“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)
I return from my Internet seclusion to pass along the news that I have been nominated for a 2015 World Fantasy Award for Born to Fear. This year’s nominees were announced yesterday, but I knew nothing about it until Jon Padgett sent an email to congratulate me. The whole thing comes as a complete, and considerable, shock. I didn’t even know the book was on the WFA judges’ radar.
Despite the fact that I’m the official nominee, I can’t help but think this recognition is more for Tom than for me, and rightly so, since it’s his words that make up 95 percent of the book.
As long as I’m here, I’ll also announce that the publication date for Ghosts, Spirits, and Psychics has been moved up from August to this month.
Here’s something special for the Ligotti fans among us (and I know there are a lot of you reading this): Sławomir Wielhorski’s interview with Tom is now reprinted here at The Teeming Brain and available for your free reading and enjoyment. The interview was first published in Poland. Then the English version made its initial appearance last year in Born to Fear: Interviews with Thomas Ligotti, which, as many of you are already aware, I edited for Subterranean Press. This is actually the interview that gave the book its title, drawn from Tom’s response to the first question, so I’m very pleased to present it to you.
I’m also pleased to announce that the version published here includes “bonus material” in the form of a question and answer that were edited out of the interview’s original published appearances, and that are made available here for the first time.
Here’s a sample:
Sławomir Wielhorski: Could you tell us what triggered your interest in the horror genre and what influence it had on your life and literary output?
Thomas Ligotti: I was born to fear. It’s as plain as that. As the narrator of my short novel My Work Is Not Yet Done writes, “I have always been afraid.” If I ever wrote an autobiography, I would begin with the same sentence. In my opinion, everyone is some kind of fluke, an accident of biology and environment. We are randomly generated, arbitrarily conditioned flukes. And the kind of fluke I am is one that is born to fear. I don’t know how much of my fear is derived from genetics and how much from life experience. But the upshot is that I was born to fear, that is, by all laws of cause and effect, if you believe these have any purchase upon who we are — as do many psychologists — that was my destiny. Naturally, then, I was attracted to things that instilled fear in me, a paradoxical means of handling my fear but one that is not uncommonly employed by those who have been born to fear. Can anyone doubt that Poe was born to fear, or that Lovecraft was born to fear? They may also have been born to other things, but primarily they were born to fear. Almost everyone who writes or reads horror stories was born to fear. It only makes sense that this is the case.
Item: a new Ligotti interview, this one published at Thomas Ligotti Online and conducted by the site’s founder (and my dear friend), Jon Padgett. The subject is the origin of Tom’s two new stories “Metaphysica Morum” and “The Small People,” which have just been published as the short book The Spectral Link. The details make for a real-life narrative that sounds like a Ligottian horror story, since they explain the specifics of the physical collapse from abdominal agony that Tom experienced in 2012, and that led to a “revitalization of creativity” akin to the one experienced by the character of Grossvogel after he suffers a similar episode in “The Shadow, The Darkness.”
Here’s a morsel to whet your appetite:
The basis for both stories, however, was an incredible sense of alienation I felt following my surgeries, the sense of a reality that could not be denied, a vivid reminder of my already pessimistic view of life, and even an expansion of that view due to my experience of literally unbearable physical pain. I had known long-term physical pain before, but this was different somehow. Essentially, though, that pain ultimately made me feel more myself than ever, both emotionally and cognitively. I couldn’t look away any longer from what I once named “the nightmare of the organism,” despite my elevated mood. It was like the phenomenon of always being aware of my heart beating that goes with having panic-anxiety disorder, which is the state I inhabited while writing almost all of my stories. All in all, it seemed I was even less a part of the world’s prevailing sense of the real than I was before. This was not an unfamiliar feeling for me, but it was massively revitalized after the traumatic events of the hospital episode. What kind of world was I living in that could avert its eyes from the most significant realities such as those I had recently confronted?
I just stumbled across the first review of Born to Fear that I’ve yet seen.It was published today at PopMatters, and the reviewer’s take is positive. He also leads with something I’ve been meaning to mention here for the past month or two: that Tom’s work was a significant influence on the recent first season of HBO’s True Detective, and in fact served as the main inspiration for the icy cosmic pessimism that proved so hypnotic to so many viewers as they heard it articulated by Matthew McConaughey.
I’ll say more about that in some future post, but for now here’s a nice excerpt from the review:
In the 25 years that the interviews span, Ligotti’s take on life has remained constant. If for Shakespeare life is a tale full of sound and fury, signifying nothing, for Ligotti “it’s a tragedy that consumes us and makes the world what it is — an inane and grotesque puppet show,” and he would disabuse us of any notion that it might possibly be otherwise.
. . . . In the interviews, Ligotti comes across as a learned man whom one might easily converse with, even disagree with, and still get along. He tells one of his interlocutors, for example, “let me pause a moment and acknowledge the obvious, namely, that my celebration of Poe and Lovecraft, and my derogation of writers who are unlike them, is a pure outpouring of personal temperament — and nothing more.”
Personal temperament, or something akin to it, was exactly what drew me to Camus, and what has made reading his books, along with those of Cioran, Ligotti and others, such a solace. Ligotti has a name for this effect: “This is what I call the ‘I thought I was the only one who felt that way’ syndrome. The farther your thoughts and feelings are from those of the mainstream, the more attached you will become to the writer who speaks for you so. You will feel lucky to have found that writer. And that writer will feel even luckier to have found you.”
With a new collection of interviews with Ligotti to read, hot on the heels of the successful first season of True Detective, pessimists have much to feel lucky about all around.
Beyond the Beautiful Darkness: Mark Samuels on Atheism, Christianity, Weird Horror, and the Road out of Hell
EDITOR’S NOTE: The Teeming Brain interview with Mark Samuels has long been one of our most popular features, and with this post we finally welcome Mark to our Teem of contributors. Mark’s interview was published back in 2006, and it still continues to draw a steady stream of readers these seven years later. This is due, of course, to the fact that Mark’s reputation as a significant writer of weird fiction has continued to grow in the intervening years, with his corpus having expanded from The White Hands and Other Weird Tales (2003), Black Altars (2003), and The Face of Twilight (2006) — all available at the time the interview was published — to include two more story collections, Glyphotech and Other Macabre Processes and The Man Who Collected Machen, both of which have received widespread acclaim. His work has been praised by the likes of Ted Klein and Ramsey Campbell. It has been reprinted multiple times in various “year’s best” anthologies. He was also personally fictionalized and lampooned — along with Thomas Ligotti, Ellen Datlow, Michael Cisco, Wilum Pugmire, S. T. Joshi, Gordon Van Gelder, and others — by Laird Barron in the story “More Dark,” which appears in Laird’s 2013 collection The Beautiful Thing That Awaits Us All (which recently won the Bram Stoker Award).
In the essay below, Mark speaks personally about the central role that religion has played in his life as a writer and a human being. As he traces his route from agnosticism to atheism to Christianity, and as he delves into the relationship between all of this and his attraction to weird fiction, he goes into greater depth and speaks more pointedly about some things he said in his interview. Like his chief literary idol, Arthur Machen, Mark’s Christianity is central to his writing (Machen was an Anglican, Mark is a Roman Catholic). And far from clashing with his weird fictional sensibility, this serves as its very source by charging the world for him with an all-pervasive aura of numinous mystery and an abiding awareness of the Hell that always accompanies the possibility of Heaven. This is, obviously, not a position unique to Mark. It doesn’t even qualify as especially rare among the ranks of his fellow horror writers. But his particular expressions of it puts him at odds with certain prevailing cultural attitudes both within and without the community of horror writers and readers, and Mark isn’t one to mince words. Time for me to be silent and let him speak for himself.
BEYOND THE BEAUTIFUL DARKNESS
I came to Catholicism when in my late twenties, having had a type of secular upbringing, at home and in school, to gladden the heart of the most fervent advocate of the neo-atheist movement. There was no Bible in the house. Christmas was just Yuletide, and wholly pagan. Easter was a time for chocolate eggs.
I do recall undergoing one term of mandatory Religious Studies classes, but these were centered around comparative religion, and the bald, white-haired teacher was regarded by the pupils as a legitimate target for some really vile abuse during his own lessons, over which he had no control. His tolerance was regarded as a fatal weakness. Strangely enough, at this hell-hole, all the other teachers would resort to corporeal punishment and thought little of maintaining order through physical violence, right up until the moment the practice was forcibly abolished in all U.K. state schools in 1983. He, however, refused to do so. In class he was shouted down, ignored, and swore at, and I joined in. We pupils learnt nothing during those classes. Looking back thirty years to those lessons now, I think I learnt more of true worth from his example of baffled dignity than from any other of the classes I took. Needless to say, every single teacher in that school was a good socialist and devout religious sceptic. And they made of me exactly the same thing.
Then, during my late teens, I discovered the works of Lovecraft. I admired his stories to the point of complete adulation. I wanted not only to write the sort of tales he wrote, but to be exactly like this great man himself. When I also obtained his selected letters and read through them, he became, as well my guide in literature, my educator. My vague, indifferent agnosticism was cast aside, and I became a militant atheist and scientific materialist. HPL knew everything (except when it came to his biological racism, but I glossed over this failing, as so many others did), and so I too knew everything, since in terms of his system anything that could not be empirically demonstrated was not worth serious consideration. All else was wishful thinking. I devoured the work of any atheist author I could discover, ignoring completely the other side, and became the master of confirming my own prejudices. Objections, rather than being looked into, were treated as mere trifles only deserving of a sneer or scornful words. Read the rest of this entry
I know that reader interest is very high for this book, which is scheduled for publication this June by Subterranean Press. So here is the full table of contents for those who would like an advance peek. You can click the cover image above or the link below to visit the preorder page and reserve your copy.
Table of Contents: Born to Fear: Interviews with Thomas Ligotti
Introduction by Matt Cardin: “Of Masks and Mystagogues”
PART ONE: ENCHANTING NIGHTMARES (1988-1992)
Thomas Ligotti with Carl T. Ford, Dagon
Carl T. Ford (1988)
Thomas Ligotti with Stefan Dziemianowica and Michael A. Morrison
Stefan Dziemianiwocz and Michael A. Morrison (1991)
Weird Tales Talks with Thomas Ligotti
Darrell Schweitzer (1991)
PART TWO: THIS FUNHOUSE OF FLESH (2000-2003)
The Grimscribe in Cyberspace
John B. Ford (2000)
Disillusionment Can Be Glamorous
E. M. Angerhuber and Thomas Wagner (2001)
Work Not Done
Thomas Wagner (2003)
PART THREE: A NECESSARY DERANGEMENT (2004-2011)
Literature Is Entertainment or It Is Nothing
Neddal Ayad (2004)
It’s All a Matter of Personal Pathology
Matt Cardin (2006)
A Conversation with Thomas Ligotti, The Mumpsimus
Geoffrey H. Goodwin (2007)
Thomas Ligotti Interview, Weird Tales
Geoffrey H. Goodwin (2009)
Interview Nonsense with Thomas Ligotti
David Ableev (2009)
The Damned Interviews: Thomas Ligotti
Tina Hall (2011)
PART FOUR: BORN TO FEAR (2011-2013)
Interview: Thomas Ligotti, The Hat Rack
Nathan Katz (2011)
Thomas Ligotti on Weird Fiction
Weird Fiction Review (2011)
Interview by Pål Flakk, Gateavisa
Pål Flakk (2012)
Born to Fear, Coś na Progu
Sławomir Wielhorski (2012)
Interview with Thomas Ligotti, Wonderbooknow
Jeff VanderMeer (2013)
Last year I provided an introduction to Joe’s surreal horror fiction collection Portraits of Ruin (Hippocampus Press, 2012), and as I explained here when I shared an excerpt from that introduction , the writing of it actually represented a record of my struggle in learning how to understand the book, which I presented in hopes of helping the reader learn to do the same.
Thomas Ligotti provided a blurb for the book, and when he read my contribution he commented that it could actually serve as an effective introduction to any type of poetic work. So here, as provoked by my recent engagement with Kerouac and Co., and bearing the official blessing of Hippocampus Press and Joe himself, is the full text of that intro. Maybe it will convince you to buy Portraits of Ruin and help you unlock its dark delights. Maybe it will provide you with some useful advice for approaching other works written in an unconventional style whose goal is to speak both to and from the non-rational side of consciousness.
In any case, I hope you find that it somehow speaks to the inspired madman lurking within the depths of your conventionally sane self. Read the rest of this entry