It’s less than two weeks until the official publication date of Horror Literature through History: An Encyclopedia of the Stories That Speak to Our Deepest Fears (available from the publisher, Amazon, Barnes & Noble, and elsewhere). It’s presently the subject of a feature article in the 2017 Halloween issue of Rue Morgue magazine. With these things in mind, I have obtained permission from the publisher to present my full introduction to the encyclopedia here at The Teeming Brain, along with the full table of contents. (You can also see the full list of 70 contributors, along with further information, here.)
A Preliminary Word about the Contents
As you’ll observe when you read the TOC (see the link below), the encyclopedia is structured in a unique way that makes it a special kind of reference work on the topic of horror literature and its long and rich literary history. Specifically, it’s divided into three broad sections. The first, titled “Horror through History,” consists of a series of sequential essays laying out the history of horror literature across time, from the ancient world to the present. The second section, “Themes, Topics, and Genres,” presents essays on major themes and issues in the field, such as apocalyptic horror, young adult horror, ghost stories, horror comics, horror video games, weird and cosmic horror fiction, and the relationship between horror literature and topics like religion, gender, and ecology. The third and longest section consists of alphabetically organized reference entries on authors, literary works, and specialized topics, such as horror awards, different types of monsters, important literary techniques, and various important elements in the field, such as haunted houses, ancestral curses, and the idea of forbidden knowledge.
Basically, the three sections mutually illuminate each other. As explained in the official publisher description, the first section with its deep tracing of horror literature’s historical evolution provides an overarching context for understanding the reference entries by placing them within the sociocultural, intellectual, and artistic currents of their respective eras. The second section expands on important topics to provide a greater depth of understanding about specific genres and forms, and about the multiple cultural and philosophical issues with which horror has always been intertwined. The final reference section provides informational “close-ups,” as it were — some short, others quite long and in-depth — on matters broached more fleetingly in the large-scale examinations of the first two sections.
I’m also pleased to to point out is that there are in fact many more authors, works, and topics covered in the encyclopedia than what’s listed on the TOC. For example, there are 150 sidebars accompanying the main entries, and quite a few of these are mini-essays on various horror stories. For example, the entry on E. F. Benson is accompanied by a sidebar essay on his classic story “Caterpillars.” The entry on Nathaniel Hawthorne is accompanied by a sidebar essay on “Rappaccini’s Daughter.” The same treatment is given to stories by the likes of Robert Hichens, Edgar Allan Poe, Daphne du Maurier, Robert E. Howard, Shirley Jackson, Fritz Leiber, Thomas Ligotti, Richard Matheson, and many more. The sidebars also provide timelines, story excerpts, commentary, and further types of contextualizing information to help illuminate the main entries. Read the rest of this entry
The gorgeous-looking new edition of Lovecraft’s stories from The Folio Society, The Call of Cthulhu and Other Weird Stories, has this really effective (and kind of gorgeous in its own right) promotional video to go with it. Sadly, I don’t have $120 to spare. But with illustrations by Dan Hillier — who comes off quite well in the video, and whose work for this project looks amazing — and an introduction by Alan Moore, the book sure is tempting. Here’s the publisher’s description:
This edition, based on its sister limited edition [at $575!] marries Lovecraft’s best-known fiction with two modern masters of the macabre, the acclaimed artist Dan Hillier and author Alan Moore. In his beautifully crafted new preface, Moore finds Lovecraft at once at odds with and integral to the time in which he lived: ‘the improbable embodiment of an estranged world in transition’. Yet, despite his prejudices and parochialisms, he ‘possessed a voice and a perspective both unique in modern literature’.
Hillier’s six mesmerising, portal-like illustrations embrace the alien realities that lurk among the gambrel roofs of Lovecraft’s landscapes. By splicing Victorian portraits and lithographs with cosmic and Lovecraftian symbolism, each piece – like the stories themselves – pulls apart the familiar to reveal what lies beneath.
The edition itself shimmers with Lovecraft’s ‘unknown colours’, bound in purple and greens akin to both the ocean depths and mysteries from outer space. The cover is embossed with a mystical design by Hillier, while a monstrous eye stares blankly from the slipcase.
I find this all quite winning, personally, for the way it underscores Lovecraft’s growing prevalence and relevance in contemporary culture. For more about the new edition, see the write-ups at Tor (where several of the Hillier illustrations are shown), Wired (where the writer amusingly frames his encounter with the book as a harrowing Lovecraftian brush with forbidden knowledge and eldritch monstrosities), and The Verge. The latter presents an interview with Hillier. It also bears the best title of any of these articles, notwithstanding the slight misspelling of Great Cthulhu’s name: “A new collection of Lovecraft stories looks like an artifact from the Cthulu universe.”
This week I finished the primary body of editorial work on Horror Literature through History: An Encyclopedia of the Stories That Speak to Our Deepest Fears. It has been my all-consuming focus on this vast project that has kept The Teeming Brain mostly dormant for most of 2016. I just now counted and saw that I have published a mere twenty-five previous posts this year. Quite honestly, in the past twelve months I have become something of an editor monk, devoting myself single-mindedly to this project during every “extra” (ha ha) hour, and working the equivalent of two (or more) full-time jobs.
This week, I sent the book’s edited contents to the publisher, after having already engaged in much editorial collaborative back-and-forth with my project editor there in recent months. There’s still a lot of work left for me to do, of course, when the galleys are ready, but the bigger part of it — which at several points got so big and complex that I wondered how I would ever complete the danged thing — is now done.
That means I’m now able to share the rundown of the total two-volume behemoth (something I’ll doubtless do again when the book’s publication date grows near in 2017). Here are the basic specs:
The encyclopedia contains more than 400 entries written by seventy contributors (or seventy-one, if you count my direct hand in a couple of them) from seven different countries. It is organized as follows: Read the rest of this entry
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.
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.
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
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
Mirabile dictu, word has emerged that T. E. D. Klein’s second novel Nighttown, which has been delayed for the past 30 years, may actually see the light of day.
Remember back in the late 1980s when Nighttown was announced all over the place? Viking, who published Klein’s previous two books — the now classic Dark Gods and The Ceremonies — announced Nighttown for 1989 and even specified a page count. Hints of the plot were given: “A New York subway murderer hunts for the crime’s only witness in this horror novel.” Klein himself described the book as “a paranoid horror novel set entirely in New York.”
And then it never materialized. A few years later, a revised publication date of 1995 was issued. Both Amazon and Google Books actually have listings for it right now with that date, accompanied by an ISBN and the following plot description: “When Larry Tucker sees a woman pushed in front of an oncoming New York subway train, he is unable to go to the police since he is himself a fugitive, and he is soon stalked by the demented killer.” But again, this proved a false hope. The book never appeared.
For three decades people have been wondering what happened. Rumors have circulated that Klein pulled the plug on Nighttown because he was demoralized when he saw a movie whose plot too closely paralleled what he was writing. He was also said to be suffering from writer’s block. Some years ago I got a secondhand confirmation of this latter rumor when a mutual friend of Klein’s and mine told me that the novel is actually mostly written, but that Klein is blocked on the ending. In a 2008 interview for Cemetery Dance, Klein explained that he sold the book to Viking without having a very clear idea of how he was actually going to execute it.
The chatter continues today. Just last month David Schow, who counts Klein as one of his primary authorial mentors, told Lisa Morton that “I am one of the few people on the planet who has read the bones of Ted’s never-finished second novel, Nighttown. I read it while I was staying in his apartment in Manhattan.”
And now, as of two days ago (May 24), there’s this startling announcement from S. T. Joshi at his blog:
Mary and I spent a harried six days on the East Coast, first in Philadelphia, where my niece Anjeli Elkins was graduating from the University of Pennsylvania, then in New York City, where I met many members of the Lovecraft/weird fiction gang. Our time in Philadelphia was very brief, and we had no time to look up colleagues such as Darrell Schweitzer or Michael Aronovitz amidst the rush of graduation- and family-related activities. In New York we were delighted to meet Derrick Hussey, Stefan Dziemianowicz, Fred Phillips, Steven J. Mariconda, T. E. D. Klein (who, now that he is officially retired from Condé Nast, promises to finish his second novel, Nighttown, suspended about thirty years ago!), and many others. All great fun!
I’m sure I’m not alone in thinking this constitutes validly Momentous News.
“Birthday Boy” by Chris Mars
(The following announcement was first posted yesterday at Thomas Ligotti Online and has now begun to propagate via social media. In addition to the fact that a journal like Vastarien will undoubtedly interest many readers of The Teeming Brain, I’m posting the info about it here for the pointedly personal reason that I’m the project’s Editor-in-Chief.)
Vastarien. The forbidden tome — an entryway into “a place where everything was transfixed in the order of the unreal. . . . Each passage he entered in the book both enchanted and appalled him with images and incidents so freakish and chaotic that his usual sense of these terms disintegrated along with everything else. Rampant oddity seemed to be the rule of the realm; imperfection became the source of the miraculous — wonders of deformity and marvels of miscreation. There was horror, undoubtedly. But it was a horror uncompromised by any feeling of lost joy or thwarted redemption; rather, it was a deliverance by damnation. And if Vastarien was a nightmare, it was a nightmare transformed in spirit by the utter absence of refuge: nightmare made normal” (from “Vastarien” by Thomas Ligotti).
Editor-in-Chief Matt Cardin and Senior Editors Jon Padgett, Brian Poe, and Kevin Moquin are pleased to announce that Vastarien: A Literary Journal is now open for submissions. Vastarien aspires to be a source of critical study and creative response to the corpus of Thomas Ligotti, as well as associated authors and creative work. We plan to do this through the publication of scholarly and critical works of nonfiction, literary horror fiction, poetry, and artwork. Please visit our website for more information. And stay tuned for more news as we review submissions and head toward a launch date.
Riveting and unsettling: Here’s Robert Stolz, Associate Professor of History at the University of Virginia, drawing on a recent interview with nuclear engineer and anti-nuclear activist Dr. Hiroake Koide to write in The Asia-Pacific Journal about the truly cosmic-horrific implications of radiation exposure in our present nuclear age, as related not just to events like Fukushima and Chernobyl but to the entire unfolding of this new era that began with the extensive nuclear tests that were conducted in the middle decades of the twentieth century. And he writes in ways that recall the dark musings of, say, Eugene Thacker on the literal unthinkability of the forces we have now unleashed, complete with references to the deep tradition of cosmic and supernatural horror fiction, including a direct quote from Ligotti’s The Conspiracy against the Human Race.
Because of the very nature of radiation, namely its spatial and temporal scales, in many ways we lack a language adequate to a world lorded over by radiation. The literary genre called Cosmic Horror of Algernon Blackwood or H. P. Lovecraft has long attempted to grasp the frightening realities of unleashing a force that operates on such a-human scales and temporalities as plutonium-239 (half-life over 24,000 years) or uranium-235 (half-life over 700 million years). The Horror writer and arch-pessimist Thomas Ligotti perhaps comes closest to describing the implications of unleashing truly astronomical forces into human everyday life when he writes:
“Such is the motif of supernatural horror: Something terrible in its being comes forward and makes its claim as a shareholder in our reality, or what we think is our reality and ours alone. It may be an emissary from the grave, or an esoteric monstrosity. . . . It may be the offspring of a scientific experiment with unintended consequences. . . . Or it may be a world unto itself of pure morbidity, one suffused with a profound sense of doom without a name — Edgar Allan Poe’s world.”
In our present of 2016 the sense of doom does have a name: Hoshanō sekai — Radiation’s World. Radiation’s World announces that the earth — or at least large parts of it — is no longer exclusively ours. We have rendered huge spaces of the planet off-limits for time periods beyond any scale of recorded history. Parallel to but different than the rapacious depletion of the natural world from forests to cod stocks to fossil fuels that took millennia to build up but are consumed in decades, as we mine deeper temporalities in pursuit of open-ended consumption we have also unleashed anti-human temporalities incompatible with continued production or consumption. It is these spaces that are now ruled by radiation and are no longer part of human society. Like the old Horror trope, we have unleashed forces that we cannot contain. But unlike Horror, there is no discrete monster to kill at the end. Pessimism is surely called for.
— Robert Stolz, “Nuclear Disasters: A Much Greater Event Has Already Taken Place,” The Asia-Pacific Journal, Vol. 14, Issue 16, No. 3 (March 5, 2o16)