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
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.
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
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
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.
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.
In the past I have both 1) praised Jeff Bezos for displaying what looks like a true love of books and reading, and 2) highlighted Amazon’s bullying and heavy-handedness in the publishing industry by linking to Steve Wasserman’s damning 2012 article “The Amazon Effect,” in which Wasserman, the former editor of the Los Angeles Times Books Review, explains how his early positive view of Bezos and Amazon soured over time as it became evident that the company is intent on “bulldozing any real or perceived obstacles to its single-minded pursuit of maximum clout” by imposing “increasingly harsh terms on both its competitors and its clients.”
Recently it’s looking like the scale has tipped definitively in favor of the negative judgment on both Bezos and his company. Or at least that’s my take, which is based on the fact, revealed just last week, that Amazon is now flat-out blackmailing publishers and authors into complying with their draconian demands by charging higher prices and delaying shipments for products from companies that resist them. Various other tactics are also involved, such as removing entire promotion pages for some books. What’s more, Amazon isn’t afraid to play this kind of hardball with books by big-name authors. Titles by J. K. Rowling, Anne River Siddons, and James Patterson are among those that have been affected.
Says The New York Times‘ David Streitfield and Melissa Eddy:
Amazon’s power over the publishing and bookselling industries is unrivaled in the modern era. Now it has started wielding its might in a more brazen way than ever before. Seeking ever-higher payments from publishers to bolster its anemic bottom line, Amazon is holding books and authors hostage on two continents by delaying shipments and raising prices. The literary community is fearful and outraged — and practically begging for government intervention. . . . No firm in American history has exerted the control over the American book market — physical, digital and secondhand — that Amazon does.
Now, I don’t know about you, but I’m personally fed up with this kind of crap, and this feeling applies to more than just the Amazon situation. Amazon is emblematic of a major cultural shift that has taken place in the Internet era as megacorporations representing various sectors of the business world and cultural life at large have attempted to hold us all hostage by playing an egregiously monopolistic game. And it all seems doubly sinister in a way that’s distinct from the monopolies of a past age, since this time the imperialistic and totalitarian business practices are hitched to, and also — or so the corporate titans hope — enabled and sweetened by, the digital-populist tone of “personal freedom and empowerment” that still attends the Internet like a lingering morning mist at midday.
This kind of thing makes me remember all over again why I ditched Facebook and Twitter. Among other reasons, I just got sick of being a willing pawn in the war of the Digital Overlords, where my personal data and decisions are used as leverage and ammunition. I’ve been thinking for many months that it may be time to ditch Amazon as well, and this recent revelation adds some serious weight to that consideration. This would of course mean going back and removing all of the Amazon affiliate links here at The Teeming Brain. I also own a Kindle and subscribe to Prime, so, you know, I’m pretty deeply entangled. And don’t think for a minute that I’m not aware of the tarry syrup of irony that automatically coats every word I type here, on a blog, using a computer that’s running a Windows operating system, thus reinforcing the basic thrust of the entire digital economy and cultural technopoly that I’m ostensibly criticizing.
I would be interested to hear anybody’s thoughts on this issue. Is Amazon really a tyrant? Would a personal boycott be advisable? Would it even be meaningful? More broadly, is the future just a giant playing field for megacorporations where the role of us peasants is simply to be trampled underfoot while saying thank you for it?
Image courtesy of mack2happy / FreeDigitalPhotos.net
I’m pleased to announce that my mummy encyclopedia is now available for preorder from the publisher, and also from Amazon, Barnes & Noble, and elsewhere. The scheduled publication date is November 30.
From the official publisher’s description:
Perfect for school and public libraries, this is the only reference book to combine pop culture with science to uncover the mystery behind mummies and the mummification phenomena.
Mortality and death have always fascinated humankind. Civilizations from all over the world have practiced mummification as a means of preserving life after death — a ritual which captures the imagination of scientists, artists, and laypeople alike. This comprehensive encyclopedia focuses on all aspects of mummies: their ancient and modern history; their scientific study; their occurrence around the world; the religious and cultural beliefs surrounding them; and their roles in literary and cinematic entertainment.
Author and horror guru Matt Cardin brings together 130 original articles written by an international roster of leading scientists and scholars to examine the art, science, and religious rituals of mummification throughout history. Through a combination of factual articles and topical essays, this book reviews cultural beliefs about death; the afterlife; and the interment, entombment, and cremation of human corpses in places like Egypt, Europe, Asia, and Central and South America. Additionally, the book covers the phenomenon of natural mummification, where environmental conditions result in the spontaneous preservation of human and animal remains.
Here’s an excerpt (slightly condensed) from my introduction to the book: Read the rest of this entry