest. Click to listen or download.
Note that at the time of this writing, our Vastarien Kickstarter campaign, to fund the first year (three issues) of the journal, still has seven days left!
Here are some show notes:
Vastarien is a source of critical study and creative response to the corpus of Thomas Ligotti as well as associated authors and ideas.
Support Vastarien on Kickstarter
[03:30] Vastarien origin story
[08:40] Why Vastarien title
[20:20] Penguin edition Conspiracy Against The Human Race/Cadabra Records Ligotti’s The Bungalow House
[28:10] Jon Padgett’s final message (in this podcast not in life)
[31:10] What is the worst thing that has happened to you as a result of your own mind or imagination
[34:20] Physical and mental and other sensations during sleep paralysis
[45:45] The creative self and self
[51:40] Andrew M. Reichart, via Patreon,
[54:40] Scott Kemper, via Patreon, wants to know about other Ligotti-esque authors to become acquainted with
[57:40] Films and TV shows that may appeal to Ligotti fans
[01:10:00] Kendra Temples, via Patreon, asks anti-natalism and philosophical pessimism and impact
[01:18:00] How Gnosticism fits into the vision of Vastarien
[01:22:25] What should and shouldn’t people submit to Vastarien
[01:26:35] Final question to ponder
Here’s the second and final part of my recent interview for the This Is Horror podcast. Co-hosts Michael David Wilson and Bob Pastorella conducted the whole thing skillfully, so hats off to them.
Readers who have followed the saga of the birth of Horror Literature through History may be especially interested to hear that I spent a few minutes in this interview talking about entries that did not get included in the encyclopedia, and about my regrets over this. Other topics are noted on the graphic above (but they’re not the only ones broached).
“Matt Cardin on Horror and Spirituality, Thomas Ligotti, and Alan Watts” – An interview for the This Is Horror podcast
I was recently interviewed by the good folks at This Is Horror for their popular podcast. Here’s the result, published today as the first of two parts.
The conversation with TIH mastermind Michael David Wilson and co-host Bob Pastorella turned out to be extremely wide-ranging. We talked about my Horror Literature through History encyclopedia plus many more things, including my childhood preoccupation with fantasy and science fiction that eventually shaded over into horror; my own horror fiction; the reality or unreality of God, the supernatural, and the paranormal; the work and philosophy of Robert Anton Wilson; my self-identification as a Zen Christian; the transformation of the world into a digital dystopia; the works of Thomas Ligotti and Jon Padgett; the books and spiritual philosophy of Alan Watts; my creativity ebook A Course in Demonic Creativity; and Patrick Harpur’s Daimonic Reality: A Field Guide to the Otherworld. Michael describes it this way: “It’s the first of our two-part conversation with Matt Cardin on the This Is Horror Podcast. We chat about philosophy, existentialism, spirituality, our perception of reality … we even talk a little bit about horror fiction.” Click the image to visit the site and access the podcast.
Much to my surprise, a two-volume encyclopedia priced for institutional purchase by academic and public libraries has become a bestseller at Amazon. I don’t know the actual sales figures, and I’m sure they’re pretty small in terms of absolute numbers, since the book’s category (the history and criticism of horror and supernatural literature) is a rather narrow one. In other words, a book of this type probably doesn’t have to move many units in order to qualify as a bestseller. But for what it’s worth, for much of the past two weeks Horror Literature through History has hovered in the top ten books in that category, peaking at number six and then dropping much lower, but then spiking up again a few times. Amazon sold out of its original stock of the title and had to order more. A couple of days ago I saw that it was briefly flagged as the bestselling new encyclopedia of any kind. Currently those numbers have trailed off again.
In any event, I hadn’t expected so much interest from individual readers, given the book’s steep pricing. I’ve seen a couple of early readers among that crowd speaking glowingly of it in an online forum that I frequent, so that felt good. There’s a forthcoming interview with me about the project at a major horror website. I’m also slated to be interviewed on a major horror podcast a few days from now. I’ll post the links when they become available. In the meantime, if any of my Teeming Brain readers are among those who have purchased the encyclopedia, please know that I sincerely appreciate your interest and support, and I hope the book rewards your investment of time and money.
Update, October 17: The encyclopedia has also sold out at the website for Barnes & Noble.
After several months of deliberation and development, I have just launched a brand new version of my author site, www.mattcardin.com. The layout and structure are completely new, with easy navigation, a modern look, and an overall sleeker design. Have a look and let me know what you think.
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
A few months ago I discovered that my entire Daemonyx album has been uploaded to YouTube by CD Baby. This is the same album that accompanied my Dark Awakenings collection when people bought it directly from the publisher, Mythos Books.
In case you’d like to hear it:
The whole thing seems strangely alien to me now. Although playing music is still a very important part of my life, the four-year burst of inspiration and creative obsession / possession that resulted in this particular body of music feels, in retrospect, rather like a dream. I regard such an impression as pretty appropriate given the music’s dominant focus on themes of daimonic inspiration and possession, filtered and refracted through multiple musical styles and emotional wavelengths (primarily beauty, sadness, darkness, and sublime exhilaration). I know these same themes are important to many reader of The Teeming Brain, so maybe you’ll find that the music resonates with you.
Back when I was nearing the end of the project, I solicited a few comments and blurbs from friends and colleagues with similar thematic and creative obsessions. Some of you may have read these previously, but in case not:
Like a soundtrack to a fever dream, the music of Daemonyx plumbs an ever-changing world of mystery, mood, and melodic apparitions. Listen with the lights out and your imagination on.
– Brian Hodge
Daemonyx’s compositions conjure up images of eerie strangeness and awesomely alien worlds that nothing can evoke better than music.
– Ramsey Campbell
“There are many haunting and beautiful compositions that complement or completely make horror films — you know the ones — as well as appeal to listeners who are sensitive to the mystery and dread of life. In its debut album Curse of the Daimon, Daemonyx has offered us thirteen works of such quality.”
– Thomas Ligotti
The overall ambience of the music reminds me a little of the electronica of Klaus Schulze. There’s a similar powerful evocation of vast and terrifying soundscapes. In the song “Daimonica,” I very much like the way the haunting and oppressive music blends with the grim signal motif, “Is there someone inside you?” In “The Gates of Deep Darkness” the ominous martial nature of the music provides a real chill, as of some impending apocalypse.
– Mark Samuels
Intricate, haunting and complex pieces of music, richly creative and inspiring.
– Tim Lebbon
Some neat thoughts on inspired creativity drawn from Lewis Hyde and Stephen King, and presented by Terri Windling, whose editorial and authorial contributions to modern fantasy and speculative fiction have been so very valuable:
As Hyde explained in his book, The Gift (1983):
“The task of setting free one’s gifts was a recognized labor in the ancient world. The Romans called a person’s tuletary spirit his genius. In Greece it was called a daemon. Ancient authors tell us that Socrates, for example, had a daemon who would speak up when he was about to do something that did not accord with his true nature. It was believed that each man had his idios daemon, his personal spirit which could be cultivated and developed. . . . According to Apuleius,” he continues, “if a man cultivated his genius through such a sacrifice, it would become a lar, a protective household god, when he died. But if a man ignored his genius, it became a larva or a lemur when he died, a troublesome, restless spook that preys on the living. The genius or daemon comes to us at birth. It carries with us the fullness of our undeveloped powers. These it offers to us as we grow, and we choose whether or not to accept, which means we choose whether or not to labor in its service. For the genius has need of us. . . .
Stephen King takes a more irreverent approach to daemons and muses in “The Writing Life” (2006):
“There is indeed a half-wild beast that lives in the thickets of each writer’s imagination. It gorges on a half-cooked stew of suppositions, superstitions and half-finished stories. It’s drawn by the stink of the image-making stills writers paint in their heads. The place one calls one’s study or writing room is really no more than a clearing in the woods where one trains the beast (insofar as it can be trained) to come. One doesn’t call it; that doesn’t work. One just goes there and picks up the handiest writing implement (or turns it on) and then waits. It usually comes, drawn by the entrancing odor of hopeful ideas. Some days it only comes as far as the edge of the clearing, relieves itself and disappears again. Other days it darts across to the waiting writer, bites him and then turns tail.”
“On the care and feeding of daemons and muses,” October 13, 2015
N.B. I refer to the same sources in A Course in Demonic Creativity, and even include a portion of Hyde’s quoted words above as one of the book’s opening epigraphs.
New (and old) book projects: An encyclopedia of horror literature and a collection of horror fiction
Frontispiece to Frankenstein (1831 edition). Public domain via Wikimedia Commons.
On a morning when I’ve just finished up with several days of responding to publisher copy edits on Ghosts, Spirits, and Psychics, I’m happy to announce the birth of another book project: I have just signed a contract with the same publisher (ABC-CLIO) to edit a two-volume reference work to be titled Horror Literature through History: An Encyclopedia of the Stories That Speak to Our Deepest Fears. This is all still in the early developmental stages, and the book itself won’t appear until late 2016 (at the very earliest). But I can tell you that the structure and approach of this particular project will make it something special. I will of course say more about the whole thing as additional information becomes available.
Oh, and speaking of available information, I can also report that my long-hibernating omnibus collection of horror fiction from Hippocampus Press, To Rouse Leviathan — which has been greatly delayed by my own mercurial creative cycles and outer life circumstances — is still very much alive.