SUBMISSION CALL: Dark Divinations

Dark Divinations
Edited by Naching T. Kassa

It is the height of Queen Victoria’s rule, the world is powered by steam and seen by gaslight. Fog swirls in the street, while in the parlor, hands are linked. Pale and expectant faces gaze upon a woman, her eyes closed and shoulders slumped. The medium speaks, her tone hollow and inhuman. The séance has begun.

Séances are but one method of divination and communication with the dead. There are many others. From Tarot to the witch board, scrying to numerology, HorrorAddicts.net wants it all. We want your Victorian Age stories of Dark Divinations.

First and foremost, your submission must be a horror story and contain something emotionally, physically, or mentally horrifying.

Secondly, it must take place during the Victorian Era. We don’t care if it’s in England, the American West, colonial India, or Africa, it must take place during the years of 1837-1901.

Lastly, the story must concern a method of divination (the practice of foretelling the future through supernatural means.) This can include but is not limited to: Ouija boards, cards, scrying, entrail reading, and necromancy. We’re looking for originality above all.

What we don’t want: We are not looking for steampunk stories for this anthology. We also don’t want a story where the divination is just “stuck-in” and isn’t really an integral piece of the story.

No previously printed work and no simultaneous submissions.

We are doing blind submissions. Wow us with your story.

Enter up to two short stories only. Make sure they fit the theme

Manuscript Format:
*Font: either Courier or Times New Roman.
*Double spaced, font 12 point.
*Your manuscript must be in either DOC or RTF format.
*Do not place your name in the manuscript, just the title.**
*No header on the manuscript.
**Again, we are doing blind submissions. Make sure the manuscript is scrubbed of your name and personal info. This could be an automatic decline.**

In the body of the email:
*The header info usually found in the manuscript should be in the email. Please include: author name, mailing address, email address, and word count.
*One sentence explaining the story attached; your elevator pitch.
*100 words or less biography about you.
*Facebook, Twitter, Instagram links
*Your website or blog.

Subject line of the email should state:
*DARK DIV SUBMISSION/DIVINATION THEME (crystal ball, tarot cards, Ouija Board etc.)/STORY TITLE
*Send to: ha.netpress@gmail.com
Deadline: October 31st, 2019, 11:59pm PST
Length: 2,000-5,000 words
Payment: $10.00 USD + digital contributor copy

Return time: Final decisions will not be made until AFTER the submission close date (10/31/19). You should expect an answer within three months of the submission close date. If you do not receive an email stating your manuscript was received within two weeks of submission, please send a polite query to:  ha.netpress@gmail.com

For any other questions, please send an email to: ha.netpress@gmail.com

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Book Review: Cribbins by H. R. Dixon

Review: Cribbins by H. R. Dixon

Reviewed by Chantal Boudreau

Writing this review was a real struggle or me.  I usually don’t like to write reviews heavy on the negative, nor do I like sitting on the fence.  At the same time, I felt this book was worth talking about.  For all the negative, there is a great deal of positive to be mentioned as well.

I’ll address the cons up front since most of them are at the start of the book – I almost gave up reading in Chapter 2, but I would have missed out on the better parts that followed.

The first thing that struck me was that there was too much exposition in the opening chapter, to the point of being repetitive.  I think this was presented this way to bring focus to the protagonist’s, Sophie Harrington, medical predicament, but it didn’t work for me.  I found it actually detracted from the introduction of Sophie even though the idea was interesting.  Character development was far better in Chapter 2, exploring the Sophie’s background and her relationship with her family, but the pacing was slow and it was done at the expense of story development.  This picks up in Chapter 3.

Normally I give a few small editing issues a pass as long as the story is good, but there were enough editing issues in this book that I found it distracting and I have a fairly high tolerance.

The other thing that bothered me was contrasting language – lofty language in some places where simpler language would have worked better, followed soon after by slang which added a sense of discord, and accompanied by awkward metaphors.  It felt forced and I much preferred the parts later in the book where the writing felt more natural.

With those out of the way, here are the reasons you *should* read this book.

First of all, it has a really Interesting story concept.  A supernatural, malevolent neighbour who is the cause of the protagonist’s autoimmunity seemed refreshingly novel. It’s what intrigued me about the book, why I agreed to review it, and why I kept reading past Chapter 2.

Secondly, and one of the stronger points in its favour, this story has realistic, well-rounded characters.  Sophie, her parents, her daughter, her coworkers – they’re all perfectly believable and outside the expected stereotypes.

The author offers evocative description in places – I especially like the descriptions that were kept simple but really gave you a genuine feel for what was being described (the description of her parents, for example, or her cozy bed.).  Unlike that intended for exposition, the description intended for atmosphere was natural and relatable, and the story considerably better for it.

And the two points that would probably appeal most horror fans, the villain is effectively creepy, once he is introduced, and there is a good use of psychological horror rather than relying on gore.  Some scenes are quite claustrophobic, lending an effective sense of being followed and then trapped.  I can honestly say I was scared in places.

In conclusion, if you are willing to look past the flaws in the beginning, this is a story worth reading.  I’d rate in 2.5 stars with a strong leaning towards 3 or 4 later in the book.

Odds and Dead Ends: Doctor Who’s Sci-fi – Horror Masterclass

When Doctor Who revived on March 26th, 2005, I was seven years old, a few months away from my eighth birthday. I was the perfect age to have my mind utterly blown by the galactic voyages, the heritage, the sets, the monsters; everything about it was just cool. Russell T. Davis’ era of Who was one of the things that made me the genre fan I am today. Now that I’m older, I look back on it and wonder which episodes, stories, stand out most. One day I will certainly do an article analyzing speech and identity in the Series 4 episode Midnight, an underrated gem of an episode. Blink gave me a phobia of statues for months, and I remember coming home from school pretending to be a Cyberman (complete with stomping sound effects) once the new incarnations came through in Rise of the Cybermen/Age of Steel.

Yet for me, the more I think on it, the more I affirm my beliefs that The Impossible Planet/The Satan Pit, episodes 8 and 9 of Series 2 respectively, are the best episodes of the show’s now 13, nearly 14 year, revival. A blend of cosmic horror, claustrophobic sci-fi thriller, and possession horror movie, this storyline is an immaculate blend of multiple genres, pushing the boundaries of Saturday-night family TV, which retains the ability to chill even the hardiest of adults. The Halloween special Waters of Mars was a very successful episode along a similar vein, but despite the claustrophobia in that episode, it doesn’t have the imagery, the scale, and grandeur, that comes with being stranded on a planet orbiting a black hole. This article is my attempt to analyze, decode, and understand just why this storyline is sci-fi/horror perfection, through the physical and emotional squeezing of the episode, and the theological darkness of The Beast.

 

Isolation

Sometimes horror tries to overload your senses with something vast and grand, such as the infinite size of the cosmos and the beyond, stuffed with elder gods and creatures unfathomable. This is most definitely the Lovecraft tradition of horror. One of the other approaches is to make the whole thing feel claustrophobic, and to put the pressure on the audience, tighter and tighter and tighter. This, perhaps, could be considered a Hitchcock tradition. The Impossible Planet/The Satan Pit (which I will abbreviate as TIP or TSP throughout the rest of this article), manages through its sheer concept alone, to accomplish both a physical claustrophobia and tension, and a grand intellectual, mythological scope.

In TSP, a sequence sees Rose, Danny, Toby, and Jefferson, trapped in the vents underneath Sanctuary Base 6 being pursued by the possessed, murderous Ood. As if this isn’t bad enough, Captain Zachary has to manually shift the oxygen to them from each section of the tunnel each time they move on to the next section.

For me, this is the ultimate moment of claustrophobia in the two episodes, and it’s a careful appreciation of each turn of the screw (pun intended) that makes us feel so tense. Here’s my quick run-down of the beats up to this point that apply the pressure.

  1. The Tardis, the time-and-space ship, lands on a base, not feeling well. As The Doctor says, it’s like “‘she’s worried.’”
  2. The Doctor announces that they’ve arrived on a sanctuary base. The word ‘sanctuary’ implies a safe haven, but from what?
  3. ‘Welcome to Hell’ is scribbled on a wall, along with an indecipherable ancient language.
  4. After an earthquake, the revelation of their situation is made. The base is on a planet orbiting a black hole, held by a strange, unknown energy source that could plunge them into it at any moment.
  5. An earthquake plunges the Tardis into the depths of Kroptor, the planet. Their usual escape route has been lost.
  6. The base’s electronics, and Toby, come under the influence of The Beast.
  7. A hull breach loses one of the crew members, and they watch her drift up into the black hole. A constant reminder of mortality perched on the edge of the abyss.
  8. The Doctor and Iva descend down into the bowels of the planet in a small cable lift. The Doctor, the main intelligence and rationale of the galaxy, is physically distant from those above.
  9. The Ood become possessed; their translators changed into devices capable of electrocution.
  10. The Satan Pit opens down into a further unknown dark.
  11. The lift cable snaps, trapping The Doctor and Iva down below.
  12. Their electronic communication is temporarily stopped.
  13. With Ood all around, the crew have to shuffle through the underfloor ventilation tunnels to reach Ood habitation, the den of the things trying to kill them, in order to cut the possession of The Beast.
  14. Zachary, holed up in a room with Ood cutting their way in, has to manually, time-consumingly, shift their oxygen after them.
  15. The Ood are after them in the tunnels.

There are several aspects I’ve excluded for my later discussion on the Satan aspects, but it is easy to see even from this simple breakdown, how the episodes add layer upon layer of threat and danger. This sequence in the tunnels is perhaps only 2/3 of the way through the episodes’ total runtime, and there are sequences with danger in the rocket at the finale, but I believe the ventilation chase to be the best example of pressure-cooker isolation I’ve seen in Who.

In Doctor Who Confidential S2 E8, the set designers acknowledge Alien (1979) for inspiration in the base’s design. Indeed, the walkways are hemmed in by pillars that crowd the crew as they duck and scamper down the corridors. Similarly, the Nostromo’s corridors in Alien were designed so the actors had to crouch through the ship, complete with constant vents of steam and smoke from the walls that are also constantly shown in Sanctuary Base 6 coming from the floor. Far more than just the base, however, the civilisation in the interior of the planet also seems to have a touch of the Alien franchise about it, with the large sculptures something you’d find on board the Space Jockey’s ship. The abseil of The Doctor into the pit isn’t too dissimilar to Kane’s descent into the egg room. And you can’t watch the ventilation chase sequence without thinking of Dallas’ search through the Nostromo’s vents after the Xenomorph. This time, they can’t even see the threat as the Ood don’t register as life forms, and the opening of the final door to reveal the Ood there ready and waiting for them is so reminiscent of Dallas’ demise in Alien that you have to accept the homage.

Part of this story’s mastery, then, is of the sense of claustrophobia, of danger pressing in on you. Taking inspiration from its predecessors and finding new ways to tighten the vice, the whole scenario feels like you’re being slowly crushed. If the lack of air doesn’t get you, the Ood will. If they don’t, The Beast will plunge you into space. If he doesn’t do that, he’ll ensure the base doesn’t let you out. If that doesn’t happen, he’ll plunge you into the black hole. The noose gets tighter and tighter with each passing moment.

Satan Unbound

When, in TIP, the Doctor calculates the amount of energy needed to hold the planet in orbit around the black hole, he reels off a load of numbers, to which Rose replies, “‘all the sixes.’” Specifically, there are three of them. 666. The story deals with the iconography of Satan and a fairly unique discussion of language and communication to discuss the mere concept, the idea, and the horror, of the devil.

Perhaps the most obvious point of contact with this is the ancient language. The connection between this writing and an ancient evil are immediately apparent, with the ‘Welcome to Hell’ sign being scrawled above a copied passage of writing. That the planet they have arrived on is equated with Hell is subtly reinforced with several shots through doors and over shoulders, one such example being when Rose gets food from the Ood, where the ‘Hell’ on the sign is clearly visible.

The ancient language is also our main visual clue that Toby is possessed/himself. The writing jumps from the pottery to his hands, and later vanishes into the Ood. That this language is that of The Beast and not of the ancient civilisation is apparent from the pictures depicting the capture of The Beast down in the pit itself. These people used images, whereas The Beast uses words. Images exist purely in a visual form, whereas language can exist in visual or audible forms, or even touch if you think of Braille. This makes The Beast’s method of communication much more effective and potent for expanding throughout the universe, perpetuating his image throughout the countless civilisations.

That language is the myth-maker of The Beast’s choosing is made apparent when Ida discusses the planet’s name, spoken of only in scripture, and labelled as a demon when the Black Hole spat it back out. Not only is it through text that the story of the planet’s evil, and by extension its resident, perpetuated, but ‘scripture’ implies a religious text.

Despite a brief flash of The Beast on the hologram in the main hub, it is through words and speech that The Beast’s rising is foreshadowed. The computers announce that ‘He is awake,’ and Rose’s phone is hijacked to deliver the same message on a phone that can’t get a signal. Also, The Beast’s targets for possession are those with the closest links to language and words. Toby is an obvious choice because he is closest to the language as the archaeologist. However, the Ood are important thematically because they require the translators to communicate with their human masters. Before we get the hijacked message, the ‘we must feed’ interference and joke following TIP’s title sequence puts language at the forefront of the terror.

These translators are important not only for The Beast to use as weapons (language being used to kill and carry ideas of death), but it is also through the Ood that we get our longest pre-possession hints, “‘The Beast and his armies shall rise from The Pit to make war against God’”, and the lengthy discussion with The Doctor. The concepts of The Beast and his mythic perpetuation through language and words are inescapable. Language is how we view, understand, and construct the world around us, and that The Beast would use this as a means to attack us is perhaps more terrifying than anything else.

The Doctor’s incredulity and vehement rejection of the idea that The Beast can have existed before the universe is little relief for the audience, for The Beast knows so much that he can’t know. He sees into the minds of all the crew, and even predicts Rose’s future several episodes later. This complete knowledge of all, traversing the realms of possibility, puts the possibility of The Doctor being wrong into question. Is he right that The Beast is lying? After all, one of the names for Satan is ‘The Father of Lies.’ On the other hand, everything The Beast has said occurs in actuality, so who is to say he is wrong? That something is impossible isn’t an issue for The Beast; The Doctor describes his language as being ‘impossibly old’ upon first seeing it.

And then, in the final scenes, we have possessed-Toby’s ravings that the idea of him (The Beast) will always live on, despite being launched into the black hole, lingers, ‘I shall never die. The thought of me is forever.’ The Doctor himself says that ‘an idea is hard to kill’. The Beast’s final words that ‘nothing shall ever destroy me. Nothing’, hang in the air long after the episode concludes. In addition to this damning statement, The Doctor comes away with no conclusions as to what he believes he found, ‘I don’t know, I never did find out.’ We are left none the wiser. After escaping possessed aliens sent by a Satanic beast, who claims to have been from beyond time and space, eternal and forever in the hearts of men, and managing to escape the snatching jaws of a black hole, a horror still resonates. The idea of evil will never be killed. They don’t defeat evil in the end, they just manage to escape its wrath a little longer.

 

Conclusion

Sometimes, when it gets it just right, Doctor Who manages to push all the right buttons. In an impossible situation, isolated and trapped, claustrophobic, yet opening up the theological, philosophical, and personal horrors of belief, thought and language, these two episodes deliver a truly captivating, yet terrifying 90 minutes of television. Ignore what anyone says; this episode arc is the most horrifying, devastating, and yet hauntingly beautiful storyline the show has had in its revival.

Article by Kieran Judge

You can now follow him on Twitter at @KJudgeMental

Horror Addicts.net Online Writers Conference Feb 24-28, 2019

Attention Literary Horror Addicts, Wicked Women Writers, Masters of the Macabre, and any fellow demented author folk!

HorrorAddicts.net is having our very own Online Writing Conference in February 2019!

Authors, Editors, Agents, Publishers, Readers, and Writers are invited to take part in the Horror Addicts.net Online Writers Conference and learn HOW to hone their literary craft thanks to interactive online forums, live chats, writing exercises, and more FREE opportunities to sharpen your skills wherever you are and whatever you write. Yes, the HOW Conference is open to any genre and general writing topics, not just horror!

What kind of workshops are we looking for at HOW, you ask?
  • Interactive forum based workshops, worksheets, writing exercises or prompts in any genre or writing skill level
  • Articles and essays with writing tips, experiences, or references, again in all genres or on technical tips, formatting, grammar, etc
  • Editor, Agent, and Publisher essays, experiences, or feedback
  • If you are an author, editor, agent, or publisher and would like to do a Q&A, chat, or live audio/visual event
  • Articles and tips on marketing, networking, promotion, and social media for authors
  • Genre-specific essays, tips, trends on world building, characters, genre perimeters, etc
Have an idea? Don’t hesitate to ask! If it is technologically possible, we want to do it at HOW!

Register now on our Free Forum at http://horroraddictswriters.freeforums.net for more Information or to chat RIGHT NOW in our open Pre-Conference area with your fellow writers!

To participate in HOW,  you must register at our Online Writers Conference Forum. Don’t worry, it’s free and Easy! During the week of the conference February 24-28 2019, the Workshop boards will be open. Each board will contain the workshop threads, conveniently sorted by genre so our experts can present their tips, worksheets, brainstorming, and more. All you have to do interact – host your workshop, browse the forum, participate in one, two events or as many aspects as possible and get inspired with HOW!

Workshop Applicants should submit their workshop proposal no later than February 1 to horroraddicts@gmail.com. Please use the subject heading Horror Addicts Online Conference Query so we recognize your message.
A general outline of your workshop should be included in the body of the email, along with details about any worksheets or technical materials you may need or will be using. If you would also like to schedule a Shout Box chat as part of your workshop or any other kind of live or daily event rather than or in addition to a stagnant forum workshop, let us know.
Of course, please include your contact information so we can respond with any questions about your workshop or confirm your approval as part of HOW.  Please allow up to a week to reply to your application query. If you don’t hear from us by February 7, please contact us again or join the Pre-Conference area of the HOW forum for the latest information.
Thank you for your participation and we look forward to seeing you at the Horror Addicts.net Online Writers Conference!

FRIGHTENING FLIX BY KBATZ: Poe Excursions!

 

An Excursion in Poe

by Kristin Battestella

 

A little bit of Edgar can be found in anywhere – if you know where to look.

 

Edgar Allan Poe’s The Oval PortraitStormy nights, carriages, red velvet, and antiques accent this loose 1972 adaptation alongside candles, staircases, ominous housekeepers, late relatives, and ghostly piano playing. The titular painting, apparitions, and haunted house atmosphere come early with eerie music, lovelorn letters, and fainting ladies. However the inaccurate Civil War costumes, shabby uniforms, off kilter voices, and dark print make it difficult to tell who’s Union or Confederate. The echoing overlays, visions of past couples, and angry artist can’t overcome the lookalike characters, soap opera stylings, and rip off plots. Sure Poe’s tale is thin, but here the new wife shocks everyone by coming down the stairs in Rebecca’s clothes – and yes that’s the late subject’s name. More people keep arriving, but the ghostly possessions are put on hold for flashbacks with rally calls, cavalry, and a soldier on the lamb that look borrowed from another picture. If this scandal is where the story starts, why not begin there? Of course, there’s also confusion between this movie and another with the same cast called One Minute Before Death, and the bookends make it seem like the two movies are combined into one on top of weak scripting, fly by night production, and jumpy flash cuts between the back and forth that never lets the forbidden love build. The muddled dialogue and stalling gothic romance feel like part of the story is missing – compromising the illicit, funerals, and grave robbing before more hysterics, wills, and tacked on ghosts. Though watchable – bemusing even thanks to the overlong, nonsensical dancing with the corpse finale that’s probably followed by some good old fashioned necrophilia – this could have been a better, faithful adaptation of Poe’s story instead of some kind of two for the price of one messy that doesn’t go together.

 

The Fall of the House of UsherThere’s not a lot of information available on this elusive 1949 British adaptation of Poe’s famously flawed siblings. The opening here is weird, with Brit pimps in their boys club chatting up their Poe favorites. When the story moves into the tale itself, however, solid dialogue from the book, lovely period décor, and bizarre designs put on the right demented atmosphere. Piano interludes, candlelight, unique photography, and one very creepy crazy mama add to the fun. Yes, today’s audiences may feel the plot meanders a bit with seeming slow or quiet scenes. Fortunately, the fade-in editing, ticking clocks, and slow-burning wicks encapsulate the tomb-like mood. This actually does what an adaptation should do- I want to go read the source again! It’s a bit dry, but this one is worth the Poe study or classroom comparison for the scares and macabre it gets right.

The Raven He’s hamming it up and quoting death as his talisman – Bela Lugosi is creepy as ever behind his doctor’s mask and a suave god complex for this 1935 Poe based hour. The bearded, raspy, demented looking Boris Karloff (also of the unrelated 1963 mash-up of the same name with Vincent Price and Peter Lorre) is trying to reform his criminal ways, but Lugosi’s twisted doctoring wrenches that! This quick plot wastes no time thanks to car accidents, desperate medicine, titular quotes, mad love, and torture gear. Though not a full-on, proper adaptation of the famed poem, great shadows, interiors, organ music, furs, fedoras, and screams accent the obsessed with Poe layers and madcap style. A large ensemble can make it tough to tell who is who, and we don’t see much of the Poe-esque devices or their violence compared to the torture porn we expect today. However, the time here is steeped in an entertaining interwar gothic atmosphere – the wild contraptions are fun yet there are poignant moments and comeuppance amid the haunted house attraction mayhem. Edgar aficionados and fans of the cast will enjoy the uncanny charm here.

 

Spirits of the DeadI’m not really a Jane Fonda fan, but she looks superb in this colorful 1968 Italian anthology with designs from Edgar Allan Poe. Perfect locales, music, horses, castles, and foggy coasts set an ethereal, dreamy mood for the first tale here. The period costumes and sixties fusion might be a bit too Barbarella, and some will be put off by the spoken French and reading subtitles. Yet Fonda fans will enjoy the suggested kinky and ménage taunts- even if it’s her brother Peter (Easy Rider) sparking the obsessions. ‘Metzengerstein’ is more sauce than scares, but it might have made a nice fantasy movie by itself.  By contrast, ‘William Wilson’ adds Italian occupation and religious motifs for the second installment.  Iffy kid acting, look a likes, and flashbacks can be confusing to start and some of the butchery won’t be for everyone. However great fashions, sweet cadavers, autopsy educations, and historical brutalities are scary good- not to mention a dark-haired, poker playing Brigitte Bardot (And God Created Woman) to keep the questions on one’s conscious and duality from getting too dry. Terrence Stamp (Billy Budd) is a wonderful drunkard in the almost too trippy ‘Toby Dammit’ finale, but cool Roman amusement, bizarre locations, and weird play within a play production keep the plot from being too nonsensical. Though the final ten minutes get tough, the well-edited and intense driving scenes make for a fitting overall conclusion.  Not all will enjoy the near-psychedelic period and foreign sensibilities, but this is some twisted fun for fans of the players and all involved.

 

Tale of a Vampire – A delicious Julian Sands (Warlock, people, Warlock) leads this 1992 brooding character study brimming with “Annabel Lee” and Poe references to match the bleak back alleys, dark morgues, abandoned blue buildings, and dreary British mood. Despite the underlying urge to bite, predatory love, black cats, creepy vampire beds, and sucking on some bloody fingers, this isn’t a gorefest thanks to multilayered social awkwardness, melancholy, loss, and conflict. This lovelorn vampire spends his time in the rare books section of a sweet old library – you use that card catalog! The plot is unfortunately very slow, the isolated characters have no sounding board, and confusing flashbacks of lookalike women and lost bliss don’t explain much. The centuries ago golden patinas are well shot, however the uneven pacing and flawed constructs interfere with the storytelling. We should have seen the past to start, using that previous to accent the current torment and slightly unreal, demented fairy tale tone. Why is the audience more sad than creeped by this thirsty stalker? Fine performances carry the drama once the characters actually interact by quoting history and poets in insightful two-handers. “’Tis better to have loved and lost” and all that. Lighting and shadow schemes add to the mysterious rivals, for good love or ill pain possibilities, and strange seductions. Can it really be love if a vampire’s idea of romance is to consume the life of his lover? It’s oddly pleasing to see this kind of twisted vampire bite symbolism rather than teenage moon eyes, and this simmer builds to a fine finale with some interesting surprises. While not scary, the Gothic romanticism and Victorian waxing on forever and death not being the end of love provide a solid helping of morbid and memento mori.

 

Book Review: Tribal Screams

Tribal Screams by Owl Goingback (Independent Legions Publishing)

5/5 stars

I have never read anything by this author before but after reading this collection, that will almost certainly change. His stories span the centuries, from the arrival of Spanish conquistadors in America, to the days of the American Civil War, to Vietnam and the present. There are stories of Native American Indian beliefs and Voodoo magic, unwary pacts with the Devil and the consequences of lives ill-spent.

I enjoyed all the stories and had more-or-less decided to award the book 4/5 stars and then I read Grass Dancer, Goingback’s Nebula Award nomination. This is a story of two brothers from the Kiowa. One goes to fight in Vietnam, the other, only 11-years-old waits for him at home. Confined to a wheelchair, he is tasked with looking after Roger’s dance regalia. I am not giving any spoilers here, but the emotion that poured out of these pages towards the end of the story was powerful. I choked up then, and am doing so now as I think about it. Very few stories have this effect on me and shows how skilful the author is. It was this story that turned the collection into one worthy of 5 stars.

Another favourite, but one chosen because of its humour, is Animal Sounds. Snapping Turtle is a medicine man fearing his power is waning as the animals disappear and his people starve. A trip to the Spirit Mountain to discover the cause of their misfortune sees him encounter cannibal skeletons. The part where he persuades each skeleton to donate a leg so he make a ladder and they then have to spend their time hopping about was wonderful.

Want a ghost story? Look no further than Last Man In Line, where a fraternity initiation ceremony leads to an encounter with the ghosts of the past in Andersonville, site of Camp Sumpter, prison to forty thousand Union soldiers.

In addition to the short stories, Goingback includes the first four chapters of his novel Coyote Rage, which is due to be published in 2019. Coyote gets up to mischief on the Great Council, intending to remove its last remaining human member, a frail old man, Luther Watie, in order to restore the supremacy of the animal kingdom. Tracking the Cherokee down to an old people’s home, Coyote is recognised by Luther …

And that’s where Goingback left it. I look forward to reading the completed version when it comes out next year.

Owl Goingback is a skilful and accomplished storyteller, a true master of his art. I will most certainly be looking out for more of his work in future.

From the Vault REPLAY! The Ghost of Father Christmas by Dean Farnell

Originally posted on HorrorAddicts.net December, 2014

The Ghost of Father Christmas

by DEAN FARNELL

Santa Claus Is just a ghost I’ve waited every year

I stay up every Christmas eve and shed a little tear

He never comes to our house I’d know if he had been

I see him in my mind sometimes it must have been a dream.

The spirits placed my presents around the Christmas tree

Or It’s my imagination playing tricks on me.

My Mother tells me Santa’s been, my Father said It’s true

They said he comes when you’re asleep just like they always do.

Every bloody year this happens I get this same old tale

I decided Santa is a ghost I’m not even sure he’s male

I’ll stay awake this Christmas eve just like I’ve done before

Please Santa show your face this year as I’m touching 54.

*************************

deanDean Farnell writes quirky songs, & poetry, mainly paranormal / horror themed as a bit of fun. The songs are recorded in one single take so are raw demos in affect but have still been played on over 600 various radio stations and podcasts all over the world. He currently has 8 tracks In the TuneVibe Top 1000 Indie Chart top 10 including a number one record which has been there for over a year. His poems have been published in Paranormal /Horror mags which include: SCREAM MAGAZINE, TREMBLES MAGAZINE, THE WHITE CROW MAGAZINE, SNM POETRY, DAILY DOSE OF HORROR, SPOOK CITY, GHOST VOICES MAGAZINE, HEARSE-SAY MAGAZINE, BLACK PETAL, and DEAD OF NIGHT TALES. One of his songs titled “Ghost On The Stairs” is mentioned in the book “Rock & Roll Ghost Stories”. One Track “Friday The 13th” has been played on BBC Radio. Angie Bowie (David Bowies Wife) , & Karl Beattie of Living TV & Most Haunted , have all commented how much they have enjoyed his songs. The songs are available on itunes, Tesco, amazon, and Songcast.