Category Archives: Writing & Creativity
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.
When I took down the Demon Muse site in 2012, this did away with the couple of interviews that I had conducted for the site. A few weeks ago I republished the one with John Langan here. Now the circle is complete, because here’s the resurrection of my interview/conversation with T. M. Wright:
Many of you surely know Terry as the author of the classic horror novels Strange Seed (1978) and A Manhattan Ghost Story (1984). In this interview he talks about his creative process and his thoughts on the relationship between muse-like inspiration and hard work. Here’s a sample:
Getting in touch with the creative unconscious is probably a tricky thing to do. After all, it’s the “unconscious” for a reason: it doesn’t want to be gotten in touch with. But to find that true creative voice, my advice would be to forget it’s there, and simply write. It doesn’t really matter what you write as long as it’s got some kind of flow, strange or otherwise. How much should you write? As much as you can until it becomes drudgery. When that happens, back away.
John Langan is a professor, a literary scholar, and the author of the superlatively excellent supernatural horror collections Mr. Gaunt and Other Uneasy Tales and The Wide Carnivorous Sky and Other Monstrous Geographies, as well as the equally excellent supernatural horror novel House of Windows.
In 2010 I interviewed him for Demon Muse. Then in 2013 I shut that site down after a four-year run because of repeated bot hacks, and because most of its aspects had basically been incorporated into The Teeming Brain anyway. But that meant John’s interview was lost.
This regrettable situation is now remedied and reversed, because as of this moment, John’s interview is republished here to join the ranks of the other Teeming Brain interviews that I’ve conducted over the years.
Here’s an illuminating and illustrative excerpt:
JOHN: As I see it, weird fiction is shot through with a deep ambivalence about human knowledge, which may well encode a kind of skepticism towards the Enlightenment’s general faith in rationality. After all, the figures of learning in these narratives are just as likely to unleash the supernatural threat as they are to contain or expel it. The anxiety over epistemology that lies at the heart of what may be my favorite Lovecraft story, “The Call of Cthulhu,” is something that the academy has been struggling with for the better part of the last four or five decades, in the wake of Derrida, Foucault, Lacan, Deleuze, etc. So it’s another level of convergence that I’m only too happy to exploit.
. . . One of my favorite quotations about human consciousness comes from D.H. Lawrence’s Studies in Classic American Literature; in it, Lawrence, arguing with Ben Franklin, asserts that his self is a clearing in a dark forest into which strange gods come and go. I can remember sharing this with a particularly brilliant friend who said that if you could live as if this were true, your life would be remarkable. I can’t say that I’ve succeeded in living such a life, but I’ve remained convinced of the importance of that occulted part of ourselves.
FULL INTERVIEW: “That Occulted Part of Ourselves: A Conversation with John Langan“
Photo courtesy of Ellen Datlow
From an engaging discussion of Julian Jaynes’ bicameral mind theory by writer and philosophy commentator Jules Evans, at his website Philosophy for Life:
I’m particularly interested in the link between voice-hearing, dissociation and creativity, and in the incidence of voice-hearing among creative individuals like novelists Marilynne Robinson (who occasionally hears a voice inspiring her novels), comedians Graham Linehan and Jonny Vegas (both of whom hear or have heard voices), and musicians like Lady Gaga and David Bowie (the former says she heard voices and started to act them out as personae, while the latter likewise embodied and acted out radically different personalities and has a history of schizophrenia in his family).
Not to mention the dissociative capacity of gifted actors to become other people (Le Carre called Alec Guinness’ ability to become someone else a ‘complete self-enchantment, a controlled schizophrenia’); or all the many poets and song-writers who say their poems came to them from a voice / presence / spirit / muse.
What Jaynes fails to address, I’d suggest, is the value of these ‘vestiges of the bicameral mind’. When we seem to feel or hear messages from the beyond, it’s not just a primitive throwback to Homeric times. These messages sometimes tell us something useful, beautiful and wise, something our ordinary consciousness does not know. They are often sources of moral inspiration or consolation. I’d suggest the right hemisphere is still not entirely accessible to our ordinary consciousness, and there is a value in learning how to access it through things like meditation, trance states or techniques of ecstasy (though of course there are risks as well, particularly if you end up with an inflated or Messianic sense of self).
To go a step further into the mystical, if we do receive inspiration through the right hemisphere, does that mean the origin is definitely purely material or neurochemical? Could we not consider William James’ hypothesis that the right hemisphere / unconscious is the door through which the divine speaks to us? Such has been the suggestion of various spiritual critics of Jaynes’ theory, from Owen Barfield to Philip K. Dick.
Still, the voice-hearing network is fascinating, from a theological perspective, because in some ways it suggests a very modern attitude to the gods. We hear their commands, and yet we don’t have to obey unquestioningly. We relate to them less as a child to their all-powerful father, and more like a friend to their equal, rather like Lyra’s friendship with her daemon, Pantalaimon, in Philip Pullman’s Dark Materials. Happiness, then, is eudaimonia: having a friendly daemon to keep one company in life and through death.
Very well, says my daemon, looking over my shoulder as I write. But who made the daemons?
Image: “The Fury of Achilles,” 1737, by Charles-Antoine Coypel [Public domain], via Wikimedia Commons
I was reminded of these words recently when I read an interview with Andre Dubus III, published last October at The Atlantic, and saw him describing an approach to writing that, as noted by his interviewer, sounds positively shamanistic. Dubus starts from a piece of advice given by novelist Richard Bausch, which he (Dubus) claims as a kind of presiding mantra for his own writing: “Do not think, dream.” (This comes, by the way, from the anthology Letters to a Fiction Writer — another book that has long occupied an important place in my own authorial life, and that I heartily recommend.) He then shares some profound insights drawn from his own practice of writing in this mode:
We’re all born with an imagination. Everybody gets one. And I really believe — this is just from years of daily writing — that good fiction comes from the same place as our dreams. I think the desire to step into someone else’s dream world, is a universal impulse that’s shared by us all. That’s what fiction is.
. . . . [D]uring my very early writing, certainly before I’d published, I began to learn characters will come alive if you back the fuck off. It was exciting, and even a little terrifying. If you allow them to do what they’re going to do, think and feel what they’re going to think and feel, things start to happen on their own. It’s a beautiful and exciting alchemy. And all these years later, that’s the thrill I write to get: to feel things start to happen on their own.
. . . It’s very difficult to achieve this dream state, and it requires a lot of courage. And I don’t think it’s going to happen unless you can cultivate two qualities in yourself, which William Stafford, the poet, taught me when he said “The poet must put himself in a state of receptivity before writing.” Stafford said you know you’re being receptive when a) you’re willing to accept anything that comes, no matter what it is, and b) you’re willing to fail. But Americans are very impatient with failure. I think one of the many reasons people don’t end up living their authentic lives is because they’re afraid of failing — they don’t take chances. And I understand it. This is very risky, terrifying territory writing this way. But it’s the only way I can do it. Frankly, I just feel so alive when I write that way.
. . . I really wrestle with religious faith, but I don’t wrestle with this. I used to think I had no religious faith of any kind. I’ve been a father of three for years, and I never prayed until I became a father for the first time at the age of 33. I don’t believe in God, but I believe in something: Something’s out there. And the main reason I believe that something’s out there—something mysterious and invisible but real—largely has come from my daily practice of writing. There’s a great line from an ancient anonymous Chinese poet: We poets knock upon the silence for an answering music. The way I write, the way I encourage people I work with to try to write is exactly this: Trust your imagination. Free fall into it. See where it brings you to.
. . . I do not ever think about career when I’m in my writing cave. I do not. I try not to think; I dream. It’s my mantra. I just get in there and try to be these people. It’s not so I can write a book and get paid and have another book tour — though those are good problems to have. It’s because I feel an almost sacred obligation to these spirits who came before: to sit with them and write their tale.
(Incidentally, the quote from William Stafford, coming on the heels of the line from Bausch, makes me wonder if Dubus has somehow been sneaking into my house and snatching books off my shelf.)
Full story: “The Case for Writing a Story Before Knowing How It Ends“