Today Rue Morgue magazine published an interview with me at their website. It basically serves as an online supplement to their recent feature story about Horror Literature through History in the print magazine. Here’s a taste:
What is the primary aim and purpose of this book?
To quote from the publisher’s description, which is of course based largely on text from the book proposal that I submitted to them over two and a half years ago, 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.” In other words, it’s meant to serve as both a general reference work about the history of horror literature and a book that can educate people about the literary backgrounds of what might be called “screen horror”: horror movies, horror television, horror video games. Horror’s popularity right now is just off the charts. This seems likely to continue for a long time. And with the bulk of that popularity falling in the realm of screen horror, there’s something fundamental, something crucial, in the fact that there’s a literary background or precedent or forebear to virtually every monster, plot, theme, and idea that’s in play right now on screens everywhere, large and small. Plus, the literary side of horror itself is presently undergoing a kind of revolution. Weird fiction, for instance, has begun to evolve in striking new directions. The Internet has given rise to things like creepypastas. So the book is aimed at all of that. It aims to parse the state of horror right now by delving deeply into its literary history and tracing its evolutionary arc.
Full Interview: “Just Published: ‘Horror Literature through History'”
In related new, Kirkus Reviews has weighed in with an enthusiastically positive review of the encyclopedia. Here are selected highlights:
Matt Cardin’s new, fascinating two-volume reference [is] Horror Literature Through History. As someone wanting to learn more about the horror genre, this essential and comprehensive encyclopedia is a godsend. . . . These essays are interesting in their subject matter and pleasantly informative. The book’s contributors include seventy scholars and authors from around the world, giving the reader of Horror Literature Through History a new perspective on different aspects of horror that are as diverse as they are topical. Any reader would be hard-pressed not to add titles to their list of books they want to read. . . . Horror Literature Through History is an essential reference for horror fans that’s both entertaining and educational.
Full Review: “Everything You Always Wanted to Know about Horror Fiction“
By way of reminder, the book is available from Amazon (which now has it back in stock after selling out), Barnes & Noble (which also sold out but now has more copies), and the publisher. It’s also available at libraries everywhere.
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.
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.