A strange title, you might think, but it’s one born of long hours of contemplation of a writer whose works I’ve read for decades, and yet have had a hard time getting a handle on for this contribution to my little corner of the Horror Addicts realm. Her ghostly yarns written under this pen name have been anthologized extensively, but have impacted the popular culture outside of the confines of literature remarkably little. Two of her historical romances were made into silent films with significant casts. A handful of her suspense novels, all written under one of her other several pseudonyms, Joseph Shearing, were filmed either as theatrical releases or for television in the late 1940s and early 1950s. Only three of her many spooky short stories appear to have been adapted into other media, either during her lifetime or in the decade after her demise. And other than the occasional podcast, Libravox recording, or other internet-based venues, nothing since.
Nor is there any single work so inextricably linked to her name that to mention one invokes the other. Lady Cynthia Asquith has her “God Grante That She Lye Still”, Charlotte Perkins Gilpin her “The Yellow Wallpaper”, Edward Lucas White his “Lukundoo”. She was praised by no less a literary giant than Grahame Greene, although she was dismissed as a writer of “bad adventure stories” by the somewhat-less-impressive-but-not-totally-to-be-sneered-at Colin Wilson. Speculative fiction luminary Fritz Leiber considered her 1909 novel of Medieval witchcraft, Black Magic, to be brilliant. Weird fiction aficionado Sheldon Jaffery compared her work favorably to that of Mary Wilkins-Freeman, Edith Wharton, and the aforementioned Lady Asquith. So, why so small a footprint on the culture at large?
She was born Margaret Gabrielle Vere Campbell on a small island off the southern coast of England on the first of November in 1885. Her father was an alcoholic who died in a London street. She was raised by an emotionally detached mother in genteel poverty. She married twice, her first husband dying of tuberculosis three years into the marriage, and bore three sons and a daughter. The girl died in infancy. Bowen wrote her first novel, the violent historical epic, The Viper of Milan when she was only sixteen, and eventually produced over one hundred and fifty volumes of historical romances, biographies, popular histories, and supernatural yarns before her death from a concussion in 1952 at the age of sixty-seven.
Perhaps it is the plethora of pennames spread over several genres that have diffused her influence, for there is nothing inherently inferior in the work itself. Her short horror stories, frequently revolving around bad marriages or rakehell ‘gentlemen’ using ladies of quality but poorly, most certainly do compare favorably with her peers. So, the question remains: why so few adaptations of those tales?
Alfred Hitchcock himself took a run at her twice. The first was his 1949 historical epic, Under Capricorn, which starred Ingrid Bergman, who had played the wife but poorly used by her own nefarious husband in the 1944 Hollywood version of Gaslight. The second was for the seventh season of his television series Alfred Hitchcock Presents. “The Silk Petticoat” aired on January 2, 1962, and was the thirteenth episode of the season. Appropriate, n’est pas? It was based on Bowen’s short tale, “The Scoured Silk”, written in 1918 and included in her collection, The Bishop of Hell and Other Stories. Michael Rennie, who had been the visitor from another world in The Day the Earth Stood Still in 1951 and Jean Valjean in Les Miserables the next year, starred as the not-quite-as-nice-as-he-seems husband who takes a second wife without being quite done with the first.
Of the other theatrical adaptations of Bowen’s works, a couple do have genre connections without being themselves horror films. Blanche Fury (1948) starred Valerie Hobson as the unhappy bride of Michael Gough and doomed lover of Stewart Granger. She had previously wed a mad scientist in Bride of Frankenstein and a lycanthrope in Werewolf of London, both in 1935, and later became engaged to a serial killer in the delightful black comedy, Kind Hearts, and Coronets, in 1949. In real life, her second husband was an English politician turned sex fiend and alleged Russian spy John Profumo. Perhaps she ought to have avoided marriage altogether.
Gough had a long career as a movie villain, in Horrors of the Black Museum (1959), the kaiju gorilla picture Konga (1961), the 1962 Hammer version of The Phantom of the Opera with Herbert Lom as the Phantom, the caged-animals-gone-wild movie Black Zoo (1963) and the Amicus anthology film Dr. Terror’s House of Horrors (1965), before reforming himself enough to appear four times as Batman’s butler, Alfred Pennyworth. He did play a more sympathetic role in Hammer’s Horror of Dracula in 1958, but that was an anomaly. Granger went on from this picture to replace Errol Flynn as the hero of big-budget swashbuckling adventure movies in the 1950s such as King Solomon’s Mines, Beau Brummell, Scaramouche and The Prisoner of Zenda, and played Sherlock Holmes in a 1972 television version of The House of the Baskervilles to something less than general acclaim.
So Evil My Love was made as a feature film in 1948 and for television in 1955 for the Lux Video Theatre series. The movie starred Ray Milland, star of genre films The Premature Burial in 1962, the only one of Roger Corman’s Edgar Allen Poe adaptation for American International Pictures that didn’t star Vincent Price; X: The Man With X-Ray Eyes in 1963; and the exceedingly cheesy Frogs in 1972. The television version starred James Mason, who as Captain Nemo wrestled with a giant squid in the 1954 Disney film, 20,000 Leagues Under the Sea, and who as Professor Lindenbrook in 1959’s Journey to the Center of the Earth encountered several monstrous denizens of that region. He also played Dr. Watson in the Sherlock Holmes vs Jack the Ripper film, Murder by Decree, in 1979, with the late Christopher Plummer as Holmes.
Moss Rose is the closest any of the feature films based on Bowen’s novels came to being possibly considered a horror picture. Made in 1947, it starred Victor Mature, caveman hero of One Million Years B.C. (1940); Ethel Barrymore, helpless old lady in the 1944 classic, The Spiral Staircase; frequent villain in myriad second feature horror movies George Zucco as the butler; and Vincent Price, playing against type as the police inspector tasked with unraveling the mystery and preventing the untimely demise of leading lady Peggy Cummings at the hands of a serial asphyxiast. Set in the Victorian era, it stylistically and thematically resembles the aforementioned Gaslight and Spiral Staircase, as well as other horrific thrillers like Hangover Square or The Lodger. So, yeah, maybe it is a horror picture, even if it is so very unlike Bowen’s ghost stories. I refuse to reveal whether or not the butler did it, by the way.
As for the other two television adaptations of her spooky yarns, I have so far been unable to track down videos of either “Avenging of Anne Leete”, the 166th episode (!) of the second season of the NBC series Matinee Theatre, aired May 23rd, 1957, or “They Found My Grave” from the Canadian series Shoestring Theater, aired February 12, 1961. The former starred future Simon Templar and James Bond Roger Moore, future Avenger John Steed Patrick McNee, and future mother to Richie Cunningham Marion Ross. The latter starred Kay Trembley, who had a bit part in Veronica Lake’s last movie, the abominable Flesh Feast, in 1970. Both tales are among Bowen’s best, and one could wish for a more accessible adaptation for each. But one must not hold one’s breath, apparently.
Her horror novels have pretty much gone out of print apart from the occasional independent or micro-press electronic editions, although her short stories do still pop up in anthologies assembled by the true cognoscenti of the genre, as they have since at least 1929 when mystery maven and creator of Lord Peter Wimsey Dorothy L. Sayers selected “The Avenging of Anne Leete” for the horror section of her landmark collection, The Omnibus of Crime. Dennis Wheatley included Black Magic in his “Library of the Occult” series of paperbacks in 1974 for Sphere, who also published The Spectral Bride the previous year, but if there’s been a dead tree version of any of the supernatural novels since, I haven’t found any evidence of such an endeavor.
Since Marjorie Bowen passed on more than twenty-seven years before Sonny Bono, on behalf of Disney Studios, got Congress to push the copyright laws back into the antediluvian era in which Mickey Mouse was born, her entire oeuvre seems to currently be in the public domain. Many of her works, including most if not all of her shorts, are available from
I don’t know about any of y’all, but I’m saving up for that one.
I also want to point out that Valancourt Books has a new edition of The Bishop of Hell and Other Stories coming out in March of 2021. I would encourage the populace to support that very worthy publisher by purchasing a copy from them rather than scooping it up for free from the internet, despite its contents being public domain. I intend to do so. Valancourt is an invaluable resource for rare and wonderful horrors from years gone by. They did not pay me to say that, nor would I accept money from them to do so. I value them that much.
Regardless of where they are to be found, I do hope the frequenters of this space give Marjorie Bowen’s stories a look. They deserve better than to be forgotten. And, as always, be afraid. Be very afraid.
As an author, publisher, or event coordinator, you may be called upon to provide a workshop or in some way fill a time slot on a subject you know (expertise). You may be an expert in your field, but many of us have no idea how to pull a presentation together. This HOW Workshop will give you some guidelines to help you master this task with greater ease and aplomb.
Imagine with me:
You have been asked to provide a workshop for a group of 40 persons on a given subject.
You will have a time period of 40 minutes for your presentation.
Absolute step ONE:
Get the facts about what is desired by the group inviting you to present. Just like in the advertising class you took in college or high school, you get the 5 basics – Who, What, Where, When, How many?
Who – Is it a group of newbies to the subject or a group of your peers who will already know a bit or even more than you? You will want to tailor your information to your crowd.
What – is the subject the group is wanting you to present? Have they chosen a theme? (ie. Do they want your view on 14th century Ghost Exploration?)
When – is the workshop to take place? Include time and time frame. (40 minutes? 2 hours?)
Where – will it take place, what kind of room is the workshop to take place in? I once had to provide a craft workshop for 30 women sitting on half-log benches in a dusty outdoor amphitheater without electricity! Now is the time to find out if there will be projection equipment, a loudspeaker, or a podium.
How many – people will be in attendance? One of my pet peeves is attending a meeting or conference where there are not enough handouts for the crowd.
As soon as you get the topic plant it in your head – Tape it to your mirror, pin it to your car sun visor, log it on your phone, tack it on a bulletin board and exchange topics with a friend.
I have done these things for years and have even had several years of themes written where I can see them readily. I worked in a job where I was required to train and inspire people. Having the topic in my face frequently helped me to focus and catch the topic when I heard it or saw it elsewhere. It is amazing when reading an article in the newspaper or even seeing a billboard, or watching a TV show can spark an idea that becomes the direction for a presentation.
A friend of mine in a similar position and I always exchange what we are working on for the next year and often were able to provide information to help each other flesh out the post-it – notes on the mirror into a full presentation. I think we call that networking.
Step 3: Take a large piece of paper and just brainstorm. Write down everything you can think of that fits the subject. Cross off what is not helpful, then circle the important. Do your research, amass important information. Gather whatever you need to provide the information.
Step 4: After you have researched – Weed through and select the most important points you want to relay to your audience and write each on a 3×5 inch card.
Step 5: Use the cards to lay out the points in a logical flow toward your conclusion.
Step 6: Now that you have your topics and the information for each, work on connection lines. This is how you will get from one point to the next. These can be elaborate or as simple as “in light of that” or “in conclusion”. This is one hint that will make you sound like the smoothest presenter on earth.
Step 7: Write your introduction last. You cannot know what you are about to say until you have decided what your information is.
Step 8: Talk it through with a timer and allow time for questions. The more you do this step, the more you will know your material and it will be more natural to talk about it.
Step 9: Prepare handouts, bibliography, and any video presentations.
On the day – Always take a few minutes in-the-space. Sit in the furthest chair, observe anything that may be blocking the view. Take a few minutes to stand behind the podium or wherever you will speak from. This time will give you the opportunity to change anything that makes you uncomfortable before your listeners arrive.
Presenting a topic is a privilege. Enjoy your opportunity!
Amazon wants an author photograph. Goodreads wants an author photograph. If you guest post or are interviewed anywhere, they’ll want a photo of you. If you’re using your Facebook page to connect with people at conventions, they’ll want to know who to look for.
Theodora Goss had a great post about how to fake being photogenic:
When I worked for a record label, we wrote one-sheets to go with every new release. You should write one for every book you publish. It will go in every paperback copy of your book that you send out to reviewers. You can use it as the book’s homepage online. Your one-sheet should include your book cover image, the book’s description, blurbs, and information on release date, publisher, and a list of where it will be for sale: bookstores, Amazon, Indiebound, your website, etc. It should also include contact information, in case the recipient has questions.
Most crucially, it should be no longer than a single printed page.
This is the one-sheet I wrote for my space opera trilogy, even though those books were published by a traditional publisher:
Now that you have the basics nailed down, you need an author website to display them. This is your home on the web, where interested readers will come to find out what you are doing next. It’s also where interviewers and podcasters will come to see if you’re worth their time. It needs to look absolutely clean and professional.
Every author needs an Amazon page. Amazon doesn’t make them easy to find, but you can set up a page at authorcentral.amazon.com. You will need your photo, bio, and website info handy. If your book is sold on Amazon already, you can claim it as yours and Amazon will add it to your author page.
Personally, I think Amazon’s design is kind of busy, but it allows you to link your blog and add all the books you have stories in. Here’s my author page, as an example: amzn.to/2GXj7I2.
6. A Social Media Strategy
You can’t do it all. Seems like a new social media site pops up every month. Usually it’s not worth being an early adapter, unless you want to stake your name, because it isn’t worth wasting time calling into a ghost town.
Blogging is a great way to draw people to your work. There are many blogging platforms, from the abovementioned WordPress to Blogger to Blogspot for text, Instagram and Tumblr for images. There are more blogging sites all the time. (See above: shouting into a void.)
I’ve heard that Google’s algorithm prioritizes sites that update frequently, but you risk chasing readers away if you post too often. People unsubscribe if they can’t keep up with you. I’m an advocate of blogging once or twice a week with text, but daily on Instagram or Tumblr.
I am a huge proponent of blogging for other people’s sites. I know there’s a long list of reasons why working for exposure will kill you, but your work isn’t going to magically sell itself to people you don’t know. You need to get it out in front of strangers. Either you can spend money on ads, or you can spend time writing a guest post. You tell me: which one is more likely to sway you to buy a book?
Too often, writers make the mistake of joining writers’ groups, then trying to sell their books to other writers. If you want to connect with readers, go where readers are. I lean toward Goodreads over LibraryThing because I like the way it is set up. At the very least, if your books don’t have a listing, you should add them. Beyond that, you should have an author page. Review books that are similar to your own as a way to draw readers’ attention. You can also review books that inspired or influenced your own work.
After you’ve done everything you can online, it’s time to think about doing live events. I encourage everyone to do readings. If there isn’t a reading series where you live, set up an event at your local library, bookstore, or coffee shop.
The #1 thing people forget when they’re going to read in public – whether you set the event up yourself or you are appearing as part of someone else’s show – is to ADVERTISE it. Let people know. Invite your friends. It’s awful to stand in front of an empty room.
I don’t necessarily advocate solo book signings. Unless you can count on all your friends’ support – or you have mad selling skillz and can seduce strangers out of their hard-earned cash – signings can be frustrating. With a reading, they’re getting a free taste of the work you want to sell them. Do it right and they’ll be in the mood to treat themselves.
Here’s the distillation of my knowledge on giving readings:
Top 10 Things To Remember When Planning a Writer’s Event
by Kate Nox
1. Consider your audience – Who will be there? This will determine everything else, venue, speakers, entertainment, everything starts here. 2. Reserve your venue early – Many venues sell out fast, so get the place settled. Your advertising and attendance depend on it. 3. Set a firm deadline for registration – This is for your sanity more than anything else. It should be far enough in advance for you to alert your venue, your caterers and your workshop presenters as to numbers. If you just can’t say no, then anyone who tries to register after the deadline goes on a waitlist in case there are cancellations. 4. Think about comfort – make sure your attendees will be comfortable. Is the room big enough, can they hear, is it too hot or cold? Are there tables to be comfortable writing? If they are to be there more than an hour, will they need a break? Is the restroom nearby? Are there sleeping accommodations if it is a multiple day event? Will water or other refreshment be furnished by you or the venue?
5. Provide a contact – A phone number or email address where attendees can ask questions. There will be questions! Make sure someone answers. 6. Fit speakers to the crowd – Workshop or keynote; the speaker should be of interest to your crowd. As a teenager I was part of a church group that would advertise teen crusades and when we arrived the speakers would invariably be in their sixties! Not a fit. 7. Add a little for expenses – Nothing is worse than arriving at an event and realizing something is missing. A few dollars extra in the kitty can be a lifesaver. Just a couple of dollars per attendee is all it takes. 8. Remember you are working with human beings – People need time. Time to walk or drive from event to event, time to network, time to use the restroom. When making your schedule, leave time for human needs. 9. Communicate with your audience – Make sure your attendees know if the weather could be chilly, if the hotel has wifi, if they will need to provide their own meals. Help them be as prepared as possible when they arrive for your event. 10. Thank everyone – your speakers, the facility, anyone who helped you in any way and all who attended.
Here we are, at that resolution time of year again. Last year I resolved to vend at as many of my local Comic Cons as possible…you can guess how that turned out.
The goal behind that resolution was to get my books in front of as many new readers as possible. Once I lost the ability to physically place books in their hands, I had to brainstorm other ways of getting the word out. I experimented with organized blog tours, online readings, and reaching out to book bloggers. None of that was part of my original resolution, but all of it supported my goal.
As you think about what you want to accomplish in 2021, spend some time thinking about why. Why do you want to write that new novel? Are you on fire to tell that particular story? Do you have a message you want to get across? Are you hoping to reach a new readership by including new tropes that will appeal to them? If you know why you’re telling this particular story, it will give you material for the blog tour and interviews you’ll do to promote it.
The sky’s the limit: what do you hope to achieve with this book? Make that your goal. Writing the book is the way you’ll achieve it.
Another of my resolutions for 2020 was to stretch myself and submit my work to a bunch of new venues. I thought I had that locked when I was approved for office hours at the Nebula Weekend and got a lecture accepted for a conference in Texas. Again, you know what happened with those. So instead, I took a chance and submitted a poem — my first poetry submission in (cough) years — and it got accepted. I asked to write guest posts for two of the biggest horror review sites — and those pieces got published. I wrote some new short stories for anthology calls and one of those has already found a home. I have hopes the others will land, too.
Maybe your goal isn’t to reach readers outside your orbit. Maybe you want to build better relationships with the readers you have. How can you get your readers excited about your next book? How do you plan to exceed their expectations?
Maybe your goal is to increase your income. Can you get more work out? Do you want to write “more commercial” work, whatever that means to you? Can you branch out from writing into speaking or teaching?
Maybe you want to stop wasting so much time on Facebook games so you can write more — or is that TMI? Sorry. In my case, I am committed to writing two hours a day. If I do more, great! I have promised not to beat myself up if two hours is all I manage. Great things can be accomplished in small amounts of time, if I focus.
Whatever you want to accomplish this year, figure out why. Decide what steps you need to take to make it a reality. Set up a way to track your progress. Post the resolution where you’ll see it. Then work to make this the best year possible.
Loren Rhoads’s new book is the Spooky Writer’s Planner, designed with Emerian Rich to support writers at all skill levels as they brainstorm, create, and submit their work. It’s available in paperback on Amazon or as a printable download on Etsy.
I am so very excited about this post guys! I’ve teamed up with Lady Shasha, the host of What Did I Just Watch? to bring you a three-part mini series to celebrate Black History Month, WiHM, and all things horror.
The Daughters of the Dark, Lady Shasha host of What Did I Just Watch and Crystal Connor, A Trusted Name in Terror joined forces to bring you a 3 part mini-series to celebrate Black History and Women in Horror month!
Welcome to HOWCON, everyone! My name is Naching T. Kassa, Head of Publishing for HorrorAddicts.net. Today, I’ll be discussing the fundamentals of the submission process and what every writer must know in order to increase their chances of being published. I’ll talk about preparing your story, guidelines for submission, market lists and submission trackers, and throw in a few words of wisdom at the end. There will also be some advice from a pretty awesome horror writer, so be sure to pay attention.
I. PREPARE YOUR STORY—Have you ever prepared for a job interview or a first date? You showered, right? Combed your hair? Brushed your teeth? You know how important a first impression is. And, making the right first impression on an editor or publisher is everything.
A.) PROOFREAD YOUR STORY—Would you show up to a first date with stinky breath, uncombed hair, and an unshowered bod? Of course, you wouldn’t! (Not unless you’re a werewolf.) So, why would you send your manuscript off in an unkempt state? When you send out a manuscript, it should be your best work. It should be polished, all the “I’s” dotted and “T’s” crossed. Everything should be in the correct tense and point of view. Check, check, and recheck. Have a Beta Reader go through it. Or, use a free online program to improve your manuscript. Here are the ones I use. If you can afford it, you can even pay for premium services.
a. GRAMMARLY —The free version of Grammarly helps with spell checking, grammar, and punctuation. Make sure you use common sense when viewing the suggestions it gives you. Sometimes, Grammarly acts drunk and you must send it home.
b. PROWRITINGAID—The free version of ProWritingAid is terrific when you need to check for Passive Voice, Repeated Sentence Starts, Grammar, Spelling, and all things writing. The only drawback to the free version is it only checks the first 500 words and you must continually delete 500 words to check the entire manuscript. Of course, you can try the free trial version or buy the premium if you like.
B. READ YOUR STORY ALOUD—I recommend reading your story aloud to a recording device before submitting. (Many phones and tablets have apps you can download.) Reading your story aloud will help you catch misspelled words and clunky phrases you may have missed while reading silently. It will also help with rhythm and smooth out the choppy areas.
C. WHAT EDITORS DON’T WANT—When writing a short story, stay away from these areas:
a. HEAD HOPPING—“Head Hopping” means jumping from one character’s head to another, or several changes in Point of View. Many short story editors despise “Head Hopping.” They find it confusing for the reader and the mark of an amateur.
b. PAST AND PRESENT TENSE ISSUES—If you choose a tense, stick with it for the entire story. Again, it’s confusing for the reader if you don’t.
c. A STORY WHICH NEEDS TOO MUCH EDITING—This is the main reason for this entire section. If you submit an unpolished story it could be rejected, no matter how good it is.
II. READ THE GUIDELINES—The guidelines editors and publishers set are the rules you must follow when submitting. Many writers have been rejected, their manuscripts unseen by editor’s eyes because they failed to follow these guidelines.
A. COMMON GUIDELINES—Guidelines consist of the following items, though many vary according to publisher. SHUNN format is the standard used by most.
a. COVER LETTER—Most publishers ask for a cover letter to go with your submission. Usually, this is the first page of your document. A good cover letter should be brief. It should introduce you, your story, word count, and any achievements. Sometimes, a publisher may ask for a brief bio as well. (Always write your bio in the third person.) When submitting by e-mail, I usually copy and paste my cover letter into the body of the e-mail.
b. DOCUMENT FORMAT—The publisher will specify whether the document should be in DOC, DOCX, RTF, etc.
c. FONT—The most requested fonts are Times New Roman and Courier. 12 pt. is preferred.
d. SPACING—Most publishers prefer double-spaced. (It’s easier to edit.)
e. HEADERS—SHUNN formatting recommends using headers and page numbers.
f. E-MAIL—The publisher may ask you to include information in your e-mail. You may be asked to provide a biography as well as links to your website and social media. Make sure you include all information and write the subject line the way the publisher requests. If you fail to do this, your e-mail may become lost, or it may find its way into the spam folder instead of the slush pile.
B. UNUSUAL GUIDELINES—Some publishers will request single spacing, different fonts, or a pint of blood, depending on how they present their publication. (Ok, I made that up about the blood. It’s spinal fluid.) Here are a few examples of unusual submission guidelines.
a. BLIND SUBMISSIONS—No, this is not the Bird Box challenge of the submission world. When you make a blind submission, you are scrubbing the story of all personal information related to yourself. You DO NOT include your name, address, phone number, e-mail address, or affiliation with any writers association on the manuscript. It should contain only the body of the story, the title, and the word count. All other personal information should be included in the e-mail.
b. MAIL-IN SUBMISSIONS—Most publishers have moved on to Digital Submissions, but a select few have elected to stay with the mail-in submission. Here are some quick tips for mailing:
1.) Do not fold the manuscript when mailing.
2.) Place the manuscript in a folder before putting it in a 9×11 envelope.
c. WAYS OF SUBMITTING—Some publishers won’t accept e-mail submissions. Instead, they require the writer to submit to a submission website. These sites allow them to read and organize large volumes of submissions. You’ll need to create an account if you wish to use them.
1. SUBMITTABLE—Submitting through this site is easy. The publisher will provide you with a link to their submission and, if you have an account, you’ll simply go from there. All the guidelines are on the page. You even have a spot for a cover letter which can be used as a template. It will appear each time you use Submittable and you can adapt it to your needs. Submittable also tracks these submissions for you and, if you check in with the site, you’ll see whether your submission has been received, is in-progress, has been rejected, or accepted. The submission will also be archived under these categories. So, you can delight in your acceptances or sob over your rejections.
2. MOKSHA—Moksha (which means “freedom or emancipation from the cycle of reincarnation” in Hindu) is fairly easy to work with. You simply fill in the blanks with your info and are notified by e-mail whether you’ve been accepted or not. The Magazine of Fantasy and Science Fiction uses this site.
III. MARKET LISTS AND SUBMISSION TRACKERS
A. THE HORROR TREE—This is the best market site for horror writers. If you subscribe to their newsletter, you’ll receive new listings in your inbox every Friday.
B. SUBMISSION GRINDER—This market list site is also a submission tracker. You can search for horror markets and then log submissions to them. The site keeps track of how long the submission has been out and, if you are rejected, will search for similar markets to resubmit to.
C. LITERARIUM—Another market list and submission tracker site. You do much of the work inputting info here.
D. DUOTROPE—This site tracks and lists markets. It also requires payment. You can pay $5 a month or $50 a year.
IV. AUTHOR ADVICE
A. JG FAHERTY’S TIPS FOR SUBMITTING TO PUBLISHERS—JG Faherty is the author of Carnival of Fear and The Cemetery Club. He’s been gracious enough to provide us with a few words on the submission process.
1. Always make sure your manuscript is in tip-top shape, whether it’s a novel or short story. Proofread, and then do it twice more, and have another writer or professional editor look it over as well.
2. Make sure the story is a good match for the market. Don’t assume that every horror magazine is going to like every type of horror. Some specialize in weird fiction, some in traditional horror. Some don’t want vampires or ghosts; others don’t want excess bloodshed. Do your homework. This goes for book publishers, too.
3. Read the submission guidelines very carefully and follow them to the letter. If the publisher or editor wants stories formatted in a certain way, do it. If they say only send 3 chapters, don’t send more or less. If they want a synopsis, send it. The surest way to end up in the rejection bin is to not follow the guidelines.
4. Always include a cover letter, unless the market specifically says not to. That cover letter should contain all your contact information, the word count of the story or book, and a short paragraph detailing your professional credits. For a book submission, you can include a paragraph or two about the novel and what makes it unique. For short stories, never tell about the plot, just give the title and that’s it.
5. Some editors still prefer hard copies to be snail mailed. In those cases, make sure to use a 9×11 envelope, either padded or place your manuscript in a file folder so it doesn’t get wet or bent. Never fold the document into a small envelope.
6. Always be polite and professional. Don’t make weird jokes in the cover letter, or threaten the editor, or criticize their work. Don’t offer bribes, even as a joke. It is okay to say you’re a fan of their work, but certainly not necessary.
7. Sometimes we finish right before the submission deadline ends, but always do your best to get the story to the editor before then. Submission periods exist for a reason, and most markets strictly adhere to them. If you miss the deadline, you can try to request a 1-day extension, but don’t be upset if it’s not granted.
8. Never publicly criticize a market or editor, or write a scathing response, if you get rejected!
V. WORDS OF WISDOM—You’ve learned how to prepare your manuscript, follow guidelines, and where to submit and track your submissions. Just a few more words of wisdom.
A. DON’T GIVE UP—Whether you’re applying for a job or beginning a relationship, there is always the threat of rejection. Writing is no different and, if you don’t develop a thick skin (or borrow one from your favorite neighborhood cannibal) you won’t make it very far. If you’re rejected, look the story over and try again somewhere else. Remember: J.K. Rowling received many rejections before she found a home for Harry Potter. Can you imagine how those publishers feel now?
B. TAKE CONSTRUCTIVE CRITICISM—If you receive feedback from an editor and they’ve taken the time to give you some constructive criticism, don’t freak out. Take it and apply it. It could vastly improve your work. Don’t let your ego get in the way.
Thank you for joining me today. Good luck and keep submitting!
How to write when you don’t feel up to it
by Loren Rhoads
Sometimes, especially these days, it’s hard to do the creative work you want to do. I’ve used a bunch of tricks to get around the blocks. I offer them here, in hopes they’ll inspire you.
Make a list. Whether it’s topics you want to explore or scenes that need to be written, it’s easier to begin writing when you have a prompt.
Set an alarm. Promise yourself that you will settle down to write when the alarm goes off. Giving yourself the anticipation of writing time can be inspirational.
Set a timer. Anyone can write for 15 minutes. There’s something about the tiniest amount of time pressure that tricks your brain into thinking it’s on a deadline. Start a timer on your computer, phone, or in the kitchen. You might find yourself pounding out the words to beat the bell. If the words are really flowing, you can always add a second 15-minute sprint.
Make a date with a friend. Whether you sit down together in a cafe (someday!) or meet online for a video chat, it really helps to know that someone else is working alongside you. The key is to find someone who will write, rather than chat.
Put your headphones on. Many writers make a playlist that they listen to only when they work on a particular story or book. Listening to the same music every time you write can train your brain to provide inspiration on command.
Write somewhere else. If you normally write at a desk, try moving to the sofa or the kitchen table or sitting in bed. The simple act of shifting to new surroundings can shake loose the words.
Try a different writing tool. Do you usually write on a laptop? Try writing by hand in a notebook or attach a keyboard to your phone. Some writers swear by word processing keyboards like AlphaSmart or FreeWrite, which only allow you to see a small amount of the text you’re working on. That way you’re forced to move forward, rather than editing what you’ve already done.
Experiment with dictation. The simple act of telling yourself your story can inspire you. Whether you use a dedicated dictation program or simply take a voice memo on your phone, the trick is to speak the punctuation at the end of each sentence. Also, edit while the words are fresh in your mind, or you may have trouble deciphering Siri’s interpretation.
Write first thing in the morning. It’s tempting to start the day by checking email or scrolling social media, but what would you come up with if you listened to your own thoughts first thing in the morning?
Write last thing at night. Take a notebook to bed and draft one more scene before you turn out the light. Do the words feel different as you’re settling in for the night? Maybe your subconscious will solve a writing problem for you in your dreams.
Step away from writing. Sometimes the best ideas come when you can’t write them down. Go for a walk, wash the dishes, or take a shower. Let your mind play without the pressure of a blank page staring at you. As soon as you finish your break, sit down to record the thoughts that occurred in the interim.
Remind yourself why you write. Do you have a story you’re burning to tell? Do you have a lesson you want to teach? Are you curious how your story will turn out? Clarifying why you want to do this can show you the path how to do it.
Ask “And then what happens?” Sometimes the next scene isn’t clear. You can get wound up trying to figure out what needs to happen. Instead of insisting on what the story needs, narrow your focus until you only need to come up with the next step. Then write that next step…and the next one after that.
Perfect is the enemy of done. Don’t waste time choosing the right word. Put down the almost-right word, enclose it in parentheses, and keep going. You can always fix it later. This works for names, descriptions, and anything you might need to research. Aim for momentum over poetry in your first draft.
Chart your progress. Whether you put a check on the calendar, color in a box on a habit-tracking chart, or simply make note of your word count, record the days you write. If you only write 500 words a day for 100 days, you’ll have 50,000 words for your book in three months. It’s addictive to see your progress.
What other tricks have you found for getting the work done? Make your own list, so you’ll have some tools to use next time you feel at a loss for words.
Self-publishing is a very personal journey. There is no “right” way to pursue it, but here is a nice over-view newbie checklist for those who are looking to pub their own work. There may be steps missing that you will add as you go along, but this is a good way to start.
STEPS OF PUBLICATION – self-publication PRINT BOOK
1. Finish the first draft.
2. Copyright it. (Easy online)
3. Re-read and have 1st readers (3-5 people) read and make comments. Make sure they have an interest in your work or the subject matter and that you trust their opinion.
4. Input edits.
5. Ask for cover blurbs if you are going to and give them time to read the book (month?).
6. Write up: Back cover blurb, copyright page, acknowledgments, author bio and pic, back page ads, and any extras you may wish to add. Insert these into the text.
7. Decide whether you will pay for an editor or not. If yes, have editor review it. If not, have more experienced people read it.
8. Input edits.
9. Format the book. Including margins, chapter breaks, internal artwork, copyright page, acknowledgments, author bio and pic, back page ads, and any extras you may wish to add.
10. Format the cover or get someone to do this. Artwork should be paid for and so should cover design. Make sure your back cover blurb has been copyedited before going to graphic artist.
11. Re-read the formatted version for copyediting only (typos) and have a second group of 1st readers read for copyediting only. Pay special attention to any word graphics, chapter heads, etc… that may be spelled wrong.
12. Input edits.
13. Format/upload the entire book into the KDP website and submit for approval. Wait for approval.
14. Once approved (or not) look at the errors or notes KDP has made and adjust accordingly. Also, check the online proof for any visual issues that may be wrong.
15. Once satisfied with the proof online, order a proof for yourself. Wait for mail.
16. Review live copy. Check all graphics for quality and color. Check all cover items for spelling and clarity. Re-read the entire text for typos or formatting issues.
17. If the proof is perfect, you are ready to publish. If there are issues, fix and resubmit. You may order as many proofs as you need to get it right. It’s best to wait to order the proof until the entire text is right.
18. Submit to publish, order your copies, PROMOTE!
19. Submit to KDP for eBook version. Important to wait to make the eBook version until you have fully edited and approved the print, that way you don’t have to make edit changes in two different formats.
Three Ways New Authors Sabotage Themselves And what to do to stop making the same mistakes
by Emerian Rich
As writers, we have many bad habits that hinder our careers. I am just as guilty as the next author and some of us don’t even know we’re doing it. I’m going to bring to light three self-torturing habits we have, in hopes that we can all help each other stop the madness.
1. We don’t support ourselves.
Sounds weird, but it’s true. We wrote these stories, we love them, but are we going to stand up to the masses and say, “My story is good enough to pay $10 for! Get it now!” Most will back out of this quicker than dodging a trip to the dentist. We are writers and as a rule introverts. We’d rather write the 100 page essay than give the 3-minute oral report. We also sabotage any self-confidence we may have by discounting our gifts. We tend to separate ourselves from “real” authors.
What to do: Stop it. No really, STOP IT!
2. We overuse the word JUST.
I’m not talking editing 101 here, I’m talking about thinking of yourself in JUST terms. I’m JUST self-published. I’m JUST a short story writer. I’ve JUST got one book out. I’m JUST with a small publisher. I’ve JUST sold two short stories. Cut out the JUST! What is the standard you hold yourself to? Stephen King? How many millions of horror authors out there are not Stephen King, but are still living their dream of being respected, valid writers, with something to say that people will listen to? It’s okay to set your sights on the Stephen King ideal, but don’t make it all or nothing.
What to do: Believe in yourself. Believe in your message. Stop JUSTing yourself. Stop discounting your gift. Set your sights high, but reward yourself at every milestone. Keep track of your milestones and look back on them every year. This writing biz goes really fast and you’ll be surprised (if you take baby steps every week) what you can accomplish.
3. We take editor responses, critiques, and reviews too personally.
Yes, our writing is our baby, but the more I’m in this business, the more I realize that it’s all about timing. Most declines have very little to do with the story content. So, what if you’ve submitted your story 57 times and never got a bite? Is it about you? Do the editors not like you? This is true in only the rarest of occasions ie… camping outside their hotel room at Con chanting “Sign me! Sign me!” all night until they give in – probably not a good idea. But to most editors, you are a nameless, faceless number. You’re number 902 in a pile they’ve received to read that month. They are under pressure to get through them all and they are looking for ghost fiction only this year, not zombies. You missed your window. It’s not personal. It’s not even about your writing half the time because they read the title: “Zombie Apocalypse” and because they aren’t buying zombies this year, bam… it’s in the reject pile.
What to do: Make sure your work is as perfect as you can make it so if an editor decides to give you a chance, your writing will stand on its own. As far as reviews go, they are completely subjective. The reviewer could be outside your target audience, against your message, or have religious differences. You may have said MOIST in the first paragraph of your book and from then on they just knew you were trying to gross them out. Every reader takes something different away from your writing. That’s what you want to happen. If you are a self-published author and you didn’t have money for a full edit, expect grammar slams. Expect them to point out errors. Don’t take it to heart. Don’t let yourself get caught up in what you did wrong in the past. And those crazy reviewers that suggest 10 different ways you should kill yourself because they hate you so much? Let it roll off your back. Anyone with that much hate over a book review obviously has emotional issues. Take what reviewers leave with a grain of salt. Try to evaluate it in a removed way, see if there is any truth in it, and then move on. Put out that next book. Do better. Learn from your mistakes and grow as a writer.
Emerian Rich is the author of the Night’s Knights Vampire Series and Sweet Dreams Musical Romance Series. She is the Horror Host for the international podcast HorrorAddicts.net and regularly commits author sabotage on herself. To find out more about Emerian, go to her website at www.emzbox.com
Imagine that you are an actor on the cusp of becoming a breakout star in a new series, only to have fate take it away in the blink of an eye. How low would your life sink, and what would you do to get that life back? These are the questions raised by Steven-Elliot Altman in Severed Wings. .
Brandon Jones is a rising star set to take on a sitcom role that he sees as his big break. Fate intervenes in the form of a head-on car accident that takes the life of a teenager and places him paralyzed from the waist down and permanently in a wheelchair. He breaks up with his girlfriend, a starlet in her own right, loses the sitcom role he fought hard to get, and cuts off contact with family and friends. He sinks into depression, finding solace in alcohol and companionship with a drag queen and an escort working her way through college.
Life and circumstances change when new neighbors move in down the hall. At first, they are a mystery he feels a strong urge to solve, but he is smitten when he sees the woman living there. Unfortunately, while she is distantly friendly, her boyfriend is anything but that. The mystery behind the couple deepens when a man leading a blind older woman knocks on Brandon’s door by mistake. He recognizes the woman as a prestigious agent. Her presence in their apartment building is enough to inflame his curiosity further. What follows are miracles and the discovery of entities almost as old as the world itself.
I found the take on a man falling from the highs of stardom to the lows of despair, self-loathing, and depression to be engaging. The supernatural elements fold into the mix in a satisfying way for the tale. There is a bit of redemption towards the end, although it doesn’t go as far as offering a thoroughly happy ending. If you are looking for a quick read a la the Masters of Horror television series, I think this will satisfy that craving.
Upscale housewife with history Elizabeth Taylor thinks she witnesses a murder in the creepy abandoned house next door in the 1973 British thriller Night Watch. Unfortunately, her broker husband John Wheeler (Laurence Harvey) nor her carefree best friend Sarah (Billie Whitelaw) believe her. The police are tired of the increasing phone calls and neighborhood hysteria, but the terror escalates thanks to stormy nights, pills, alcohol, and slit throats.
Director Brian G. Hutton (Where Eagles Dare) and writers Evan Jones (The Damned) and Tony Williamson (The Avengers) adapt the Lucille Fletcher (Sorry, Wrong Number) play with flowers, quaint English gardens, and smiling rapport. The swanky drinks before dinner and lingering sixties style, however, contrast the looming gothic manor next door. The grounds are said to be poison where nothing will grow, but someone is digging in the backyard on stormy nights, and vivid dreams of speeding cars, accidents, and morgue terror distract from the snobbish talk of avoiding lesser neighbors. Late night waxing on the fatal past invokes a wee small hours limbo – traumatic memories and two characters who’ve lost touch make for fine drama before raging storms and screams reveal something horrible across the way. Dead men and cutthroats disturb the classical music, but inspectors find nothing in the congested, maze-like condemned as Night Watch relies on performances and mood rather than sensationalism for its taut, through the shutters peering. Pills or brandy are suggested to keep calm, but flashlights, clutter, and foreground objects layer the visual frame. Viewers are looking for something – questioning what we see or didn’t see. Could it all be an honest mistake? The police think it’s nothing but “money and menopause” on top of brief nudity, shower saucy, and hotel room trysts. Newly planted trees aren’t enough evidence, but nuggets of information trickle out from the ensemble. Suspicious neighbors find it exciting that there’s hear tell of a dead body nearby yet refuse to have their bushes dug up as part of the official search. Red herrings add to the creepy commentary about disliking neighbors who were there before you just as much as the friends you choose living even closer. Who’s watching whom and from which house questions layer the voyeurism alongside debates on hallucinations, eidetic images, and convincing oneself that what you see is real. Old mementos thought lost suddenly reappear, leading to arguments about gaslighting and being deliberately terrorized as more police calls, chases, and curiosity create a ‘burbs mind your own business across the hedge. Despite lights next door, the case is closed – inspectors and doctors both strongly suggest everything go back to normal amid awkward dinners, screams, and more off-screen witnessing. Revelations about what had really happened in previous accidents and shock over-identifying bodies found in flagrante delicto provoke more tension in the increasingly crowded quarter. Eventually, the police laugh and roll their eyes, proposing our housewife contact the building owners herself or hire a private detective. All the paperwork is ready for a trip to “rest” in Switzerland, too – accounts, legalese, and power of attorney but that’s all just routine. Confrontations, secrets, and lies will out thanks to hide and seek twists inside the derelict. Night Watch gets its horror on in a spooky multi-layered finale of blood, violence, crazed attacks, and frenetic turnabouts. Who exactly was really planning what and when? Seemingly early and obvious giveaways make room for more surprises, and Night Watch ensures the shocking schemes are ultimately completed with skill and gravitas.
Flowing gowns, glam necklaces, rock rings, and coiffed hair assure Elizabeth Taylor (Cleopatra) looks classy as well to do housewife Ellen Wheeler. She dresses for dinner, drinks, and does jigsaw puzzles, for she needs patience to give her something to do when she’s so often alone. Her ritzy life should be nothing but grand, however, the insomniac Mrs. is up all night fascinated by storms and thinking about her father’s bad poetry. She’s been spoiled yet feels restrained and bored. The watch during the night is for all the things you can’t make sense of during the day, says Ellen, and she’s increasingly returning to memories of her late first husband Carl. Dreaming of his accident keeps her awake – she vividly recalls the fatal scenes and blood the viewer never sees but doesn’t remember previously dealing with the police and feels nervous about talking to them. However, Ellen also doesn’t want to be coddled or hear this witness is all in her mind, and she’s angry when no one believes her, even more hysterical over the disbelief than upset by the crime she apparently saw. Without support, Ellen is increasingly frazzled, pathetic, and paranoid. Will she voluntarily go to the doctor so he can tell her the dead body is all in her mind? What happens when she thinks she sees another one? Mrs. Wheeler’s wheels turn as she suspects her pills, beverages, and if someone is deliberately making her recall Carl’s demise. Despite her full house with husband, friend, and maid, Ellen fears someone else is watching her. She repeatedly calls the police and eventually agrees to see the psychiatrist, and though desperate, she is not stupid. Ellen is quite intelligent and recognizes when she’s being lied to or signing the wrong papers. She’s damn shrewd in seeing what’s what, and Night Watch’s madness begins to make sense as only Dame Elizabeth could make the clicking of the retractable pen so sassy and defiant before refusing to take the last tranquilizer in the bottle. Long drags on the cigarettes and strategic pauses emphasis the deliciously dark camp, and I’m surprised Night Watch feels so obscure when Taylor’s performance is so chill.
Laurence Harvey’s (The Manchurian Candidate) stocks and bonds big wig John Wheeler wants to know why his wife can’t sleep. He works long hours, but wonders what he’s done to upset her even if she says it’s not him. John takes care of Ellen, babying her with warm milk the way a daughter goes from father to husband to protect her. However, John does not believe she’s seen anything. He won’t call the police over a false alarm and insists the inspector not upset his already not well wife. John won’t stick up for her claims, yet he warns the police to not dismiss Ellen. Although he’s worried over the dangerous mix of alcohol and sleeping pills, John’s more concerned about possibly being sued by an angry neighbor. He dislikes when the police want him to control his wife and encourages her to see their doctor friend once he’s tired of her bringing up her late husband. John agrees she is right when Ellen suggests they take a holiday – but she says we and he only wants her to take a vacation. He has all that “spa” paperwork ready! Swanky best friend Billie Whitelaw (The Omen) on the other hand, is the houseguest who won’t leave. She keeps saying she’s moving on to Scotland and debates running away with her latest on and off conquest Barry but may have other tête-à-têtes, too. Sarah stays to look after Ellen, providing tranquilizers and hot chocolate while waxing on all the adventures she could be having and the excuses she can make up to get away with them. Although she tries to avoid topics that will upset Ellen – like Carl – they always creep back into the conversation. Sarah insists Ellen can’t go on like this, but as the third wheel in the marital house, her companionship is automatically suspect. She lies to spare Ellen but also apologizes for her tall tales. Doctor Tony Britton (The People That Time Forgot) must also tread lightly with Mrs. Wheeler. He doesn’t want her to be committed but needs her to voluntarily trust his help. Above all, he insists that she must get out of this house before it’s too late.
Spooky black branches, dark blue skies, boarded windows, banging shutters, and overgrown vines contrast the mirrors, red leather couch, white staircase, and swanky record players next door in Night Watch. Creepy statues and artwork, blue lighting, ticking clocks, and swirling cigarette smoke add ominous to the hip turtlenecks, lux lamps, decanters, and manicured gardens. Knives in the kitchen, rain splatter on the windows, and vintage blue sirens create pulsing tension while gates, flashlights, and condemned interiors set off the congested mood. Horseshoe phones, switchboard operators, and retro trench coats should be cozy nostalgia, but the colorful outdoors disappear as the peering through the blinds and drawn shades invoke agoraphobia. Distorted dreams and intense flashes of past car accidents lead to dead bodies and hospital Disturbia thanks to low camera angles and spotlights. Night Watch has subtle, choice visuals with reflections of the scary house on the fine townhouse window overlaying all action inside and out. Well done cinematography provides dark scares as well as focuses on Taylor’s face as zooms hone in on critical images and objects. Thunder punctuates arguments as the rhythms escalate, and through the gate, chases move the action to our spooky neighbors amid barren beams, peeling plaster, creaking stairs, and exposed woodwork. Violent struggles in the dark and shocking silhouettes allow for what we don’t see suspicion and final revelations. Wise viewers may pick up on the mystery here for there are too many similar stories to Night Watch before and since. Audiences looking for full-on horror a la Hammer of the day will be disappointed, too. Fortunately, the psychological chills, spooky twists, and superbly unraveled cast do get their scary on in an entertaining end. Night Watch is a fun late night tease worth seeing more than once to catch all the whodunit winks.
Hello, Horror Addicts! I write horror as E. A. Black. I’m on social media as Elizabeth Black. I live in Lovecraft country on the northeast coast of Massachusetts. If Innsmouth were a real town, it would be a ten minute drive from my home.
My story, “Infection”, which appears below, originally appeared in the anthology “Teeming Terrors”. Here’s the blurb for the book:
Nature. Filled with wonder, beauty, majesty and mystery. Also filled with things that want to kill us. Normal things, little ordinary things. Things that creep and crawl. Things that fly, swim, scuttle and slither. Things that you might expect and be rightfully phobic about … as well as things you may have never imagined as a threat. Individually, maybe they wouldn’t be. But that’s just it. They aren’t coming for you individually. They’re coming for you in swarms, in flocks and hordes, in masses and multitudes. They’re coming for you by the thousands. They are … TEEMING TERRORS.
“Infection” is one of my favorite stories that I have written, and I’m happy to share it with Horror Addicts for Women in Horror Month. Enjoy!
By E. A. Black
April Jones was cursed with a stubborn husband. John Jones had been weeding the garden and mowing the lawn this hot July 1st when he ran over strange circles in the grass. Fearing a wasp infestation, he dug into the grass around the circles and poured bug killer into them, despite Mrs. Jones telling him she thought that was a very bad idea. As usual, he wouldn’t listen to her. At least a swarm of nasties didn’t emerge from the grass and sting him.
Oh, no, it was worse than that.
The wound on his calf started as a rash accompanied by fever and chills. A day later, the flu symptoms had passed but his lower leg swelled up, and it was painful to put any weight on it. Tiny pustules erupted where she presumed the bite originated, but there was no bull’s eye so it wasn’t a brown recluse bite. Maybe there were wasps in the grass and one of them stung him, but she had never seen a wasp sting as angry as this. She begged him to go to the doctor but he refused, having the temperament of a mule.
By dusk on July 4th, the pain was excruciating and she finally succeeded in talking him to going to the emergency room. The wound nurse took one look and immediately ordered him to a room overnight for observation. She feared MRSA. Being ordered to stay in the hospital terrified Mrs. Jones. She wasn’t used to being on her own, and who knew how long her husband would be hospitalized? This wound could have been more serious than she and Mr. Jones had originally had thought, and MRSA was nothing to sneeze at. The nurse also ordered a CAT scan since she suspected he had an abscess. Mr. and Mrs. Jones waited in his room for the CAT scan results when he began to squirm with an uncomfortable look on his face.
“April, something’s very wrong. It feels like something’s moving in there.”
“What do you mean, moving? Why didn’t you tell the nurse?”
“I was too scared. It’s probably just my imagination. And the rash is warm to the touch. Are rashes normally like that?”
“None that I’ve seen. I told you to not dig up the lawn. You never listen to me.”
“Don’t nag me now.”
“Something stung you?”
“What else could it be?” He doubled over, gripping his belly in his arms. Mrs. Jones placed a hand on his shoulder to comfort him, but in her fear she really had no idea what to do to help him. She had never before felt so useless. “Oh, God, I’m gonna be sick. Something’s wrong. It’s bad. I don’t like this.”
Blood erupted from the center of the boil to trickle in a thin line down his leg. Pus oozed from the small opening. The tissue around the wound had darkened, turning nearly black. In a panic, since she knew enough about wounds to know black tissue meant dead tissue, Mrs. Jones rushed into the hallway to see if the doctor was on his way. She overheard the nurse said something to the doctor about necrosis, and her stomach seized in fear. The doctor turned her way and caught her eye. She saw alarm and concern on his face as she waved him down.
He quickly made his way to Mr. Jones’s room with the wound nurse on his heels. Mr. Jones had turned on his side on the bed, clutching his stomach. All the color had drained from his face, and Mrs. Jones knew the color had drained from her own as well.
“I think I’m going to throw up. It’s open and I’m bleeding. The pain is terrible. Can’t you give me something?” Mr. Jones wailed.
“I’m Doctor Frisorra, Mr. Jones. I’m going to open it up and scoop out the infection.” The doctor said. He was a surly sort but his caustic demeanor didn’t hide the alarm in his eyes. “The CAT scan revealed an abscess about the size of a baseball, but your entire lower leg has swelled up. I don’t know why you feel sick. You shouldn’t, but once the infection is gone I’m sure you’ll feel better. We’ll put you on an i.v. of antibiotics and keep you here overnight for observation. Let me get it out of you first and then we’ll give you some painkillers.”
“Something’s moving in there. I feel it crawling around, lots of things, tiny things. Oh, God, it hurts.” Mr. Jones buried his face in his pillow. “Please, get it out of me. Now!”
“Okay, Mr. Jones, I need you to calm down. I can’t open your leg with you thrashing about. Lie on your back and I’ll get started.” The doctor said.
“John, lie back.” Mrs. Jones said. “You’re going to be alright but you have to do what the doctor says.”
He turned onto his back and shoved a fist in his mouth, squinting his eyes in pain. The doctor turned to the wound nurse.
“Gauze and alcohol.” He said.
She handed him both. He poured alcohol onto the gauze and then swabbed the wound and the rash around it. Then, he tossed the waste into a trash can with a red bag inside with biohazard symbols on the plastic.
“I’m going to inject a numbing agent into your wound, Mr. Jones. This will help you with the pain. It’s a topical painkiller.”
The wound nurse prepared the injection and handed the syringe over to the doctor, who injected close to the wound’s opening. A high-pitched but faint buzzing droned around Mrs. Jones, as if it came directly from the wound but much like a cricket’s chirping it was hard to tell exactly where it came from. It sounded similar to air being let out of a balloon. The noise was shrill and angry, but so faint she thought she imagined it. Maybe it was an I.V. alarm going off down the hall. The nurses let those things beep forever, but somehow, Mrs. Jones doubted that was the case. That noise came from her husband’s wound, and it scared her.
“Did you hear that?” Mrs. Jones whispered.
The doctor looked up. “I’m not sure what that was. Let’s get the wound opened and cleaned out. Scalpel.” He said.
The nurse opened a small package to reveal a sterile scalpel, which she handed to the doctor. Mrs. Jones held her breath as the doctor’s steady hand approached the wound, which by now had turned a deep shade of rose with black edges and yellow pustules erupting on the surface. Mr. Jones gripped his t-shirt in his fists so hard his knuckles had blanched. Terror etched across his face. What the hell was wrong with his leg? Was it a brown recluse bite after all?
The doctor leaned over his leg and cut down the center of the boil. Blood gushed out, running down his leg and staining the bed linens. Creamy yellow pus filled the wound. As the doctor picked up the instrument to scrape out the infection, that shrill keening sounded again, coming directly from the opening he had cut.
Mrs. Jones backed away, closer to the bathroom.
The doctor inserted the instrument into the wound, and Mrs. Jones was shocked to see it disappear nearly an inch into his calf. When he scraped along the inside, Mr. Jones cried out in agony, but Mrs. Jones barely heard him. Hundreds if not thousands of tiny mites flew from the wound’s opening, covering the doctor’s white jacket so thickly it appeared to be crawling. They flew onto the nurse, who swatted at them, screaming and howling with surprise and terror. Mr. Jones screamed and crept up the bed towards the wall, but the mites surrounded him, flying in his face and against his arms and legs until they held fast.
Then they began to bite.
A cloud of the creatures attacked Mrs. Jones, but she managed to swat them off as she ran to the bathroom and shut the door. They nipped at her arms and face, biting her with their sharp, tiny teeth. They tore into her skin, drawing blood and stinging her as if she were dying by a thousand paper cuts. She slapped at them, pulled them from her hair, stomped them onto the floor.
As she wrestled with the creatures, the screaming started outside the bathroom door. She recognized her husband’s shrieking and feared opening the door to rush out to help him. What were those things doing to him? Getting a closer look at the ones she had swatted, she leaned over a dead one on the sink.
The creature was about an inch long and dark green. It had two legs instead of the usual six or eight she expected from an insect or arachnid. It also had two tiny arms with fists it held into balls. She pried one fist open with a fingernail to reveal talon-like claws, sharp as needles. What was left of its head sported blonde hair and a strangely humanoid face. Gossamer thin crepe wings folded along the back.
What kind of insect was this? Was it an immature locust? These creatures moved in swarms, just the way locusts did. The problem was she’d never seen a locust that looked like this. She’d never seen a live locust period, but she had seen pictures of them. This was no locust.
She thought back to the rings her husband found in the grass as he mowed the lawn, and how he dug into a few of them to see the damage they did to the soil. She wracked her brain until she remembered where she had read about rings in the grass.
Fairy rings. Her husband had disturbed a nest of fairies. She stared at the creature as if she viewed a particularly noxious bug. These were not the sweet little Tinkerbelles of Disney movies. These fairies were the vicious and malevolent beings from folklore – and they took up residence in her lawn and in her husband’s leg.
And now they were loose in the hospital.
Screaming in the room and down the hall intensified until it reached a crescendo. Heart racing with dread, she leaned against the door, holding it shut as tiny bodies slammed into the opposite side. Scraping sounds like needles being dragged along the door grated from the other side as if they tried to claw their way in. She stared at the tiny being on the sink, wondering how something so small could cause so much damage.
It shrieked a sound like a tea kettle boiling. As it reared up it split open down the back. Another larger creature emerged from the shell. Now, it was nearly three inches long. Mrs. Jones wondered how many others had molted. She recoiled from it, fearing to even approach it, but as it cried in outrage she gathered her resolve and picked it up between thumb and forefinger by the hair. It writhed in her grip, wings flapping, jaws snapping, trying to claw her with those talons. Glaring at her, it hissed the word “die” over and over again. She started at the sound of its high-pitched voice hissing in English. She nearly dropped it, but she held fast.
Her fingers felt sticky, as if they were covered in slime. The same sticky substance smeared on her arms, legs, and face. She used her free hand to wipe it off her cheek only to streak it further along. It smelled of violets. In fact, the fairies themselves smelled of wildflowers. Mrs. Jones wore a perfume similar to the scent. Could the stickiness have come from their bodies as they rubbed up against her?
The screaming from the other side of the door had stopped. Fearing what lay behind the door but knowing she had no choice but to free herself, she opened the door. As she took her first two tentative steps out of the bathroom, the fairy in her hand ceased struggling and became quiet. When Mrs. Jones looked into the room, her heart nearly stopped in shock.
The stench of gore and feces slammed Mrs. Jones in the face amid that strange scent of wildflowers. Doctor Frisorra lay on his side, hands clawed in front of his mangled face. His white lab coat was covered with so much blood and tissue it had turned crimson. Heart racing with dread, she looked to the hospital bed where her husband lay. His mouth was open in a scream cut off by violence. Lips and nose decimated and eyelids gnawed away, his face forever would hold a surprised and outraged expression. The skin had been clawed and eaten away from his forehead, cheeks, and chin, leaving muscle and tendons exposed. His hands could not protect his face from the onslaught, since his fingers had been gnawed down to the bone. Blood covered the bedsheets. Mrs. Jones clamped a hand over her mouth, trying to hold back a wail of grief and horror. In her fear, she let go of the fairy in her other hand, and it flew out of the room and down the hall.
Following the creature, she walked into the hall to be greeted by carnage. Moans of pain and wails of terror echoed along the blood-smeared walls. Nurses crawled along the floor, many with their eyes gouged and eaten out, groping about blind. Stunned, Mrs. Jones made her way down the hallway dodging bodies and slipping in blood. She never before felt so alone. Normally her husband took charge, but now she had to fend for herself. She didn’t think she’d last long, not in her frazzled and frightened condition. She paused by every open door, expecting a wall of the detestable vermin to attack her. She sped down the hallway until she reached the Emergency Room exit.
The creatures were gone but they couldn’t be far. Where did they go?
An ambulance idled in the entryway. Two EMTs sprawled on the ground at the back of the vehicle. The sky was strangely dark. When she took a closer look upward, panic took over and she urgently sought a place to hide. The creatures filled the sky, blocking the setting sun. They swarmed like insects, attaching themselves to the hospital buildings and rapping their soft bodies against glass. Several grasped rocks and slammed them into windows, attempting entry. Red brick teemed black with the creatures.
She froze in place, fearing if they noticed her they’d attack. Where had they all come from? They certainly couldn’t all have come from her husband’s wound. She didn’t have time to ponder. What to do, what to do? Her car was in the parking lot across the street. If she walked slowly they might not pay her mind. It was only 50 feet away. If she could make it inside her car and drive away – maybe home – she’d be safe.
Maybe. It all depended on how widespread their reach was.
She held her arms against her body and cradled her head close to her chest, trying to make herself look as small and as unassuming as possible. The creatures flew above her, making a high-pitched humming sound presumably from the flapping of their wings. A few zoomed in front of her as she walked, and she gasped at the sight of them, but they ignored her. She wasn’t sure why, but they had sniffed at her and then went their merry way. Maybe her violet perfume and the residue they left on her skin sent them away? Could they have mistaken her for one of their own?
They flitted about in a hurky-jerky motion like hummingbirds, but not nearly as endearing. Several of them dive-bombed her, nearly getting caught in her hair. It took all her resolve to resist swatting them away. One stopped long enough to give her a quizzical look. It hissed at her, tossed a pebble at her face, but then it flew away, paying her no more attention.
That one was much larger than the one she held at in the hospital bathroom. It was at least four inches long and a vivid blue. Most of the ones flying about her were the size of the palm of her hand. She passed a tree and saw bodies clinging to it, but upon a closer look she realized she gazed at empty shells – molted skin left behind as the creatures grew.
Finally reaching the road, she was about to take a step into it when a Toyota roared past, wavering all over the asphalt and even jumping onto the sidewalk. Mrs. Jones leaped out of the way before the car could hit her. As it sped by, she saw the driver inside fighting a cloud of creatures so thick the inside of the car had darkened to pitch black. The car zoomed past only to crash into a utility pole and burst into flames. The explosion hurled Mrs. Jones backwards onto the grass. Human screaming amid the shrill cries of the fairies assaulted her ears, and she clamped her hands over them so she would not hear the terror in that person’s voice. The clouds of creatures overhead flew to the wreckage, giving Mrs. Jones time to race to her car without being noticed.
She fumbled with her keys, her fingers not working well enough to grip them. She dropped them as she watched the creatures wailing around their fallen comrades. Stooping over to pick up her keys, her trembling fingers dropped them again. Damn it, woman, get your act together! One last time, she gripped the entire keychain in her hand and shoved the car key near the lock but missed, scraping the blue paint on the door. Finally, she aimed the key at the lock and nailed her goal. Turning the lock, the audible click attracted the attention of the creatures.
She tore open the door and hauled herself inside just as a swarm of bodies reached the door. Three of them were caught on the door, hissing, spitting and cursing her. When she slammed the door shut, they sliced in half. Their bodies fell to the car’s floor, convulsing in their death throes. The rest slammed against the door and window, howling their outrage at her getting away from them. A cloud descended upon her car, slapping the glass and banging their fists against the sides and roof. Thankfully, they had grown so much they were too large to fit into her ventilation system so they didn’t get into the car through the air conditioning and heating vents. She put her key in the ignition, turned over the engine, and high-tailed it out of the parking lot.
She needed to get home. Alone, she cried as she drove, not sure what to do to get herself out of this miserable situation. If only Mr. Jones were with her. He’d know what to do.
With a start, she remembered her 24 year old son Paul was home. She grabbed her phone and dialed his number but he didn’t pick up.
Oh, God, I hope he’s alright.
It was hard to see the road through the bodies but she drove in as straight a line as she could. Turning on the windshield wipers, she shoved fairies aside until she could see her way in front of her. Fireworks celebrating Independence Day lit up creatures that flew overhead. She hit the accelerator until she reached 40 MPH and then hit the brakes. Bodies hurtled from the car, landing on the road in front of her. She pressed down on the gas again and drove over a multitude of little bodies, the car bumping as she drove. They crackled and squished as she drove over them, and she used her squeamishness to continue on her journey. The clouds of creatures seemed to go on forever. Could she safely make it home? First, get onto the main road into town, and then she could worry about her son.
More fireworks burst overhead, competing with the full moon. Mrs. Jones turned on the radio, hoping for some answers.
‘… lock yourself in your homes and board up all entryways including doors and windows. The cause is unknown. The Army has been notified and is on its way to town…”
Switch to a different station.
“… seems to be contained to Norwich, Massachusetts. There are no reports of infestations in nearby Rockport, Ipswich, and Gloucester…”
She lived on the edge of Norwich. If she could get home, get Paul, and get out of town they might be safe.
The ten minute drive home seemed to stretch on for hours. A yellow corona exploded overhead followed by myriad red starbursts. The fireworks provided a strange backdrop for the clouds of fairies following her home. They slammed into her windshield, grasping at the wipers and trying to break them off but they did not succeed. Spraying them with windshield washer fluid only pissed them off even more. Why did John have to go dig up those infernal rings in the grass?
If he hadn’t, would they have only emerged later to catch them even more unawares?
Neighbors had been ravaged as the creatures had attacked. The Clark children two doors down from her home lay sprawled in the grass, bodies torn as they had played with a Frisbee. The scent of burned meat wafted from a smoking grill. Mrs. Clark lay facedown on the porch, her head on the bottom step and her feet on the top. A tray of burgers spilled onto the ground. The paperboy’s bike lay in the middle of the road. The boy himself had made it as far as the tall oak in Mrs. Jones’s front yard. Fairies squatted on him, tearing at his clothing and chattering amongst themselves. They stopped chattering to watch Mrs. Jones drive by. The sight sickened her. She knew the paperboy quite well. Gave him a gift every Christmas. She didn’t get along with the Clarks but no one deserved an end like that.
She pulled into her driveway, crushing the creatures beneath her tires as she put the gear into park. Paul’s car was in front of her, and it was covered with bodies that by now had grown to be nearly a foot long. They gaped at her from inside the car. Only a half hour ago they were the size of mites. Molting and growing quickly, their formidable natures astounded her. How much larger would they get? Their colors ranged from vivid blue to deep hunter green and violet. Some stretched their wings and wrapped them around their bodies as if they were chilled. Every one of them stared at her from the porch, the stairs, inside Paul’s car, the sills and the roof. Thousands of glowing eyes glared at her. How was she going to get into the house? And was her son alive?
The shutters on both floors had been pulled and locked. The creatures had torn her prized rose bushes to shreds, and she felt a pang of sadness over the loss. There would be many losses today. Before stepping out of the car, she doused herself with perfume hoping to keep them at bay. Fearing her son had succumbed to their attacks, she unlocked her car door and quietly opened it one inch.
The fairies didn’t move. They only continued to stare at her. Why were they so quiet? Was it her perfume? She could only hope.
She opened the door, gently moving several of them out of her way. They appeared to be resting, as if exhausted but not exhausted enough to sleep. Dormant, their hive mind dozed enough for her to emerge from her car and take tentative steps to the porch. One or two lashed out with their sharp claws, drawing blood on her ankles, but she didn’t flinch. With slow movements she took five excruciating minutes to make it to the porch and the front door. She took her key, turned it in the door’s lock, and opened the door enough so she could slip inside her house without the creatures following.
The living room was quiet and dark. No fairies lurked within. Smoke filled the first floor. Ah, Paul must have cooked steak again. He always smoked up the house when he cooked beef. The smoke may have repulsed the fairies enough to keep them outside.
There was no sign of Paul. She resisted calling out his name or making any noise out of fear she’d attract the creatures’ attention and they’d swarm again.
The only way to find him was to go door to door until he revealed himself. What if she found him as mangled as she found John? No, don’t think about that. Just find him.
She walked through the empty kitchen and opened the bathroom door to find no one. That left the second floor. She climbed the stairs, careful to not make the third step creak the way it always did. Moving with stealth, she reached the landing and heard thumping sounds coming from one of the back bedrooms. Fearing Paul was being mauled, she raced to the door, opened it, and went inside.
“Paul, we have to get out of here…”
Fairies perched on tables, chairs, and shelves. They clung to the curtains in front of a broken window. When they heard Mrs. Jones’s voice, they came to life and flew from their perches to swarm around her, clawing at her face, her hands, and her bare legs. Wailing, she waved her hands in front of her to fend them off but they only came on stronger; wave after wave of bodies crashing into her. Sliding down the wall as they tore at her hair and bit her forearms, she crumbled in a ball on the hardwood floor. They pushed on the door behind her, slamming it into her lower back and causing pain to shoot into her spine. Then, she felt two large hands grab her feet and pull her through the door’s opening.
“Mom, are you hurt?” Paul said as he shut the door and locked it. The fairies beat against the frame from the other side in a futile attempt to get out.
“I’m okay. What are we going to do?”
“I’ve packed for us. I called you but you didn’t pick up.” He pointed to two suitcases. “Where’s John?”
Mrs. Jones cried. “He didn’t make it.”
“The radio says they’re only here in Norwich. If we can get in the car and make it out of town, I think we’ll be fine.”
“I hope you’re right. I told John to leave those grass circles alone but he wouldn’t listen to me–”
He squeezed her shoulders. “They’re coming from those holes in the back yard. I watched them from the window. I already called 911. The Army is coming to plug them up but we have to get out of here. Now.”
They quietly walked downstairs, Mrs. Jones holding one suitcase and Paul holding the other. More than anything, she wanted to hole up in her house and wait until the Army dealt with the miserable vermin, but she no longer felt safe in her own home. The only thing to do was to leave with her son and wait until it was safe to return, assuming it would ever be safe. She’d never feel safe in this house again.
Before he could open the front door, Mrs. Jones explained their curious behavior in light of her perfume and the sticky substance they left on her skin. She sprayed Paul all over with violet scent. She prayed the fairies wouldn’t attack.
Paul opened the front door, drawing it out as slowly as he could. The bodies on the porch had increased. To her surprise, the creatures had moved but they continued to sit as if dozed. Some sprawled in circles on the porch – large circles, small ones, several where they sat stacked atop each other. They chanted in a language she couldn’t understand, but what they sang resembled an incantation. While they acknowledged her presence as well as Paul’s, they neither attacked nor lashed out. It was as if they operated from one mind and that mind was too preoccupied to pay any attention to the two humans who made their way to Mrs. Jones’s car.
Mrs. Jones swept them aside in slow motions with her feet as she made her way the four feet to the steps. She gazed at her destroyed garden in the direction of the holes where her husband had dug out the fairy circles. Rather than pour from the holes as she expected to see, the creatures flew into them, searching for what remained of their stomping grounds. Fireworks continued to illuminate the clouds of fairies that flew overhead. Such a strange sight – a festival of independence marred by creatures that rendered all humans in Norwich helpless to defend themselves.
Once they reached the car, Paul placed the suitcases in the back seat, all the while moving as slowly as possible. Neither he nor Mrs. Jones called attention to themselves lest they attract unwanted and tragic attention. Rather than slam the door shut, he closed it with a gentle click. The sound boomed in Mrs. Jones’s ears, and she watched the fairies but they did not attack. Mrs. Jones walked to the passenger side, opened the door, and took the front seat. Paul made it to the driver’s seat without difficulty. Once inside, he placed the key in the ignition, turned it, and the car roared to life.
They sat in total silence, watching how the creatures reacted to the car’s engine. A few pounded on the windshield and stomped on the roof. One stood in front of Mrs. Jones, gnawing at the windshield wiper and scratching its substantial claws against the glass. It was nearly a foot long with filmy wings the hue of an oil slick and a body the color of brick. The malevolence on its face terrified Mrs. Jones, but she clenched her jaw in silence. Paul put the car in reverse and pulled out of the driveway.
“Let’s head to Gloucester.” Mrs. Jones said. “The radio said they didn’t get that far.”
Paul turned the radio knob.
“… have invaded Rockport, Gloucester, and have been seen as far as Beverly Farms.” Beverly Farms was 15 miles away. She checked the gas gauge.
There was less than a quarter tank of gas in the car.
Maybe by the time they reached Beverly Farms the creatures would have moved on. She gazed out the window. Fairies converged on the grass, tore apart bushes, and danced on telephone lines. Starting up the car must have roused them from their stupor. She turned her head away in horror as a gang of them attacked a German shepherd chained to a pole outside a split-level. Paul drove along the narrow one-lane road out of town, and Mrs. Jones closed her eyes in her futile attempt to ignore the sound of bodies crunching beneath the tires. Her heart raced and she picked the cuticles on her fingernails as they drove in silence save for the radio that just announced the fairies had been seen 40 miles away in Boston.
Maybe they’d make it safely out of town before they ran out of gas.
The idea for this story came to me after my husband spent some time in the hospital with an infection in his leg. It was pretty gross. I based John Jones in the story on him, and he got a major kick out of me killing him off, LOL. We have very bent senses of humor. Here’s a conversation we had about his leg.
Me: “Your wound is really disgusting. Make sure you do what the doctor tells you. Don’t be stubborn.
Him: Me? Stubborn? Never!
Me: Yes. You. Stubborn. That thing looks like it’s going to burst any moment. You know what’s going to come out of it?
Him: You have watched far too many horror movies. That’s why I love you.
I’ve just started a new writing gig with a game company. It’s so new I don’t have much to report yet, but I will say I’m having a blast. I’m now a game developer! I’m also finishing my first horror novel. Here are my latest appearances in anthologies:
Jester of Hearts – my story is Trailer Trash Zombies
Wicked Women: An Anthology of the New England Horror Writers – my story is The Fetch
The Horror Zine’s Book of Ghost Stories – my story is The Storm
Horror For Hire: Second Shift – my story is A Job To Die For
Fark in the Time of Covid: The 2020 Fark Fiction Anthology– my story is A Skirmish Outside Beaufort
I am so super excited for season 16 of HorrorAddicts.net: Cultural Horror!
Our goal is to increase content created by POCs by 50 – 75% of what we are currently showcasing. I am over the moon! For those of you who follow me you guys already know the content I share is predominantly from POC creators from around the globe.
This review is a little different, instead of the normal movie review everyone is used to watching I’ve created a Cultural Horror Starter Pack, counting down from 10, these are the films you must see if you haven’t already. This was really tough to do, but I had a blast doing it. So grab a snack and settle in, and be sure to let me know what you think in the comments!
Master Imaginationist and Instagram photographer Crystal Connor is the Chief Imagineer working for the Department of Sleep Prevention’s Nightmare Division. A Washington State native, she loves anything to do with monsters, bad guys (as in evil-geniuses & super-villains. Not ‘those’ kind her mother warned her about), rogue scientific experiments, jewelry, sky-high high-heeled shoes & unreasonably priced handbags.
What’s more wonderful than a gothic woman in fancy clothes and delicious settings experiencing crimes and ghosts with a dash of scandal, saucy, and the supernatural?
Angelica – A Victorian couple spirals into paranormal horrors thanks to puritanical repression in this brooding 2017 tale starring Jena Malone (The Neon Demon), Janet McTeer (Albert Nobbs), and Ed Stoppard (The Frankenstein Chronicles). Ghostly photography, flashbulbs, and empty chairs contrast the bustles, parasols, and formalities before lanterns, carriages, fine townhouses, and storms. Bedridden confessions lead to earlier courtings with circus sideshows and talk of Darwinism versus the stiff upper lip British tapering their animal appetites. The microscope revealing disease causing organisms is almost as fantastic as the camera capturing spirits, and while it’s okay for a young lady to work in a stationery store selling nibs and ink, she can’t see her future husband’s laboratory. Our humble orphan now in elaborate red dresses is called a counter jumper by the aristocratic ladies, and she’s fearful of the bridal bed before enjoying it in a scandalously active montage. Bells toll amid talk of losing a mother nor wanting to be one, and this birth is graphic, not maternal bliss thanks to scalpels, screams, and both lives at stake. Unfortunately, the doctor says another pregnancy is not worth the risk, and the couple should “desist entirely” and close her garden. Our husband doesn’t want to seek pleasure elsewhere, but she can’t get into other..options…and favors their toddler over him. Soon, she’s completely revolted by her husband and obsessively attached to the child, and the wife is made to feel guilty about her health and desires by everyone in tense Victorian melodrama. Men in suits have no trouble warping her mind, but they are shocked to see a woman enter the medical theater amid animals in cages, exposed brains, and disturbing experiments that put the creepy back into the complex characterizations. Strange noises, visions of germs in the air, bugs in the woodwork, and wardrobes that open by themselves lead to more anger as the husband dislikes the chaos his overprotective wife is causing in their home. She won’t let these apparitions prey on her daughter – who also sees this floating ectoplasm man in her room. Is she putting more notions in the imaginative child’s head? Is this mental illness or is the repressed sexual energy seeping into the house itself? The maid calls in a scam artist spiritualist to ring bells, burn sage, and banish the banshees. Rather than a charlatan taking advantage, however, there’s a woman to woman understanding and courage – a protection spell is more like peace of mind somewhere between being a modest mother and the shame of enjoying sex. There are also unspoken lesbian veils, entertaining women while your husband’s away, putting their feet on the table, showing their legs, and drinking his best port. Drunken undressings provide laughter instead of rattling doors, swarming entities, prayers, and fires against evil. If he is not at home, who is festering this supernatural activity? The drama before the horrors may be slow to viewers expecting in your face scares a minute, but the intriguing characters are intertwined with the fear. Our mother needs to destroy the snake manifestations and demon man coming for her daughter before her husband sends her to Bedlam, and the once beautiful interiors become stifling as ghostly sexual encounters escalate to mind and bodies becoming one with blood and penetrations of a different kind. Although the bookends are unnecessary and this seems caught between two audiences – too much drama for horror fans and intrusive paranormal activity for period piece viewers – such Victorian horror drama with a touch of LGBT is perfect for fans of gothic mood and psycho-sexual dreadfuls.
Lizzie– Maid Kristen Stewart (Twilight) gets steamy with the titular turn of the century murderess Chloe Sevingy (American Horror Story) in this 2018 biopic accented with fine costumes, rustic lighting, and vintage Victorian interiors. Six months before the screams and blood, the buttoned-up, repressed daughter is already defiant against the patriarchal oppression by going to theatre parties unaccompanied where low cut, colorful frocks contrast the tight collars and immediate sexual tension at home. The Bordens can’t have anything too extravagant despite being able to afford it, and Lizzie prefers the barn and animals to people, reading aloud in an innocent but antisocial loneliness. While some dialogue is a little too modern, our eponymous lady has a progressive, forceful, even masculine energy that can’t be contained with fainting spells. Our old maid is called a lesbian abomination but in turn rightfully calls her perverse, abusive father a lying coward before creaking floorboards, broken mirrors slid under the door, revenge injuries, and burned documents reveal the truth. The up-close camera often peers through the window, catching the glances as each lady looks at each other – the audience is in on the intimate possibilities but when your employer suggests his servant leave the door to her hot attic room open, she can’t exactly say no. The strict orders and behind closed doors implications are uncomfortable enough without the often seen exploitative, degrading visuals, and the women bond during intimate undressings and corset tightenings. Theft and rebellious acts increase amid suspicious business deals, threatening letters, and whispering relatives. The women have to eavesdrop to learn what the men are planning for them before violent punishments and one and all sitting at the dinner table like nothing has happened. Is murder the only way out of the hypocrisy? Were the violent tendencies always there or could you be crazy in love enough to kill? The ax is shown throughout the potboiler, and although the stifling camerawork may be disorienting to some viewers, it mirrors the closeness when it is both welcomed by the women or invaded by nasty men. Regardless of height, the unprotected ladies must look up to the creepy uncles, diminished and fearful of physical violence. Retro photo pops accent the bludgeoning editing before jail and witnesses on the stand provide the fallout from this infamous hatcheting. Premeditated accomplices, church bells, deliberate nudity, and out of control horror are worth the wait once the finale reveals the symbolically sexual posturing, vomit, and splatter. Some people just don’t have the stomach for this sort of thing while others so smooth have thought of everything. There is some unevenness with the characters – probably from when the project was envisioned as a television piece with bigger roles – and the killer romance meets Victorian women’s lib messages are mixed. However despite liberties suggesting what went on in this congested house and a decidedly quiet, not mainstream style that won’t be for everyone, this interesting perspective will have viewers studying this disturbing murder case with a sympathetic, personal anew.
Rebecca – Artistic ingenue Emilia Fox (Merlin) – companion to wealthy gossip Faye Dunaway (Don Juan DeMarco) – is smitten by the suave yet mysterious Charles Dance (Bleak House) in this 1997 three hour Masterpiece adaptation of the Daphne Du Maurier novel. Sublime style, flapper headbands, candlelight, and long stem cigarettes add to the whirlwind 1927 Riviera’s scenic drives, classic convertibles, and charming hats. Unlike the immediately gothic grayscale of Alfred Hitchcock’s 1940 version, vivid color and visual depth layer this initially idyllic romance. Our unusual couple have each been shy, lonely, and sad, but Maxim de Winter admires this young lady’s innocence and honesty compared to the gilded aristocracy. Picnics, boat rides, a silly girl, a foolish old man – can they make a go of their differences? The dangerous curves and perilous drives suggest something slightly sinister brewing amid glimpses of the unforgettable and beloved by all Rebecca. It’s been a year since her death, yet everyone must remind Maxim of his late wife upon this surprising second marriage. The newlyweds return to the lovely English gardens and proper decorum at Manderley, the estate where the Emmy winning Diana Rigg’s (On Her Majesty’s Secret Service) icy housekeeper Mrs. Danvers won’t let go of the first Mrs. DeWinter’s memory. The household reception is awkward and chilly – the coastal brightness turns darker thanks to shadow schemes, lighting changes, and the looming silhouettes of both Mrs. Danvers and Rebecca. Despite being a large estate with a west wing facing the sea, the hefty staircases, huge windows, and great fireplace feel congested, closing in on the new, nervous Mrs. as she gets lost wandering the shuttered parts of the house, breaks priceless statues, and hangs her head like an admonished little girl. She doesn’t fit into the upper-class routine, but the brooding, often misunderstood Maxim doesn’t want her to become like those other cruel, aristocratic dames. Everyone is so heavy handed, formal, and not just unhelpful but resentful of how unlike Rebecca she is, and the couple regrets returning home to the rocky cliffs, beachside cottages, and distrustful staff. Crazy hermits, past gossip, vogue cousins too close for comfort, recreating previous fancy dress balls, and one big costuming faux pas strain the relationship further, but she can’t exactly ask her new husband about why the pieces on how Rebecca drowned aren’t coming together. Her room is still kept as is, almost in worship where our devoted housekeeper can express her creepy vicarious and pathetic intimacy, re-enacting brushing her madam’s hair and laying out her perfumed nightgown. Was Rebecca really so perfect? If she wasn’t would anybody actually say so? Her presence is overwhelming – not because of any actually supernatural mood or ghost, but because the obsessed Mrs. Danvers won’t let anyone forget, placing the fanatical pressures of her devotion on the second Mrs. de Winter. Foreboding strings add more ominous, however, the suspense is certainly helped by Maxim’s not coming clean on his life with Rebecca at the start. While some scenes are very similar to Hitchcock’s vision, this is also closer to the novel, and even if you’ve seen other adaptations, viewers are swept up in wondering how the secrets will play out in the finale. Fog, vintage boats, watery evidence, mistaken identities, inquests – the circumstances surrounding Rebecca’s life and death come to light, but our servant oversteps her bounds with cruelty, jealousy, and bullying suicidal whispers just to assure Rebecca everyone thought they knew and loved won’t die. Though more romantic than true crime, the fresh love, and warped liaisons are told swift and honestly as the scandalous true colors are revealed with fainting spells, medical discoveries, fiery rescues, and kisses in the rain. Indeed all the gothic staples are here with period mood and performances to match.
The Turn of the Screw – Downton Abbey alum Michelle Dockery joins Dan Stevens (again) and Nicola Walker (MI-5) in this ninety-minute 2009 BBC adaptation of the Henry James askew moving the repressed ambiguity to 1921 institutions with post-war doctors analyzing our governess’ infatuation with her employer, the topsy turvy male shortage, and of kilter Bly Manor. Fashions, hats, sweet automobiles, fine woodwork, and hefty antiques sell the refreshing setting, however, the nonsensical strobe flashes look amateur on top of the time-wasting, disjointed doctoring add-ons, and unnecessary narration. Visions of dalliances that initially upgrade the Victorian scandalous soon hit the viewer over the head one too many times as the governess imagines her master and his saucy approval. She insists she’s not the nervous type, but the dark interiors, maze-like staircases, and distorted camera angles add to the strange noises and creepy country manor unease. She’s in charge, above housekeepers and maids, but there are too many flighty women doing all the work in this house. Parasols and summer white contrast eerie fog and trains as her boy charge is expelled from school without explanation. The cheeky children whisper about their previous, pretty governess – unbothered by screams, accidents, or dying maids. Melancholy piano music, graveyard echoes, dark figures amid the trees, and faces in the window build on the female isolation, yet all insist there are no ghosts – surely she’s just hysterical, overwrought, and obsessed with men. Rumors of suicide and a woman ruined by her lover seem proved by hidden pictures of the master’s up to no good valet, and tales of his violence among the unprotected women are better than seeing suspect flashbacks. The prim style degrades to loose hair and nightgowns as our governess jumps to dire conclusions and possessive delirium, but the shouting about it afterward with her doctor interruptions break the tainted picnics and frantic tension. We don’t need his sounding board to deduce her fears, just let us see the abusive violence and water perils. Crazy laughter and disembodied voices escalate as the phantoms, repression, and projection possibilities culminate in a one on one battle for the truth. The deviations here are flawed, and while the horror lite is fine for gothic period piece fans, some viewers will expect more than to have it both ways attempt at the ghosts and crazy ambiguity. This isn’t the best version but thanks to the cast and unique setting, it can be a good introduction for audiences who haven’t seen The Innocents.
This story revolves around a place called Blackwater Val. The main characters are Richard and his daughter Katie, who is six-years-old. He takes her back to where he is from to take care of some personal things. Richard realizes right away that he has forgotten a lot of his past, but that he is starting to slowly remember. Blackwater Val seems so normal at first, but strange things are starting to happen and a dark past is being uncovered. Although Richard starts to remember his past, what he thinks he knows is not always accurate or true and we learn along with Richard.
I found myself writing a list of what I perceived to be the monsters, ghosts, demons, or bad guys in the story. There seemed to be quite a few. I kept wondering who the bad guy was and was he controlling them all. I liked that even though I thought I knew who the bad guy was, it wasn’t that simple. The story also brought in true facts from the past about the Indians in the area and the wrong that was done to them. Although Blackwater Val is not a true place, the locations around it are. I also found myself looking up things on Google, wondering which parts were real and not. I can now officially say I know a lot more about Suak Indians.
This is a definite horror story and there is blood and guts aplenty. This is a classic good vs evil tale, but nothing is simple as lines are drawn and a battle unfolds. The details and story are clear and you will stay up and be kept engaged and rooting for the good guys to win. The story has several twists that will make you go, “Wow.” There is also an element of magic and special gifts introduced into the story. There is not really a romance in the story but it has a romantic element with a strong sense of family and friends.
The main evil in the story is very twisted and scary and relentless throughout the story. Clearly, Blackwater Val brings out the worst in some people. The author does a great job of bringing his characters to life and keeps you wondering how the story will end and who will come out okay. The story gives a good ending but leaves an opening that not all is settled and done. Can’t wait to read the sequel.
When my daughters were young, we listened to Dad’s radio station when Dad was driving. This was back in the days when you were lucky if your vehicle had even so much as a cassette player, so I, being a child of the 60s, had oldies radio stations mapped out for the entire route, wherever we might go. As we passed through Dalton, Georgia, for example, we would let the Chattanooga oldies station go and switch over to the Atlanta station. And so on, all the way down to the southwestern tip of Florida, a frequent destination.
When I was home, all the buttons were set to the local oldies station, WMAK-FM, until that horrible morning in about 2003 when I got in my car and discovered that the station had changed format overnight to ‘whatever we want to play’. Which was not oldies, and not acceptable. After my first “Dude, where’s my radio station?” reaction, I found another one to program all the buttons for, but eventually had to give up and buy a car with a six-CD changer. It was a rag-top Mustang, so that was all right, but I still missed the spontaneity of wondering what great song by the Beatles or the Supremes or Marvin Gaye or Joni Mitchell that Coyote McCloud (God rest his soul) would offer up after this brief message from our sponsor.
Before that horrible day, however, my daughters’ friends would often ask, “Why does your dad listen to so many TV commercials?”, after I’d dropped them and my offspring at the skating rink or movie house or factory for their twelve hour shifts gluing labels onto bottles of shoe blacking. Even in those halcyon days, television advertisers mined no-longer-current popular music for the soundtracks of the mini-dramas designed to entice you to buy their specific brand of depilatory or laxative or breakfast cereal, which my less-enlightened passengers confused with my choices in musical entertainments. Think Bob Seger and Chevy Trucks.
At least “Like a Rock” makes sense. Trucks are supposed to be tough and solid, like a rock. They should have more mobility than your average boulder, but that’s beside the point. The song fits the commercial. Not all do.
I recall one ad for a cell phone company that used a song from 1973 by the glam-rock band T-Rex. It’s a great piece with a driving guitar hook, but somehow ‘Twentieth-Century Boy’ just doesn’t seem quite right for a 21st Century technology. Similarly, the one for some product I was too appalled to remember suggested that supreme happiness was attainable only by using said product via the medium of having a lovely young lady rip rapturously through what opera buffs know as ‘The Staccatos’, smiling ludicrously as she (probably) lip-synced whatever coloratura soprano actually sang the aria from which they were so rudely plucked. For ‘The Staccatos’ are notoriously challenging for even an experienced diva, and anyone who can do them well can make a lot of money singing them regularly at the Met or La Scala or Covent Garden. I couldn’t recall ever having seen her perform them onstage, on television or in a video, hence my suspicion that she was a shill.
They are also not a part of a happy aria. Not even close. ‘Der Hölle Rache kocht in meinem Herzen’ (usually shortened to ‘Der Hölle Rache’) is about as far from being the light, pleasant piece the advertisers apparently believed it to be as possible. It is dark, it is direful, it is full of horrific forebodings. The title, which is, as is usual for operatic arias, the first line, translates to “Hell’s vengeance boils in my heart’. Which seems to me unlikely to inspire much confidence among average consumers – but maybe I’m wrong. Maybe there are masses of Americans ready to insert something or other into one or another of their various corporeal orifices the creation, manufacture, and marketing of which was inspired by the wrathful rage of His Satanic Majesty.
For various reasons not appropriate for expression here, it occurs to me that perhaps there are such people in this country who are comfortable with a proposition of that nature. Regardless, I only saw the commercial once, and never again, so, maybe there aren’t. That does leave us with this question, though: What makes this either horror related, or women in horror related?
The piece is often referred to as ‘The Queen of the Night’ because that is the character who, in the second act of Wolfgang Amadeus Mozart’s final opera, Die Zauberflöte (The Magic Flute), sings it. Die Könegin der Nacht, as she is called in the opera’s original German, is an amalgamation of every evil sorceress and wicked stepmother in all the fairy tales of The Brothers Grimm and Charles Perrault combined. She has decided that one Sarastro, high priest of the cult her daughter has joined, needs to be killed, and is such a horrific monster of a being that she hands the girl a knife and tells her to do the dirty deed herself, or be disowned and cursed.
As is often the case, the true horror lies in the presentation, and for this, one must needs judge how much menace and terror each great soprano is capable of bringing to the stage. Some bring more, some less. Some none. And a few, well, they just bring it.
Many have sung the role since 1791. The best are probably lost to the mists of time. The first was Mozart’s own sister-in-law, Josepha Hofer, who sang it to great acclaim for ten years. Alas, the technology to record the human voice wasn’t available for almost a century after Mozart’s demise, which occurred two weeks after the opera premiered. Fortunately, we do have quality recordings of many more recent divas essaying the role so that it is possible for me to pick a specific one to recommend, one in which all the fear and terror the Queen of the Night herself is capable of inflicting is brought down most brutally upon her poor offspring. And upon a receptive audience.
There are certain roles in opera that have become closely associated with specific singers in the minds of those of us that enjoy the artform. We might not all necessarily make the same connections, but I suspect we would understand why someone else might. I think of Aida, for example, and Leontyne Price comes to mind. Mention Medea, and Maria Callas pops up. Lucia di Lammermoor, Joan Sutherland. Violetta from La Traviata, Anna Moffo. For some, Lucia Popp is inextricably connected to her first starring role, which was The Queen of the Night, and I can see why some might feel that way. There are those who consider her the greatest Queen of all time. And again, I can see why, if only at a distance of nearly sixty years and based solely on the one audio recording we have of her performance. Which I love. She had an incredible voice and a technical mastery of it that made it truly magical. However, for me, the crystalline clarity of her divine instrument was just a little light for the weight of the horror that the role demands. The Queen is not a being of light, or lightness. The one video recording of her in the opera was from 1983, and she played the daughter, Pamina. This seems to me a more fitting role for her, if only in consideration of the one prima donna I and many opera buffs agree was, and still is, the best ever.
I would like for the populace to pay particular attention to the following video at the two minute and nine second mark. As was once said of Cruella DeVille, if this doesn’t scare you, no evil thing will. Prithee, watch it before continuing on. I’ll wait for you, right over here.
That is German soprano Diana Damrau. She has practically made a career out of playing this part. There are several videos on YouTube that showcase not only her skill as a singer, but as an actress able to project the appropriate menace the role calls for. This one, though. This one gets to me at that 2:09 mark, when she lifts her gaze to yours and snatches the very soul from your helpless body.
Women characters in operas are so often the tragically unwitting victims of careless or thoughtless or ruthless men, it’s refreshing to see a true villainess dominating the stage. And, so, The Queen of the Night is my nominee for the great female monster of her medium, even if Mozart couldn’t resist a happy ending for this work.
Curses, foiled again.
Speaking of women being the victims of the male villains in their lives, I would like to commend to the populace Mallory O’Meara’s recently published biography, The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick. Patrick was one of Disney’s first female animators and went from there to Universal Studios. In 1954, she was the primary designer of the head of the costume for the titular star of the classic horror film, Creature from the Black Lagoon. The studio planned a publicity tour with her playing Beauty to the Gill Man’s Beast, but the head of Universal’s makeup department, Bud Westmore, was having none of that. He took all the credit, got her fired out of his infantile masculine jealousy, and she was virtually forgotten.
That just pisses me off. What an asshole.
The book is quite well-written, and is available in hardback, as a trade paperback, and as an ebook. Highly recommended.
I can sense that we’re getting to the point that I can almost feel through the internet ether the seismic quiver of eyes glazing over and rolling back, so I’ll wrap this edition up by offering the populace a small lagniappe: a few of the sources I use in my research for your own perusal.
Please do feel free to browse around in the Internet Speculative Fiction Database.
I suspect you’ll be pleasantly surprised to find a few familiar names there. Yes, including mine, although their entry on my works is woefully inadequate. Guess I’m going to have to crack the whip on them.
My entry in the FictionMags Index is marginally better, I suppose, given that most of my shorter yarns have appeared in anthologies rather than magazines.
Why Do Women Writers WriteAbout Monsters or Ghosts?
Why would women write about monsters or ghosts? I am sure some readers say stick to writing romance or fantasy. But women have just as much right to write the scary stuff and about monsters as do their male counterparts. After all, in the long run, it’s all about the story.
At BBC.com, an article mentioned how women writers “often found the supernatural a way to challenge and condemn their role in society.” It seems male writers have dominated supernatural fiction, like M R James, Edgar Allan Poe, HP Lovecraft, Joseph Sheridan Le Fanu, Oliver Onions, and others. But female writers have been on the horror scene in the past, too. Shirley Jackson, for instance. She wrote The Haunting of Hill House, the only story that has scared me in the daytime, in a room full of people. Others had to do it at night, with me in a room alone. Susan Hill, who wrote Woman in Black, is another. A classic ghost story from 1892 is Charlotte Perkins Gilman’s “The Yellow Wallpaper.” The author’s nameless narrator, suffering from post-natal depression, is confined to bed rest under the care of her doctor husband, when begins to lose her mind. Confined to an old nursery with ghastly wallpaper, she sees strangled heads and unblinking “bulbous eyes” in its pattern. Eventually, a skulking female figure appears, seemingly trapped behind the bars of its design. Is it the narrator’s own hidden self? When her husband enters to find her tearing down the wallpaper, she tells him, “I’ve got out at last. And I’ve pulled off most of the paper, so you can’t put me back!”
Do women authors use ghost stories to exorcise their resentments over societal restrictions? The ghost in their tale is the ultimate outsider – an absent presence, all-seeing and yet unable to partake of life in any meaningful way. Do we have insight differently from male writers? Can what a woman writes be more downright frightening than what a man writes? Does the way we pen the words on paper or type onscreen haunt the person as they read? Maybe we even make the monster sympathetic. Still horrifying, but a monster the reader will care about and cheer on. Or not.
Looking for some great spooky reads? Next time, check out female horror authors. I am sure readers already know about; Anne Rice, Sarah Pinborough, Laurell K. Hamilton, and Caitlin R. Kiernan. Others you can check out are Tanith Lee, Elizabeth Massie, Lisa Morton, Yvonne Navarro, Carrie Ryan, Cherie Priest, Chelsea Quinn Yarbro, Kari Kilgore, Susan Schwartz, and much, much more. Take a step away from traditionally published authors and try out indie writers as there are great reads by them, too. An excellent place to find more women horror writers is atHorror Writers Association. Try someone new today.
Instead of picking up the latest Stephen King novel or of books written by other male horror authors, try several feminine writers instead. We just might bring “SCARE” to a whole new level.
Journey to worlds of fantasy, beyond the stars, and into the vortex of terror with the written word of Pamela K. Kinney.
Author Pamela K. Kinney gave up long ago trying not to listen to the voices in her head and has written horror, fantasy. science fiction, along with six nonfiction ghost books ever since. Her horror short story, “Bottled Spirits,” was runner-up for the 2013 WSFA Small Press Award. Her horror poem, “Dementia,” included in HWA Poetry Showcase Volume VII,won “Best Poem: for 23rd Annual Critters Readers Poll (2020).
Besides writing, Pamela has acted on stage and film and investigates the paranormal for episodes of Paranormal World Seekers. She is a member of Horror Writers Association and Virginia Writers Club.
At 4:04 am on Dec 14th 2020, Crystal Connor, finally settled into her sleeping bag on the couch with snacks within reach, and with dog in lap she picked up her remote. The footage you are about to see chronicles the harrowing experience that her neighbors endured for hours as she screamed, cried, and shouted expletive obscenities at her television as she watched:
Plotline: A man providing overnight watch to a deceased member of his former Orthodox Jewish community finds himself opposite a malevolent entity
Who would like it: Fans of demonic possessions, religious horror, cultural horror, international films, paranormal activity fans with like this as well.
High Points: This is very cultural specific. This is a story line that you won’t see anywhere else.
Thanks to the faux stained glass windows on the Halloween Cat Shelter and a serendipitous black drapery seen in my Halloween Thrift Haul video, my ideas for a fake window room divider can now come to fruition! Can cardboard be painted like stained glass of olde? Will a Goodwill curtain create the perfect backdrop? Can Kbatz work on the floor without the cat stepping in paint? Yes, yes, yes!
After not saving much cardboard over plague fears, I finally kept two large boxes that were too good not to re-purpose – cutting the flaps open and taping the folds with masking tape to create an accordion style divider that can stand on its own. This is both tall enough to hold the thrift valance above me as a photo backdrop (a black curtain behind black clothes wouldn’t help very much!) yet short enough to move under the rafters in my Dark Shadows Basement Studio. I laid the cardboard on the floor, using a thrift yardstick and an old school protractor to measure and draw grid lines for the window panes. Working with the cardboard folds created window squares or rectangles either eight or ten inches – a simple pattern in that Dark Shadows spirit mimicking both the stained glass windows at the top of the Collinwood foyer stairs as well as the fake studio window of the drawing room. Did you expect anything else from me? 🙂 The pencil line panes were retraced in black marker and then a coat of black paint, but the perimeter cardboard will be brown to match my wall color. Before committing to painting the window directly on the cardboard, however, I practiced in Photoshop with some random but symmetrical color patterns of red, green, yellow, and orange panes to compliment the majority faux glass blue. Once I was certain on my template, I marked each pane color before multiple, darkening coats of the red, yellow, and orange – mixing each with brown for a deep but faded hue a la ye olde. New Spring Green and Caribbean Blue paint colors were mixed with a darker Cobalt Blue for their depth, and after a day of drying time, it felt like forever touching up all the black grid lines, but it was really only two days.
Now it was time for the black valance, which was too short for my tall divider so two similar dollar store table runners were cut in threes and sew back together to match the panel widths before being sewn to the bottom of the curtains themselves. The runner lengths didn’t quite match either, but when drawn back with simple black ties, their tiered length creates a fine layered drape. While these fabrics are not durable quality for a real curtain in an active area – and the seam fraying, jammed threads, and bobbin breaks might discouraged beginning sewers – they work perfectly for a backdrop facade. The valance was loosely gathered and glued to the top edge of the cardboard using my preferred hot glue. Rather than a tougher adhesive or stapling, hot glue makes for an easier removal if needed, and the curtain sides are simply taped in the back so they can remain adjustable. The fabric can flip behind the cardboard if it needs to be out of the way, and tassels or faux vines or other ~aesthetics can be added as needed. While not everyone may need a large divider like this, the faux window painting technique is perfect for adding a gothic frame anywhere in your space and the kids can have some cardboard fun, too. Thanks to a $4 curtain, $25 in paints, $1 masking tape, $2 table runners, and free cardboard, a gothic vision came together with a clutter-hiding chef’s kiss.
Was our full version with week-by-week updates too much for you? Now we have a slim version that is only the month spreads plus all the other sheet goodies in the back. Need a thin version to carry with you? Don’t want to have to write in it everyday? This new SLIM version is for you!
Announcing a price reduction on our DIGITAL Spooky Writer’s Plannerversion! The quick-download version gives you a digital copy so you can print the pages you want, print multiples of those you think you’ll use the most, leave those you won’t use, and create your own Frankenstein’s Monster of a planner! These pages are designed to be printed on 8.5 x 11-inch paper. You can put them in a three-ring binder, bind them with disks, or a spiral, as you choose. You can print different sheets on different colors.
When I first saw these books on the shelves, I got excited. Qwaser (even though spelled differently) brought up images of space and the Red Dwarf episode (Waiting for God) when Rimmer mistakes the garbage pod for a quazar warrior. Stigmata is of course the legendary story of the bleeding wounds of Christ on humans.
This story has shades of that, but is so much more. I enjoy religious conspiracy as much as the next guy, but this tale was a bit much even for me. If you are sensitive to sexualized stories, especially mixed with religion, you will not enjoy this series.
Not only is there the normal large boob and crotch shots that come with most manga of this kind, there is religious meaning to breast feeding and feeding people much older than babies going on.
The story goes like this…
There is a Russian Orthodox kind of religious sect that are sworn to protect a girl and there are others coming to kill her. Every time the baddies come to kill her, her protector must suckle power from her breasts to defeat them. Sasha, the warrior protector is pretty cool. His weapon of choice is a scythe, he has a large scar across his face, and is not the worst guy to have drinking your breast milk.
Although I liked the general concept, the breastfeeding got old really fast. I also didn’t like the shots of young girls being tied up, tortured, and raped against their will. Even Sasha, who is portrayed as this hot young guy, has no interest in the girls sexually… he just uses them for their milk and otherwise ignores them.
If you are in to S&M, you might want to check it out, although I think it may have too much back-story to be enjoyable to you. If you are in to religious conspiracy, you may want to skip this one.
While the warrior, priest, and baddies can be cool sometimes, it wasn’t enough for me to want to go past Volume 2.
Horror is my favorite genre in fiction and I read across all of its sub-genres including true crime, psychological horror, comedy horror, from novels to short story collections, dark poetry and anthologies. A random search for horror books throws up the usual fare from Stephen King, Joe Hill, Josh Malerman, Kealan Patrick Burke. While I have loved books by all these writers, women authors in the genre don’t show up as easily, with the exception of Shirley Jackson and Mary Shelley for their classic works. I thought back to all the books I’ve read and the ones in my to-read list and came up with this listicle of horror stories from women writers. These include translated books as well as original language ones, novellas, novels, collections, prose and poetry, fiction and non-fiction by writers, translators, editors, and publishers who create terror through words. From historical fiction, science fiction, young adult, satire, to mythology, folklore, speculative fiction, re-telling of true events, and dark verses – take your pick. Since February is coming up, I compiled a list of twenty-eight women in horror – one book recommendation for each day of the month.
Agustina Maria Bazterrica – Tender is the Flesh
A virus has eradicated animals, and humanity turns to cannibalism for its source of meat as humans are domesticated, mass produced, and slaughtered. Translated from the Spanish, a nauseating and provocative satire that blends science fiction with horror.
2. Ally Blue – Down
An underwater, paranormal suspense fest surrounding the discovery of a rock-like sphere that causes humans to mutate and turn into horror versions of themselves.
3. Alma Katsu – The Deep
Historical fiction horror set around the events of the Titanic and its sister ship the Britannic. The maritime disaster and World War I are caught in sinister happenings in this supernatural thriller.
4. Cassandra Khaw – Rupert Wong, Cannibal Chef
A novella about the dual life of a sorcerer and soldier, combining horror and comedy with Malaysian and Chinese mythology.
5. Christina Henry – The Ghost Tree
YA horror about missing people and terrifying visions of monsters dragging remains. Ghostly trees, creepy children, witches and curses – almost like watching a horror movie.
6. Christina Sng – Dreamscapes
Horror, fantasy, and science fiction come together in this poetry collection that addresses the darkness within. Verses that serve to unsettle and terrify, proving how poetry can be more impactful than prose.
7. Elizabeth Kostova – The Historian
A historical fiction Dracula story moving across time and place with shifting narrator perspectives. A debut vampire novel that interweaves history with folklore and makes for a riveting read.
8. Fernanda Melchor – Hurricane Season
Mythology and terror from Spanish literature, with the English translation maintaining the grim, intense and graphic prose of its original source in this portrait of a Mexican village and its witch.
9. Francine Toon – Pine
A haunting tale in the Scottish highlands, filled with intrigue and eeriness, alternating between terrifying and heart wrenching, spooky and suspenseful in equal measures.
10. Gemma Amor – Dear Laura
A novella of lifelong obsession, this dark, twisted tale about penpals stands out for its brilliantly atmospheric writing.
11.Jennifer Hillier – Wonderland
Psychological thriller, amusement park, serial killer – gruesome and wicked as you set out to solve crimes.
12. Jennifer McMahon – Winter People
Historical fiction meets fantasy in this chilling story of missing people and secrets galore.
13. Joyce Carol Oates – The Doll Master
A collection of short stories that borrows its title from an obsession over dolls, and leads into an unsettling world of abominations and mystery.
14. Kaaron Warren – Into Bones Like Oil
A haunted house novella with an unconventional narrative and storyline, and an interesting take on the ghost story.
15. Kathe Koja – The Cipher
Winner of the Bram Stoker award for Best Debut Novel, The Funhole does not live up to its name. A black hole that calls out and launches a journey of obsession, darkness, and blinding terror of classic horror in spectacular prose.
16. Laura Purcell – The Silent Companions
There’s nothing like historical fiction for a dose of gothic horror. An asylum, a haunted mansion, intriguing journals, hidden secrets – a creepy ghost story that grabs the attention from beginning to end.
17. Laurel Hightower – Crossroads
An exceptional novella dealing with the horrors of heartbreak and grief, and things coming back from the dead. An emotional and devastating read that shows you just how diverse the horror genre can be.
18. Lee Murray – Grotesque
A collection of monster stories that range from mythology to legend and science fiction offering a dip into Maori folklore and French history, zombie attacks and adventures. Packed with action and gore, the stories are a delight for monster fans.
19. Lisa Kröger – Monster, She Wrote
Why read one horror story when you can read about them all? A non-fiction horror book about women who pioneered the genres of horror and speculative fiction; writers who defied convention and crafted some stellar spooky tales. From ghost stories to psychological horror, intriguing trivia and reading recommendations, a book about books not to be missed.
20. Lucy A. Snyder – Sparks and Shadows
A dark fantasy collection of short stories, poems, and essays. Twisted tales in myriad settings, witty and diverse, horrifying, amusing, and thought provoking.
21. Mariana Enriquez – Things We Lost in the Fire
A short story collection of the macabre, mixing magical realism with gothic fiction in this astonishing treat from Spanish literature brought to us in English by translator Megan McDowell.
22. Mariko Koike – The Graveyard Apartment
Detective fiction and horror writing come together in this translation from Japanese literature of psychological horror set around a graveyard. Deborah Boehm brings this to us in English.
23. Michelle Paver – Thin Air
A historical fiction ghost story set in the Himalayas. Nature can be brutal enough, but what if it isn’t the only thing you’re battling? Subtle supernatural elements, more psychological rather than physical, can be more horrific at times.
24. Nalo Hopkinson – Skin Folk
A short story collection of magical realism, science fiction, fantasy, and speculative fiction interweaved with horror. Storytelling at its best.
25. Samanta Schweblin – Fever Dream
Some more magical realism from Spanish literature is this surreal nightmare of an otherworldly story. Menacing, unsettling, and thoroughly absorbing in its usage of horror to explore current world issues.
26. Taeko Kono – Toddler Hunting
An exceptional collection of Japanese short stories that explore the dark side of human nature and antisocial behavior. Lucy North translates to English to bring us a startling and disquieting world.
27. Yoko Ogawa – Revenge
Another dark treat from Japanese literature in an experimental format of seemingly unrelated short stories coming together to form a larger novel. Bland settings and ordinary people up the ante of terrors lurking in everyday life.
28. Yrsa Sigurdardottir – I Remember You
Scandinavian Nordic noir of isolation and remoteness; horror based on true events. Translated from the Icelandic, a ghost story that proffers the chills.
~Three bonus books for the women who lead the way as editors and publishers~
Lee Murray and Geneve Flynn – Black Cranes
A collection of short stories by Asian writers, highlighting the dual themes of women in horror and Asian women writers. A smorgasbord of mythology, legend, folklore, science fiction, comedy horror, satire, dark fantasy.
2. Aiki Flinthart – Relics, Wrecks, and Ruins
A collection of science fiction and fantasy with horror to showcase the remnants of humanity and celebrate a legacy.
3. Tricia Reeks – Meerkat Press
The publishing house comes out with some very different but very good books, in equal parts weird, unique, and dark.
Renata Parvey is a Nutritionist by profession; marathon runner and Odissi dancer by passion. Driven by sports, music, animals, plants, literature and more. Reads across several genres and languages, and loves the world of horror – in both, books and movies.
“Sophia was a bohsia, okay? End of story.”Irfan put out his cigarette as he strolled home with his best buddy, Dinesh.“What is it with girls and women nowadays?” Dinesh said sadly. “They used to be so sweet and gadis baik (good girl types).”
“Nowadays, love stands for legs-open-very-easily.” Irfan looked around at the leaves rustling in the breeze. “Glad Sophia was just a one night stand. That’s all she was worth.”
Sophia, he thought. Pretty face…cute curves…and a little bit of a birdbrain.
She had a thing for bad boys with motorcycles. Irfan was the hot bad boy that many girls found irresistible.
It was too bad that she had recently gotten into a terrible highway accident involving a drunk rider. Sophia hadn’t made it out alive.
“Do you have any regrets?” Dinesh asked.
The two young men let the silence in the air do most of the talking. Sophia had become a stage five clinger relatively quickly after hooking up with Irfan. Perhaps her absence was somewhat of a relief if Irfan wanted to be honest about it.
“Anyway, I’ll see you tomorrow. I—” Dinesh froze for a second as he felt something ice-cold rush through his body. The impact was almost enough to knock him off his feet.
The voice of a banshee screeched: “The baby was YOURS!!!”
When Dinesh turned around, Irfan was lying eviscerated on the ground. A pale ghostly image with Sophia’s face and bloodied hands hovered over Irfan’s dead body before vanishing off into the woods.
Perhaps Irfan would have expressed some regrets, if he was still able to respond.
Author Bio: Jess Chua is a writer and editor for a personal development podcast. Her microfiction was a runner-up in the Mysterious Photograph contest at Alfred Hitchcock Mystery Magazine. She enjoys yoga, healthy cooking, and spending time with her pets. Her website is www.jesschuabooks.com
This month we are celebrating Women in Horror Month here at HorrorAddicts.net. This month we will bring you contemporary women writers, women writers of old, women movie directors, actresses, characters, and even artists who have brought to life some of those scary monsters we have nightmares about.
You’ll meet women who look like demure housewives but pen horrible, frightening beings who suck your blood! You will read some newly written material and some treasures from the vault.
You’ll hear some of the joys and the challenges of being a woman trying to make her way into the genre, let alone getting to the top of the gravestone.
Join us daily as we celebrate Women in Horror during February.
Brian Craddock is widely published in horror anthologies, establishing a lead in character Richard Dalziel to navigate the majority of his short fiction. Collected, these stories are The Dalziel Files, set around the globe. Of these, “Ismail’s Expulsion”, set in Pakistan, won the Long Fiction Award at the 2018 Australian Shadows Awards. Brian has two novels available: Chuwa: The Rat People of Lahore (set in Pakistan) and Eucalyptus Goth (set in Australia).
This horror/sci-fi short-story is set in Indonesia, in the future. I was inspired after meeting a group of children in Jakarta who use their local cemetery as a playground, due to lack of public parks to play in. They would put “makeup” on the angel statues, using chalk and crayons.
Six authors got together to play an impromptu story telling game. Join us and laugh as we try to make up spooky tales on the spot. Thanks to Kate Jonez and Omnium Gatherum for helping bring the Ghost Story Game to life… and thanks for the brave participants: Geneve Flynn, Lee Murray, Austin Gragg, Ryan Aussie Smith and Eric Shapiro.
About Angela Yuriko Smith
Angela Yuriko Smith is an American poet, publisher, and author with over 20 years of experience in newspaper journalism. She co-publishes Space and Time magazine with author husband Ryan Aussie Smith. For more information visit SpaceandTime.net
I happened upon Doors of Chaos by accident while on vacation in Los Angeles, visiting a store called Anime Love. This manga by Ryoko Mitsuki is about twin sisters who control the four doors that protect their world from descending into chaos. Clarissa is the key to open the doors. Mizeria is the key to close the doors. On their “coming of age” day, their guardian and teacher, Rikhter, kidnaps Clarissa and begins to open all the doors through which demons pour through. Mizeria, the sister left behind, is suddenly introduced to a race of people who have been sent to protect her. She is completely confused. She thought she was the less powerful sister and that Rikhter was noble. She soon finds he is using her sister Clarissa for his own gains and that Mizeria is the only one who can stop the destruction of her world.
This manga’s art stays true to the intricate goth-loli style. The girls are clad in multiple petticoats and long hair in ribbons with elaborate tattoos trailing all over their pale skin. The men of this world are clothed in a mix of traditional Victorian frock coats with ascots and French Renaissance breeches with knee boots. The other worldly creature that comes to protect Mizeria is more of an anime waif with bandages like Rei Ayanami from Neon Genesis Evangelion. He wears what looks to be animal skins, chains, and sports the same sort of tattooing the girls do. There’s also a freaky guy cloaked in what can only be called a trenchcoat length straightjacket.
The art in this manga is top shelf. If for no other reason, pick this up to stare at the excellent artistic style of this manga. It doesn’t have much of those annoying reiterations that some anime books have when the chapters switch. The story is good and the dialog makes sense. There is a touch of the slave fetish in this book as well as very mild nudity. Demons are a touch gorier that normal, but violence is nothing out of the common way.
I recommend this manga for any anime reader and one of the few I would read a traditional novel about.
Clocks, keys, demons, and an excellent story, what more can you ask for in a manga?
I tend to be a Johnny-come-lately to famous TV programs. I don’t maintain cable or streaming subscriptions, so I catch up with the programs I choose to watch after they come out on DVD, sometimes years later. This year, I am getting caught up with The Walking Dead, and at the moment, I am watching season seven. I am now getting to know Negan.
I knew that Negan was a controversial character. Some fans hated him enough to abandon the series entirely after his brutal debut. Others have considered him the best long-term villain yet; for my part, I haven’t formulated my opinion on that. I’ve been too busy noticing something else. Negan shows how far people have descended from civilization as we know it by serving as a throwback to a style of leadership as old as the late Neolithic. Specifically, he breathes life into something I have read about only recently.
Since childhood, I’ve maintained a fascination with ancient Egypt. I’ve kept up, more or less, with major discoveries and at least the outlines of Egyptian history as our understanding has shifted over the years. The Egyptians were a civilized and humane people, comparing favorably with most of their neighbors, most of the time. At the earliest stage of their history, though, even they practiced a form of human sacrifice. The burial of a king’s retainers with him after he died went on through the end of the second dynasty, before the first of the pyramids was built.
More recently, I became aware of even darker currents in the predynastic period. Two years ago I read the first two volumes of John Romer’s History of Ancient Egypt. This was a fascinating and thought-provoking work, but the most intriguing of all was his reconstruction of the predynastic, about which we have learned so much in the last thirty years. Alongside the more benign notes, like the importance of cylindrical seals to the formation of Egyptian writing, came the startling revelation of the more brutal side of early chiefdoms in southern Egypt, above all in the important town of Nekhen.
Nekhen, later known as Hierakonpolis, was a major predynastic site that may have set many of the patterns of later pharaonic civilization. It is generally thought that the unifier of Egypt, Narmer, had come from Nekhen, and its patron god, Horus, became the first king of the gods under the unified state. Nekhen provides the earliest example of tomb paintings, significantly including boats as a major image. We also find the earliest examples of the royal Smiting motif in connection with early Nekhen chiefs.
The Smiting motif presents the king with his right arm raising a mace above his head, and his left hand grasping the hair of a kneeling foe. It is understood that the king is about to deal a crushing blow to the head of his enemy. In this historic period, this image was understood symbolically; it represented the king as the champion of the forces of order (a word synonymous with truth in Egyptian) defeating the powers of chaos.
Primitive versions of the Smiting motif were found at several predynastic sites in Egypt, with at least one estimated to around 3500 BC. While nineteenth-century scholars often thought the image suggested military conquest, more recent scholars tended to assume the motif held the same symbolic significance as it did in later centuries, until it was noted that a number of bodies found in predynastic graves near Nekhen showed the evidence of a crushing blow to the head. The Smiting image was therefore no mere symbol in the predynastic period, but a harsh reality for some members of the population. As this predates the written word even in Egypt, it is unlikely that we will ever know for sure the context of these killings. They may have been human sacrifices, or criminal executions, or something else entirely. The one thing we know with a high level of probability is that they were members of the same population, not foreign captives. Their bodies were buried in the same cemeteries with the same kinds of grave goods as those who died from natural causes, indicating membership in the same society.
In short, the predynastic people of Nekhen witnessed the same grim political theater that Rick Grimes and his team suffered when Negan killed Abraham and Glenn with Lucille. One or more people were killed by crushing blows to the head by a strong man who used the exercise to demonstrate his supremacy, or establish his dominion. With this as the true subtext of both cases, the introduction of Negan in The Walking Dead serves as an eerie parallel to real events taking place half the world and 5500 years earlier.
Michael Fassbender is a part-time writer in the Chicago area. His story “Inmate” appeared in Sanitarium Magazine in 2016; “The Cold Girl” appeared in Hypnos Magazine in 2016 and has resurfaced in October 2019 in a volume entitled Re-Haunts. “But Together We Are Strong” has appeared in the February 2020 issue of Horror Magazine, “Miroir de Vaugnac” found its place in Dark Divinations on May Day, and “Schattenlenker’s Hidden Treasure” was revealed in The Nightside Codex in August. This Halloween, “Old Growth” began spreading in Scary Stuff. You can read about more of his work on his website, michaeltfassbender.com.
In the early morning hours of Jan 2nd 2021, Crystal Connor, finally settled into her sleeping bag on the couch with snacks within reach and picked up her remote. The footage you are about to see chronicles the harrowing experience that her neighbors endured for hours as she screamed, cried, and shouted expletive obscenities at her television as she watched:
Anything for Jackson
Plotline: Satanist couple kidnap a pregnant woman so they can use an ancient spellbook to put their dead grandson’s spirit into her unborn child but end up summoning more than they bargained for.
Who would like it: Fan of the occult, possessions, creature features, ppl who love monsters, and everybody who loves endings that keep you guessing
High Points: The strong storyline and original plot
The Earl & the Fairy
by Mizue Tan, illustrated by Asako Takaboshi
In 19th century London, a man is beaten almost to death by a criminal. Meanwhile, Lydia, the last fairy doctor receives a letter from her father to come to London to see him. As Lydia boards the boat, she is kidnapped then later kidnapped again… But which man means her harm?
Can she escape from a pretend Edgar Earl and find safety with her father in London? Or is the fake Earl no fake at all? Does he truly need her help as a fairy doctor to find his fairy legacy? And will her fairy
friend Nico (who looks like a cat) be able to assist in finding the fairy sword?
This was an enjoyable manga that reminded me of Jack the Ripper but it’s slanted much more mystery than horror. However, it was interesting and I liked that some of the story took place on boats. Also loved soaking in the 19th century feel.
Geneve Flynn is a freelance editor from Australia who specialises in speculative fiction. Her horror short stories have been published in various markets, including Flame Tree Publishing, Things in the Well, and the Tales to Terrify podcast. She loves tales that unsettle, all things writerly, and B-grade action movies; if that sounds like you, check out her website at www.geneveflynn.com.au
What’s your lens?
By Geneve Flynn
There are rules of craft and objective reasons why a story works and why it doesn’t. Without interrogating which lenses we see through, it can be easy to assume that what makes a story goodis universal.
However, writing and editing is very much subjective. There are stories that resonate with me that ring false for you. So much of the reading experience isn’t just the text on the page, but all the stuff you bring to it as a reader. What you’ll imagine will be different from what I imagine, simply because your life experiences, your lenses, are different from mine.
Foravid readers, a good chunk of our experiences are based on what weread. The problem is that muchof what’s been published historically has been limited in diversity. When weonly see stories that show the world through a monolithic lens, wecan start to think that’s the only way to read and write.
That can be particularly harmful fora writer, even more so for an editor. There’s a risk of guiding and limiting a narrative to characters, settings, and storylines that are familiar.
When award-winning author and editor Lee Murray and I got chatting at the biennial Genrecon convention in Brisbane, we realized that there were few stories that truly reflected our experiences. We’re both of Asian descent, both women, both writing horror—where were those stories?There was an absence of perspective that we wanted to answer.
We went digging and unearthed a wealth of fiercely talented Southeast Asian horror writers, and set about putting together an anthology. Black Cranes: Tales of Unquiet Women was published thisSeptember through Omnium Gatherum, and to our great delight, the reviews showed that the anthology was doing exactly what we hoped.
“The unique anxieties experienced by Asian women were so masterfully penned here that reading it really was an eye-opening experience.”Gingernuts of Horror
“The preconceived notions of both the authors’ identities and of the limitations of the horror genre itself will be smashed to pieces, to the delight of readers.”Library Journal
One of the benefits of fiction from diverse perspectives is that it makes usacutely aware of our own perceptions. It helps usexamine how weexperience a story. There’s an opportunity to become cognizant of the lenses we carry withinus, and to magnify them, or switch them out for something new.
Black Cranes and otherpublications like it, written by and centering diverse voices, are holding up lenses thatshow readers, writers, and editors new ways to see. They’re expanding the boundaries of what’s possible, and that can only be a good thing.
Yoko Ogawa is one of my favorite contemporary writers, and I love how her writing covers a range of genres, all brilliant works in their own way. Revenge is a peculiar book, written in the form of short stories, where each story connects to another – in no particular order – culminating into a larger tale somewhere down the line. More recently, Jane Borges’ Bombay Balchao was another book written in the experimental fiction format – a collection of seemingly unrelated short stories woven together to form a novel. Both Ogawa and Borges are a pure delight to readers with their literary prowess in taking writing – and reading – to a different level.
Coming back to Revenge, it can be termed as a series of dark tales, with sinister elements binding them to one another. The protagonist of one story can be a minor character in another, at times not even named – leaving the reader to decipher who we are reading about, what role they play in each story, are they even connected or does the reader feel so because we assume the stories are strung together. The eerie world created by Ogawa moves across generations, time spans, places – past, present, future, the real world and the supernatural, fact and fantasy all drawn in as well as apart from each other.
An aspiring writer, a murderous landlady, an obsessed bag maker, a singer, a surgeon, a Bengal tiger, a mother, strawberry cake – crossing paths and converging their fates in this dark web of vengefulness. Ogawa can be emotional and unsettling, impassive and heartbreaking, creepy and gentle. Her macabre take on relationships and emotions make this book effectively terrifying. Revenge is not horror in the traditional sense. A passenger train, a bakery, home gardening – the fact that her settings are so bland ups the ante of the terrors that lurk within. Ogawa’s writing can transform a normal scene next door to something downright horrifying – nothing seems out of the ordinary, and you can’t tell when and how the horror crept up on you. The best part is connecting the stories, navigating clues as you wander in this strange world.
Of course, Ogawa’s frequent English translation collaborator Stephen Snyder deserves as much of credit as the writer herself, for marvelously bringing life to her stories. Revenge is a disturbing collection for those who revel in the written word and the beauty she creates with literature.
Renata Parvey is a Nutritionist by profession; marathon runner and Odissi dancer by passion. Driven by sports, music, animals, plants, literature and more. Reads across several genres and languages, and loves the world of horror – in both, books and movies.
At the end of the Taisho era in Japan, a small tea house draws patrons to Hiruko. He is a Baku-he or “Eater of Dreams.” It is said Hiruko can enter a nightmare and release the victim from suffering. He can put people to sleep with the wave of his cane and accompany them into the nightmare.
The stories in this manga are very odd and don’t seem to make much sense. In one case, a boy walks into the tea house and asks for help. It turns out he is a weather vane. I’m confused about how a weather vane could walk into a tea shop and how do weather vanes have nightmares?
Another tale features a girl who always writes the same thing in her dream. She asks him to change it, but when they get to the part where he can, she ends up writing the same thing. There is a secondary character in the tea house who sometimes asks Hiruko what happened and his explanations don’t make much sense either.
There are also repetitive chapter beginnings which are common in mangas that were serialized in magazines. I always think it is better for the editor to cut these out when composing the manga book.
I absolutely love the art in this manga. It’s a very interesting sort of steampunk/cosplay mix with long art deco lines. The styling of the Baku-he is awesome.
In the back, there is a short letter from the author. The best thing is a full-page illustration/explanation of Hiruko’s cane by the friend of the author. It’s hilarious and informative. It makes me wonder what sort of manga would come from the author and best friend collaborating.
Overall, I’d say, check it out for the art, but don’t hold out much hope for the story.
The National Psychic Academy: A place for psychically gifted youth to expand their powers, be hit on by frisky co-eds, and meet talking bunnies. Poor Ai doesn’t even believe that he has psychic gifts. How can he be expected to survive at a school where his brother is a hero and his talking bunny keeps pushing him into embarrassing situations?
This manga is rated 13+, and reads like a schoolboy locker room chat. With many racy shots, young girl’s bathing, naked little fairies, and several “accidental” boob grabs, this book seems written by a young boy, for young boys.
The bunny, who claims to be Master Boo, speaks like Andrew Dice Clay and seems to want to pick up girls more than help Ai learn his skills.
“Now watch an’ learn as I pluck a coupla young, unsuspecting, ripe tomatoes.”
Ai’s brother, Zero or “The Vanquisher of the Dark Overlord”, is over the top with his two-page intro where the artist paints him like an old-time comic book hero, metal codpiece, cape blowing in the breeze. It gets worse later, when Zero fights off a bully, using the clothes vanishing technique and tells the bully,
“That’s terrifying coming from a fool with his wee wee hanging out.”
Ai’s roommate was portrayed as the “stupid foreigner”. I think he is supposed to be Middle Eastern and the way they treat him I find offensive. He wears robes, sleeps like some sort of Kama Sutra pretzel, has a symbol on his head, and is always doing dumb things.
If you’re not a male pre-teen, you’ll probably hate this one. For me, it was slightly entertaining because of the few magic fights involved, but not worth reading more volumes.
Extras: None. But you do get to see a preview of the next volume. Featuring… another accidental boob grab! -.-
Lee Murray is a three-time Bram Stoker Award®-nominee, HWA Mentor of the Year, an Honorary Literary Fellow of the New Zealand Society of Authors, and New Zealand’s most awarded writer of science fiction, fantasy, and horror. Find her website here at LeeMurray.info.
Lee, your stories are populated by such well developed characters I think they must be fragments of real people you know, reassembled. Which of your stories/characters best represents you?
My character Lucy in my Black Cranes story “Phoenix Claws” is actually me, once upon a time, and my husband is Finn, the partner who loves yum cha brunch but not chicken feet, although he isn’t a plumber and I never took accounting. Also, unlike Finn and Lucy, a new couple who are learning to navigate a relationship with the conflicting demands of blended cultures, my ‘white ghost’ husband and I have been married for more than thirty years.
But the family tradition highlighted in the story exists: I was subjected to it and, to my horror, I have unwittingly perpetuated it. My other story in Black Cranes, “Frangipani Wishes,” is based on true events, never explicitly revealed to me, but somehow understood, in a strange form of familial osmosis. It is one of my saddest memories, and I’m still remorseful that I was the wrong generation, a girl with no power and no real understanding, that I did nothing to intervene. Would I, could I, if it were happening now? I don’t know, and I guess that makes me complicit.
I also wrote myself, or parts of me into my Path of Ra series (Raw Dog Screaming Press) which I write collaboratively with my New Zealand colleague Dan Rabarts. In those stories, Hounds of the Underworld, Teeth of the Wolf, and Blood of the Sun, my character (Penny / Pandora Yee) is a Chinese-Māori woman who I believe shares many of my traits: she’s a stickler for rigour, doesn’t like to break the rules, and tends to overthink things. Like me she is still finding her way as an Asian New Zealander. She’s a scientist (as I was), who struggles to be acknowledged in her field. And Penny loves her family fiercely and would do anything for them, despite them occasionally being as annoying as hell.
I love how you have woven parts of yourself into your work. Two adjectives I would use to describe your writing is ‘powerful’ and ‘dark.’ What are some of your favorite themes to explore in your work?
Early on in my writing career, I learned that I wanted my work to address the things that frighten me, and as an anxious piglet sort who tends to overthink things, there is a lot that keeps me awake at night. If I’m lying in the darkness for hours ruminating on them, then why not write about them too? In my stories, for adults and for children, I’ve addressed global issues like the impact of technology, climate change, the importance of conserving our environment and especially our endangered species, and the very real fear that New Zealanders have of a catastrophic volcanic event. More recently though, my work has tended towards personal themes like loss, loneliness, isolation, persecution, erasure, and otherness, and horror, and in particular monsters and monstrosities, have become the lens through which
I explore those themes; they’re a staple of my work.
Tell us a bit about your heritage and your experience of ‘otherness’. Has this influenced what you write?
Recently a colleague asked me this question in an interview, so I’ll tell you what I told him: I was one of the first Chinese-Pakeha (European) children to be born to a bi-racial couple New Zealand. Not the first, but one of the first. In school, the only other Chinese children were my brother and two cousins. We ate weird food and had slanty eyes, so we got called all the usual things. “Ching-Chong Chinaman!” “Chink!” Yellow Peril!” “Wog!” “Hey, do you know Bruce Lee? Come here and I’ll show you.” Hey, you wing the wong number?”
But our cousins were full Chinese. My brother and I were only half. Which was somehow worse. Apparently, the titer of our blood was important and being only half Chinese meant we were lesser: we weren’t proper New Zealanders and nor were we properly Chinese. Our own family rejected us. My brother and I were five and six-years-old and we were other. I remember my Chinese aunt demanding that I choose whose side I was on. If there was a war with China, what side would I pick? Who did I love most: my mother or my father? How could I answer? Even then, I knew it was an unfair question.
As for whether my heritage and my otherness has influenced my writing, let’s just say that it’s beginning to. More and more those Asian ideals that I’ve grappled with all my life are creeping into my work. Perhaps it’s because I’m suddenly aware I’m fifty-five and long past the age most people ‘find themselves’. Surely by now I should have come to terms with my identity. So what if I’m all grown up and still there is no literature that reflects my Chinese-New Zealand experience? If I want to see that happen, then maybe it’s up to me to roll up my sleeves and make it happen. And perhaps that feeling is what prompted Black Cranes. And the fact that Geneve and I both arrived too early to a conference session, like the good conscientious Asian girls we’ve been raised to be.
The two of us got to talking in the lobby while we were waiting. Where were all the Asian horror writers? Where were Asian women’s experiences being highlighted? We could see a gaping hole in existing horror literature, but would our colleagues feel the same way? Was the timing was right, and would anyone would want to read an anthology of Asian horror? We had no idea. The response from our Black Cranes contributors confirmed they had been waiting for the opportunity, or perhaps they’d been waiting for something and couldn’t quite put their finger on it. And nor could Geneve and I have predicted the positive response to these wonderful stories, even though it’s only been a month or so since the book’s release. We couldn’t be prouder of these writers and their stories.
What has your experience been as an Asian writer? As a writer of dark fiction? How has this changed over time, or not?
I’ve been a full-time writer for fourteen years now, and for most of that time I’ve seen myself as a writer first, and then a New Zealand writer of mainly dark speculative fiction, so perhaps that is also the way I’ve been perceived. It’s only very recently that I’ve been brave enough to envisage myself as an Asian writer, perhaps because for so long my I’ve felt I had to hide that part of myself, make myself smaller, as if being born Chinese in New Zealand was something I should be ashamed of. Now I feel like I need to change that, to push back at that erasure, both from external sources, and also due to my own complicity.
What do you think of common depictions of Asian women in dark fiction? What, if anything, would you like to see done differently?
Geneve summed up those depictions when she wrote the back cover blurb to Black Cranes. We’re a slew of tired tropes: the tiger mums, the sly fatales, the submissive, the studious, and the conscientious. But I think you said best, Angela, in our Black Cranes online launch panel, when you said we need to see authentic diverse nuanced representations of Asian women in fiction. That is exactly what we need: characterizations which reveal us as the complex, richly layered shapeshifters we can be. Portrayals which speculate on futures for Asian women which go beyond the tropes and the traditions. Beyond the petals and the perfidy.
Oh, I love your phrase “petals and the perfidy.” Perhaps that will be another anthology—hint hint? How about other readings? Do you have any recommendations for works that have resonated for you as an Asian horror writer?
Everyone who appears in this book, including Alma Katsu and Tori Eldridge. Please check out the work of our Black Cranes contributors. There is a reason they appear in this anthology. As for other writers whose works have resonated for me, at a certain level, I’ve been intrigued and inspired by the works of writers like American Pearl S Buck (The Good Earth, 1931), Xinran (The Good Women of China, 2002), Amy Tan (The Joy Luck Club, 1989), and Jung Chang (Wild Swans: Three Daughters of China, 1991), literary works likely not intended as horror but which read that way for me.
Yet my interest in those texts was tempered; I saw them as pertaining to me, but only in a detached and distant way. I recognized certain notions that had filtered through the generations and settled on me here, but also that the New Zealand context had subverted and changed them in various ways. It would have been wonderful to have explored these ideas in my reading, but when I was growing up, the Asian-New Zealand diaspora was largely ignored in literature—and still is.
Even now, I know of no stories which reflect my experience as a half-caste Chinese-New Zealander other than my own work. Perhaps, it is significant that I first saw myself in John Wyndham’s science fiction novel, The Chrysalids, as someone grossly flawed and banished to the fringes, only in New Zealand, where the only other Asian children I knew were my siblings or my cousins, there were no telepathic allies with whom to share my otherness. Finding this shared experience now with my Black Cranes colleagues has been extremely uplifting, and also a little sad.
Can you tell us briefly about your last project and what you’re working on next?
Thank you for asking. As well as Black Cranes: Tales of Unquiet Women, this year’s projects included my debut short story collection, Grotesque: Monster Stories, which released in July from Things in the Well, Australia, and Blood of the Sun, the final book in the Path of Ra, a supernatural crime-noir trilogy co-authored with Dan Rabarts, which released from Raw Dog Screaming Press on 4 November 2020.
As far as my plans go, I’d like to carve out some time to work on a poetry project, some scripts, and another Taine McKenna novel. I also have ten short story commissions on the go, and since I’m a slow writer, barely able to complete 500 words a day, I think that’s enough to keep me going for a while.
Thank you so much for taking the time to share this with us, Lee. I have a lot of respect for you both as an individual and as an artists. I’m very happy to share you here today, and look forward to chatting again next Tuesday on the next Skeleton Hour! Remember, you can register for the online event on Facebook here.
Japan is not known for holding back when it comes to throwing around buckets of blood on screen. Not just limited to horror, the country’s samurai and revenge films are some of the bloodiest on record, and because there are often swords involved, it’s not just limited to splashes of red from bullet-wounds either. Lady Snowblood(Toshya Fujita) is a perfect example of this, featuring copious amounts of the red stuff gushing in geysers from slashes and stabs. But the film is much more than just a blood-fest, and is an interesting window onto Japanese society in the beginning of the Meiji Era, when the country was beginning to examine western ideas, moving from the feudalistic, pre-industrial country of old, into a nation that had changed almost indescribably by the era’s end.
The story is one that has been told times before. Yuki, born in the first years of the Meiji Era (I believe 1873, give or take a year, according to my rough estimations), is raised to be an assassin who will one day track down her mother’s four abusers. The film follows the now named ‘Lady Snowblood’, as she follows the four trails, taking out each one in turn, until the final bloody climax. Based off a manga of the same name, it spawned a sequel, a spinoff, and had its legacy largely cemented in western culture when Quentin Tarantino used it as primary inspiration for Kill Bill (2003). It’s a kind of narrative we’re still seeing today, with a female assassin raised from birth for the sole purpose of murder, and anyone who hasn’t seen the stylish 2017 film The Villainess (Jung Byung-gil, South Korea), which in turn was inspired by the Luc Besson film La Femme Nikita (France, 1990), would do well to check it out for a fun, modern example of the narrative.
Lady Snowblood has enough filmmaking technique going for it to make it a good watch on its own, and attention to the use of colour as part of its thematic expression is just part of it. Red is obviously a large feature in the film, and not just because of the severed hands and blood-splattered faces. After several flashbacks to Yuki’s birth, red light spills into the night, colouring the snow crimson. The women in the prison at her birth are all dressed in red, the floor of the palace in the finale is red, the kimono of the daughter of one of her targets is red; the symbolism is obvious. She is born to blood, which is said as much “poor child, you were born to vengeance”, and it is in red where the story ends. She can never escape it.
It’s also no coincidence for her to take the name Snowblood, as the translation for ‘yuki’ is ‘snow’ (according to Google), a name given to her by her mother, just before passing after giving birth, after looking outside to the falling snow. Indeed, the purity of the colour white contrasts with the blood in many scenes. Our introduction to ‘present-day’ Yuki takes place in the snow, which ends in a violent bloodbath, and the film ends in the snow also. Yuki also wears a white kimono for much of the film, which, when contrasted with a red sash, demonstrates her attire as a reflection of herself. A pure woman forever destined to spill blood, for no other reason than that is what she was born to do. It might also reflect the death of her mother’s husband, whom the group killed before abducting her mother, who was wearing a white suit at the time.
Perhaps of most interest from a cultural point of view, however, is how the film examines the growing western influence in the country in relation to the antagonists, especially Gishirō. Both he and Okono (two of the four being hunted) use pistols, the only two characters to do so. Okono’s policemen, which she uses to try and stop Yuki, are dressed in a western-inspired uniform, with gold buttons and shiny billed caps. Her relative rank and influence is coming as a direct response to assimilation of western technology and culture, whereas Yuki carries a parasol, dresses in a kimono, and uses a katana, as she has done all her life, all seen as traditional icons of Japan’s history.
As mentioned before, Yuki’s ‘father’ was wearing a suit when killed. The film explains that government officials wore white when visiting the towns to draft young men for the war effort, and so the four villains of the story were running a scam to say that young men would escape the draft by paying them (they would then promptly vanish with the money). This plays into an excuse to rob and kill Yuki’s ‘father’, as a result of paranoia and hatred of men dressed in white. But, that he was wearing a suit specifically shows that the new era of exposure to western influences can unstable a nation’s people. A symbol of western society, it is seen as inherently threatening to a traditional way of life. By getting rid of someone dressed in attire of the world beyond their borders, which had been closed off for so long, the four align themselves as friends of the people, helping to persuade them to take up their scam. Thus their hypocrisy deepens as they themselves adopt similar dress in the later segments of the film. They will align themselves with anyone who help to further their own rank and influence.
The finale at the masquerade ball is also interesting, as it is set up for dignitaries from all over the globe. From the ceiling are hung flags from countries all across the world, from the UK to Belgium to Greece, and Japan’s white flag and red circle is not exactly hung right in the middle of the room. The chandelier is definitely in the style of an aristocratic European mansion, some of the guests speak English, and once again, Yuki is attacked with a pistol. Yuki must go into this new world, still upholding a tradition of the past, straddling the strange, mixed ‘netherworld’, to accomplish her mission. That the villain’s final plunge from the balcony causes him to fall into, and drag down, the Japanese flag, is perfectly apt. Draped in the colours of white and red (just like Yuki herself), Japan’s past has taken revenge for exploiting the incoming influence of the West for personal, nefarious gain, and not for the unilateral gain of all.
Thus, not only is Lady Snowblood very entertaining, stylish, and well shot, but is very much a story which could only be told about this country and about this period of its history. Through the bodily dismemberments and fountains of blood is a reflection of a nation’s exposure to radical change, and the chaos that this can bring about when some seek to exploit it for ill-gain. If horror fans are looking for a little change of pace to their usual demonic possessions and serial killings, this bloody tale of revenge should certainly be sought out and savoured.
Free Fiction Friday from June, 2015
by Grey Harlowe
It was their last chance to get dinner; the restaurant scene in town closed in an hour. Max and Claire had been arguing Mexican versus pizza, Paige wanted seafood and Boyd was ambivalent about any option. He was thirty seconds away from just heading home when they stumbled into a Chinese diner, keeping a low profile next to an arcade.
“Let’s try here,” said Max, triumphantly.
The diner had low lights and an old fashioned bar. The four coworkers, who’d worked late at their small office, sat on its round stools eating. The staff, indulgent types, left them alone.
As the meal wound down, Paige cracked a fortune cookie. Boyd, who hated them, moved to stop her. She giggled.
“Superstitious?” she asked.
“No, that’s why I don’t read these. And who’s ever heard of anything this silly actually telling someone’s future?”
Rolling her eyes, Paige opened her tiny white scroll.
“Good health will be yours for a long time.” She smiled.
“Can’t beat that,” Max said, smiling back. Everyone knew the ex-lovers had been considering reconciliation, delayed while Paige endured a cancer scare. The final tests weren’t back, but it appeared she’d dodged mastectomy.
“Indeed,” said Claire. “I’m next.” Slowly, she recited, “A new wardrobe will accompany great change.”
“Like you need improvement,” Paige said. They all nodded. Claire was often mistaken for a model. “Do yours, Max.”
Max hesitated, then read, “You will be successful in your work. Hmm. Maybe Chuck will lay off soon.” Their boss had been giving Max a hard time. Rumor was, Chuck was unhappy with Max’s pitch to a big overseas client. Chuck was impatient for their product, eco-friendly playground material, to go international.
Pressured by his friends, Boyd opened his cookie.
“You will soon be crossing the great waters.” He was greeted with cackling laughter.
“Ouch,” said Paige. “You don’t think that means—”
“What does it sound like? Is there ambiguity there?” Max teased. “No wonder you hate these cookies, bro.”
“Helpful,” said Boyd, trying to stay brave. The reason he avoided fortune cookies was to avoid tempting fate.
He drove home apprehensive.
It turned out, he’d had cause to be afraid.
The next morning at work, he arrived to a grim scene. Paige was in the breakroom, staring at her coffee mug. Max and Chuck were facing off in the doorway of Chuck’s office, clearly having had a harsh exchange. Eventually, Max stormed out. Boyd could hear someone crying in the bathroom. It sounded like Claire.
“What’s going on?” he asked Paige.
“Well,” Paige said, “Claire’s pregnant. I’m surprised we didn’t notice, but she’s been…dressing to hide it.” Paige looked at the wall. Both recalled the ominous ‘new wardrobe’ fortune.
“Gets worse,” she continued. “Claire admitted affairs with both Max and Chuck. Paternity’s up in the air. Max is dealing, but Chuck’s pissed enough he fired him.”
Boyd gulped. He wasn’t shocked; Chuck was a territorial guy.
“How’re you dealing?” This couldn’t have done Paige’s intended reunion with Max any favors.
“Fine, I guess,” she said. “Doc’s office called. My tests are normal.”
It became surreal. Claire fled the bathroom, tears streaming. Paige followed Claire downstairs. Boyd and Chuck soon heard the women arguing in the street, alongside Max’s voice. Then tires squealing. Screams. Paige would enjoy her ‘good health’ an eternity.
After the funeral, Claire disappeared. So did Max, to search for her. Chuck told Boyd that Boyd would take over their new European account, which Max had been successful at securing in the end. Boyd was to leave immediately, courtesy of a trip on the client’s cruise line.
Crossing the great waters after all, Boyd thought bitterly.
The third day out, Max surprised Boyd beside his deck chair. He looked livid. About his firing, his lost women, or both, Boyd decided.
“I’ve felt so guilty,” Boyd said “Mine was the only nice fortune. Here I am, crossing the water.”
“Don’t feel guilty,” said Max, blood in his eye. “Fortune didn’t say you’d be crossing back.”
Grey Harlowe’s fiction has been featured on Every Writers Resource and Microhorror.com. She is the 2014 winner of the Saugus.net annual ghost story competition, and has also been published in the journal, The Last Line.
Contrary to what the cover and write up leads you to believe, the star of this manga is not Princess Resurrection. The true star is Hiro, an abandoned boy who is resurrected to be a slave for the princess. Poor Hiro wakes up in a morgue unaware that he is now undead and wanders to the Princess’s house.
Princess Resurrection is nonchalant and uncaring of his life or what becomes of him. As the daughter of the king who stands above all monsters, I guess she has the luxury of being jaded about death. She wields many weapons such as stakes, swords, jackhammers, and her favorite, a chain saw. Despite the many monsters she massacres, her dress is never damaged. Now, this is a girl we can look up to!
So, let’s see… we have a hell-bent princess, an undead boy, a robot maid, is there someone missing? Ah yes! Let’s add a rebellious werewolf girl into the mix.
These books are great. No matter how many times Hiro is “accidentally” killed by the Princess’s weapons or the robot maid says her only word “Hooba”, this story never gets old.
What you’ll find in Volume 1:
Hiro wakes up dead and finds the Princess battling a horde of werewolves.
Insane hospital employees attempt to make Hiro their savior and then try to kill him.
Werewolf girl saves Princess Resurrection from a battalion of squidmen.
Extras in the back include a four-page spin-off comic and two pages of translation notes explaining the significance of certain scenes along with a sneak peek at Volume 2.
Favorite quote: “You think Hiro’s alright?”
“He only drowned for one night. There shouldn’t be a problem.”
What you’ll find in Volume 2:
The Princess’s evil little sister visits and infects the house with triffids.
A sexy vampire girl wants Hiro for her own and attempts to steal him from the Princess.
The Princess battles another horde of werewolves.
The robot maid finds an android who she cares for.
The Princess kills an eyeball squid creature with a jackhammer.
Extras in the back include a five-page spin-off comic and two pages of translation notes explaining the significance of certain scenes along with a sneak peek at Volume 3 which looks to include a mummy army.
Favorite quote: While most of the crew is fighting for their lives against triffids, the maid is cleaning up. “It’s a little noisy upstairs… Oh well. I need to vacuum!”
The art in this manga is not pretty and frilly, but it is very well done. Monster art, gory blood, fighting, and a girl who cuddles her weapons? What more can a horror manga fan want?
Greetings HorrorAddicts. This month we’re listening to the Dark Wave artist Dissonance. Cat Hall has a new maxi-single that’s perfect for fans of bands like GARBAGE, NINE INCH NAILS & INFORMATION SOCIETY. Precipice is a techno-moody piece that is very personal to Hall. Music helps us heal from the tragedies in our lives, and for Hall, it’s been a form of catharsis. After a serious health battle, she’s come out on the other side to share her emotional experience in these three pieces. With remixes by Joe Haze, Diverje, Junior Kain, and Machines with Human Skin all add layers to the composition. Reminiscent of Tubular Bells or early Depeche Mode, Precipice is music to sit with and contemplate. Each element woven together, whether it be effects or harmonies, all evoke feelings of loss and yet are ultimately hopeful.
Thank you for joining me this month. I hope you and yours are well. I’d love to hear what kind of music is getting you through this tumultuous time. If you want to hear what I’ve been listening to, you can check out my #SpotifyWrapped. If you’re not on Spotify yet, you might want to change that in 2021. Getting a report on your listening habits can be…creepy, but also a great trip down memory lane. Stay Tuned for more Ro’s Recs and Merrill’s Musical Musings…
R.L. Merrill writes inclusive romance with quirky, relatable characters full of love, hope, and rock ‘n’ roll. You can find her at https://www.rlmerrillauthor.com and on the socials as @rlmerrillauthor. You can also find her at www.queeromanceink.com writing about Hope, Love and Queeromance.
At 1:15 am pst on Dec. 13th 2020, Crystal Connor, finally settled into her sleeping bag on the couch with snacks within reach and dog in lap picked up her remote. The footage you are about to see chronicles the harrowing experience that her neighbors endured for hours as she screamed, cried, and shouted expletive obscenities at her television as she watched: Viewer discretion is advised.
Plotline: A collection of 24 films that take a look at the dark side of the festive season. 24 international directors with the most diverse ideas and styles; linked by short animated segments that deal with the Advent calendar itself.
Who would like it: Fans of anthologies, short films, collections, international films, horror lovers, gorehounds, tech geeks, sci-fi fans, indie horror movies, and people who love jump scares
High Points: This was a super strong anthology, loved about 80% of the films
Grace Chan (gracechanwrites.com) is a speculative fiction writer and doctor. Her family migrated from Malaysia to Australia before her first birthday. Her writing explores brains, minds, technology, and narrative identity.
Her debut novel, Every Version of You, will be published by Affirm Press in 2022.
Her short fiction can be found in Clarkesworld, Going Down Swinging, Aurealis, Andromeda Spaceways Magazine, Verge: Uncanny, and other places. She was shortlisted for Viva la Novella VII. Her short story, The Mark, was nominated for the 2019 Aurealis Award for Best Horror Short Story and the 2020 Norma K Hemming Award.
Her other interests include salt-and-vinegar anything and secretly filming her friends’ post-NYE karaoke highlights. She is terrible at conveying sarcasm. In a decaffeinated state, she may cease to exist.
Grace, thank you so much for spending time with us today. Of Hunger and Fury and The Mark, both have such strong messages built into the story structure. What are some of your favorite themes to explore in your work?
This is still something I’m figuring out, which is part of the fun.
I’m fascinated by both the expanse of the universe and the expanse of our minds. I like writing about the unconscious—that can often take a dark, horrifying turn. I like writing about how technology, especially medical technology, might impact identity, relationships, and culture. I’m excited about works that centre more characters and narratives that aren’t so often centred, and I hope I can contribute to that in some small way.
You have a lot of work published from the likes of Clarkesworld and Aurealis. Which of your stories/characters best represents you?
I think I put a kernel of myself into every story…and then I craft a new character around that. Emma Kavanagh, from The Mark, is a character whose perspective and pain is silenced by society. I drew on the experience of women of colour, of being unheard and unseen, because your voice isn’t the right one for the room.
With Fiona/Fen Fang, from Of Hunger and Fury, I wanted to explore how an individual can be compressed between two cultures. I’m an amalgamation of my Australian upbringing and my Malaysian Chinese heritage, and I’ve gained a lot of strengths from both. But there are also restrictive, sexist pressures from both cultures—in different ways. As diasporic women, it can be especially exhausting. I’ve also put a bit of myself into Lian, the rational, ambitious main character from my novelette, Jigsaw Children, and a bit of myself into Tao Yi, the protagonist of my upcoming novel, Every Version of You. I think writing allows us to explore parts of ourselves that don’t often see the light: weaknesses, strengths, dreams, fears, and so on.
I think the state of being culturally split is something that often gets overlooked as characters are often a single race in fiction. What are some of your experience of ‘otherness.’ Has this influenced what you write?
My heritage is filled with movement. I was born in Malaysia. So were my parents and most of my grandparents. My great-grandparents migrated to Malaysia from Guangdong. My parents and I migrated to Australia when I was a baby—my father came first, like a scout, and my mother came with me a few months later.
Although my parents are both tertiary educated, displacement and hardships made things difficult. I went to the local suburban primary school, where you could count the number of Asian kids on one hand. At the time, I didn’t think much of the fact that I looked different. But in hindsight, there was always a sense of being an outsider, and needing to prove my place by being a model citizen.
Like many other writers, I fell in love with the local library as a child. I devoured the YA section, but hardly ever found people like me in stories. When I first started to write, my characters were white Australian girls: Emma Smith, Hannah Brown. I remember my dad joking, “Why don’t you call her Emma Tan, or Hannah Chong!” I thought he was silly. I disliked my boring, common, Chinese name, and thought I could never be a writer unless I changed my name to a Western one.
As I’ve ventured into the workforce, I’ve become disillusioned to the myth that dominated my childhood: that compliance to the model minority mould leads to success. My eyes are gradually opening to systemic inequalities in our workplaces and society. It’s a personal and broader journey, fraught with complicated emotions.
I don’t think I purposely set out to write characters who are ‘other’. I don’t purposely make my characters ‘Asian’, or ‘different from the norm’ in any specific way. I just want to write characters that I’m interested in, who have compelling stories. I often find that the loudest voices in the room aren’t the most interesting ones. Many of the best stories are hidden in the quieter minds, in dark corners and buried places.
Wonderful points beautifully said. What has your experience been as an Asian writer? As a writer of dark fiction? How has this changed over time, or not?
I’ve only started to publish in the last couple of years, so I’m very much still in the process of finding my voice. I do feel that being part of a diaspora gives you perspective and power in writing. You’ve always lived with a sense of travelling, of not belonging, and you get rather good at putting yourself into other people’s shoes…or into alternate timelines entirely!
I’ve gravitated towards darker themes in a lot of my writing. I think it can be a way to acknowledge the darker, more difficult aspects of existence—and perhaps to find commonality and catharsis. It’s also just feels really good to be able to challenge people’s preconceptions and to throw out stereotypes. Asian and women characters are so frequently flattened into two-dimensionality. It’s exhilarating to be able to write slippery, multifaceted, three-dimensional characters that terrify, rage, grieve, crack dry jokes and dreadful puns, and forge their own paths, fiercely.
What do you think of common depictions of Asian women in dark fiction? What, if anything, would you like to see done differently?
I don’t think I have enough knowledge to comment on dark fiction specifically, but I certainly feel that Asian women in fiction are exoticized, sexualised, stereotyped and/or silenced, which is reflective of society. In White Tears/Brown Scars, Ruby Hamad describes the archetypes of Dragon Ladies and Exotic Orientals. Asian women as perceived by the dominant culture are either controlling and unpleasant, or passive, supportive, and decorative.
I want stories about Asian women who are both good and bad, who drive their own narratives, and make up their own minds. I want stories about Asian women who get to adventure, fight, run away, fall in love, not fall in love, destroy their enemies, plot wicked plots, exact revenge, save the world, or be wonderfully ordinary. There are a lot of such stories in SFFH (and, of course, in Black Cranes!). I hope they continue to receive more attention.
I do as well! On that note, do you have any recommendations for works that have resonated for you as an Asian horror writer?
Strange Tales from a Chinese Studio by Pu Songling was a reading experience like none other. It took me fifty or so pages to get stuck in, but I became utterly immersed in a world of fox spirits, ghosts, ghost-sex, scholars, trickery, and monsters. It’s playful, eerie, and whimsical, with laugh-out-loud humour alongside horror.
I’ve also enjoyed: The Vegetarian, by Han Kang. Her Body & Other Parties, by Carmen Maria Machado. Mother of Invention, edited by Rivqa Rafael and Tansy Rayner Roberts. Elizabeth Tan’s short story collections, Rubik and Smart Ovens for Lonely People.
All those just went on my list. How about your last project and what you’re working on next? Can you tell us about these projects?
My tentacled, symbiotic, monster story, Mother of the Trenches, will appear in Unnatural Order published by the Canberra Speculative Fiction Guild. I had a lot of twisty fun with that one, and I’m excited for it to venture out into the world.
I’m also delighted to share that my novel, Every Version of You, will be published in early 2022 by Affirm Press, an independent Melbourne-based publisher! It’s a near-future science fiction novel with a Malaysian Chinese Australian protagonist, and it uses virtual reality and mind uploading to explore themes of identity, change, migration, love, and loss.
Chinko-ji Temple cemetery aka Rokudo-san cemetery aka Rokudochinnoji cemetery 595 Komatsu-cho, Higashiyama-ku, Kyoto 605-0811, Japan Telephone: +81 75 343 6555 Founded: 836 AD Size: a fraction of an acre Number of interments: hard to say, since Japanese are cremated and their ashes interred beneath their headstones marked with only their family names Gates are open: 9 a.m. to 4 p.m. The buildings open only occasionally. Check with the Tourist Information Center downtown for opening hours if you want to see the paintings of Hell and the Spirit World. Admission: free Important to know: The mosquitos in June were fierce, even in the heat of the afternoon. You may want to invest in insect repellent before you visit.
The city of Kyoto was founded in 794. For centuries, it served as the capital of Japan, until the emperor moved his court to Tokyo in 1869. It’s been called the City of Ten Thousand Shrines, but may only have as many as 2000 of them, 1600 of which are Buddhist temples along with 400 shrines dedicated to Shinto, the native religion.
Kyoto’s largest festival of the year takes place in August, when the city observes the Bon Festival, the Japanese celebration of ancestral spirits.
The book Introducing Kyoto by Herbert E. Pluschow reports “The Bon Festival begins on August 8 with a visit to Chinko-ji Temple. The location of Chinko-ji (also called Rokudo-san) marks one of the largest grave areas that existed since Heian times. Formerly, it extended from Kiyomizu-dera Temple all the way downhill to Rokuharamitsu-ji Temple and as far north as Chion-in.” Kyoto, a Cultural Guide, adds, “This area was known as ‘the land of the dead,’ a place where the bodies of those who died without family were often abandoned.”
So perhaps there were no monuments to move, no graves to disturb. The area is suburban now, full of houses. Of the massive graveyard, only a fragment remains at Chinko-ji.
The small Buddhist temple of Chinko-ji (also known as Rokudo-san) stands in the Higashiyama neighborhood, just south of Kyoto’s Gion neighborhood. The temple dates to the 9th century. As far as I can tell, the graveyard does not date that far back.
The plaque at the gate says, “A Rinzai-sect temple of the Kenniji school, founded in 836, and commonly known as Rokudo-san. Kyōto’s Bon Festival, Buddhist observance honoring the spirits of ancestors, begins with the tolling of the temple bell. The area is called ‘Rokudo-no-tsujii,’ or ‘the place where this world and the other world meet.’ Reference to this belief appears in Konjaku Monogatari, Tales of Times Now Past. The well behind the Main Hall was believed to have been used by Ono no Takamura (802–852) to commute between the two worlds.”
In fact, the temple still has a statue of Chinese scholar Ono no Takamura, a calligrapher and poet who served Emperor Saga in the early part of the ninth century. Takamura was so eloquent in his descriptions of Hell that it was believed he was an emissary from Enma, the King of Hell. Legend holds that at night Takamura would climb into the well at Rokudo Chinkoji, descend to the underworld, and help Enma judge the dead. In the morning, he’d climb back out, then go serve the Emperor.
Chinko-ji remains a place to pray for “the souls of commoners.” Rokudo-san, the temple’s popular name, refers to the roads to the six Buddhist realms to which a soul may go: 1) Jigoku (Hell), 2) Gaki (the land of the hungry spirits), 3) Chikushou (the land of the beasts), 4) Shura (the land of fighting), 5) Ningen (the land of humans, or our world), and 6) Tenjo (Heaven). Rokudo no Tsuji (the intersection of this world and the next ones, where the six roads begin) is believed to be in the small open square inside the tori gate from the street.
Japanese Buddhists believe that the souls of the dead inhabit mountains, which were Paradise. The bottoms of valleys were Hell. The mountain above Chinko-ji is called Mt. Amida, the Buddha of eternal light who rules Paradise. Some souls were so weighed down that they couldn’t climb uphill and were condemned to roam the earth, causing suffering. The Bon Festival addresses itself to these unhappy souls, which are welcomed back to earth at temples considered gates of Hell.
The welcoming bell is inside this building.
At Chinko-ji, people welcome their ancestors back by ringing the temple’s bell, called “Mukae-gane” or the welcoming bell. Unlike most temple bells in Japan, where you draw the clapper back to strike the bell, this one requires you to push the clapper forward. Legend says that the bell can be heard in every corner of hell and was once heard as far as China.
The building housing the bell stands on the right side of the temple complex. Just past in stands a hall with a statue of Enma and his emmisaries.
Straight ahead from the gate, on the north side, stands the main hall of the temple, which houses a statue of the Buddha Yakushi, who has the ability to rescue the suffering from Hell.
Some of the Jizo
The well that Takamura used to visit Hell still exists behind one of the temple buildings, but it was closed the afternoon when I visited. During Bon, people used to buy pine branches from the temple and lower them down into the well, so that the souls of the dead could grab on.
On the western side of the shrine, a plastic roof shelters a large statue of Jizo, the Buddhist guardian of travelers, children, and the dead. He’s surrounded by 200 smaller Jizo.
Behind the Jizo shrine stands the pocket graveyard. I didn’t open the gate and walk in, even though my family was alone at the temple when we visited. It didn’t feel respectful and I could see as much as I needed from the gate.
The graveyard with sotoba
However, as I stopped to pay my respects to Jizo and take some photos, the sotōba – the wooden blades marked with the posthumous names of the dead – rattled like chattering teeth in a sudden breath of wind.
I was glad when other people came into the temple grounds with us.
A great blog post with photos of the temple at O-Bon and the tale of “ghost-raising sweets”
I’m co-author of a series about a succubus and her angel. Angelus Rose, the final book, came out in February 2020. I am the editor of Tales for the Camp Fire: An Anthology Benefiting Wildfire Relief. I’m also author of 199 Cemeteries to See Before You Die and Wish You Were Here: Adventures in Cemetery Travel–and a space opera trilogy.
As is de rigueur for this time of year, we look back at some of the genre connected people who passed away in 2020. Some connections are tenuous, some very solid. A few names, everyone knows. Many, I didn’t even know until I set out on this journey.
By the way, there be spoilers here. Act accordingly.
Veronika Fitz (3/28/36-1/2/20) German actress with a nearly six-decade career. Her only genre performance that I could find was a bit part in The Haunted Castle (1960). Oh, well. We had to start somewhere.
Robert Blanche (March 30, 1962 – January 3, 2020) American actor, played Sgt. Franco on the American television program, ‘Grimm’, from 2012 to 2017.
Edd Byrnes (July 30, 1932 – January 8, 2020) American actor, best known to the generation just prior to mine for his role as Kookie in the television mystery show, ’77 Sunset Strip’. Played a psycho killer in 1973’s Wicked, Wicked, a film notable only for its use of a split-screen for its entire running time. Brian de Palma had used the technique of showing two scenes at once in parts of his film, Sisters, that same year. Too much of a good thing, in this case.
Buck Henry (December 9, 1930 – January 8, 2020) American actor, writer, director. Creator of the classic ‘60s TV spy spoof ‘Get Smart’, frequent first season contributor to ‘Saturday Night Live’, and doomed swinger in the 1982 dark comedy, Eating Raoul.
Ivan Passer (10 July 1933 – 9 January 2020) Czech director of 1988’s Haunted Summer, one of several films about the 1815 gathering in Switzerland that produced Mary Shelley’s Frankenstein and John Polidori’s Vampyre.
Mike Resnick (March 5, 1942 – January 9, 2020) Award-winning American science fiction writer and editor. Author of The Official Guide to Fantastic Literature (1976).
Carol Serling (February 3, 1929 – January 9, 2020) The widow of Rod Serling, who guided the Twilight Zone brand through decades of reinvention and adaptation into other media, including the magazine of the same name.
Neda Arnerić (15 July 1953 – 10 January 2020) Serbian actress, Venom (a.k.a. The Legend of Spider Forest, 1971)
Patrick Jordan (10 October 1923 – 10 January 2020) English actor who spent most of a long career as a character actor on the BBC, but did manage to squeeze in a bit part in the 1959 kaiju classic, The Giant Behemoth.
Robert Sampson (May 10. 1933 – January 18, 2020) American actor who appeared in the TV shows ‘One Step Beyond’ and ‘The Twilight Zone’, and as Dean Halsey in 1985’s Re-Animator.
Terry Jones (1 February 1942 – 21 January 2020) Welsh actor and writer and founding member of Monty Python’s Flying Circus. Played Sir Bedevere in Monty Python and the Holy Grail, a performance that required him to run away from several scary things. That rabbit’s dynamite!
John Karlen (May 28, 1933 – January 22, 2020) American actor. Ah, yes. Willie Loomis himself, who foolishly awoke vampire Barnabas Collins on the classic horror soap opera, ‘Dark Shadows’. In the second half of the 1960s, everyone I knew ran home from school to plop down in front of the television in order to find out what devilment Barnabas was up too, all because Willie had been tempted by the rumors that the undead main character had treasure buried in his coffin with him. He ought to have known better. Nobody puts chains around a coffin to keep people out. The chains are obviously there to keep the occupant in. Duh.
Robert Harper (May 19, 1951 – January 23, 2020) American actor devoured by the inhabitant of ‘The Crate’ in 1982’s Creepshow.
Monique van Vooren (March 25, 1927 – January 25, 2020) Belgian actress who essayed multiple roles in Andy Warhol’s 1973 film, Flesh for Frankenstein.
Jack Burns (November 15, 1933 – January 27, 2020) American actor and comedian, best known for his partnership with Avery Schreiber in the comedy team of, you guessed it, Burns & Schreiber, and for being Barney Fife’s replacement on ‘The Andy Griffith Show’. Did make one appearance on the late ‘60s supernatural TV show, ‘The Ghost & Mrs. Muir’.
Norbert Moutier (1941 – 27 January 2020) French director of 1983’s Mad Mutilator and 1993’s Dinosaur from the Deep.
Marj Dusay (2/20/36-1/28/20) American actress who had a lead role in the 1969 TV movie, Dead of Night: A Darkness at Blaisedon, a pilot for a supernatural investigations series that was not picked up by the network. She appeared in virtually every television series made in the United States during her very long career, including in one episode of the short-lived Tucker’s Witch in 1982, also a supernatural investigations show.
Nicholas Parsons (10 October 1923 – 28 January 2020) English actor. Okay, blame the Beatles for this, or maybe Elvis, but it seemed that every rock & roll band in the ‘60s made an effort to break into movies. The Spencer Davis Group tried their hand in 1966 in a fab little feature called The Ghost Goes Gear. Gear being a synonym of the time for fab, or george, or groovy. As opposed to grotty. Clear as mud? Parsons played the band’s manager, a nobleman whose manor house was haunted. I recommend sticking with A Hard Day’s Night.
Dyanne Thorne (October 14, 1936 – January 28, 2020) American actress, ‘star’ of Ilsa: She-Wolf of the S.S. (1975). Naughty, naughty Ilsa, performing all those awful experiments on her barely clothed female prisoners in her own personal Nazi concentration camp. Camp being the operative word.
Mary HigginsClark (December 24, 1927 – January 31, 2020) American author of numerous suspense novels than danced around the edges of being horror.
Andrée Melly (15 September 1932 – 31 January 2020) English actress in The Brides of Dracula in 1960 and the cheapjack retread of William Castle’s 1963 remake of The Old Dark House called The Horror of it All in 1964. Her image from Brides was also picked for the Old Maid in a 1964 monster card game in which she is misidentified as Dracula’s Daughter.
One of several things that Milton Bradley got wrong. Sounds like meat for a future column.
Katsumasa Uchida (19 September 1944 – 31 January 2020) Japanese actor, played an Interpol agent in 1975’s Terror of Mechagodzilla.
Lila Garrett (November 21, 1925 – February 1, 2020) American writer who scribed a dozen episodes of the 1960s supernatural TV series, ‘Bewitched’.
Luciano Ricceri (26 April 1940 – 1 February 2020) Italian production designer for the 1966 dark comedy, The Devil in Love.
Lovelady Powell (May 9, 1930 – February 2, 2020) American actress who appeared in one episode of ‘Dark Shadows’ in 1966 and in the 1972 horror thriller, The Possession of Joel Delaney
José Luis Cuerda (18 February 1947 – 4 February 2020) Spanish producer, The Others (2001), with Nicole Kidman.
Gianni Minervini (26 October 1928 – 4 February 2020) Italian producer of the 1976 Giallo, The House of the Laughing Windows
Kirk Douglas (December 9, 1916 – February 5, 2020) American actor not generally known for genre work, but he did star in a not-well-received musical TV version of ‘Doctor Jekyll and Mr. Hyde’ in 1973.
F. X. Feeney (September 1, 1953 – February 5, 2020) American screenwriter on Roger Corman’s 1990 adaptation of the Brian Aldiss novel, Frankenstein Unbound.
Raphaël Coleman (30 September 1994 – 6 February 2020) American actor in the 2009 remake of It’s Alive.
Orson Bean (July 22, 1928 – February 7, 2020) American actor who was all over television in the ‘60s and ‘70s, and who made one appearance on ‘The Twilight Zone’.
Robert Conrad (March 1, 1935 – February 8, 2020) If you love steampunk, this is one of the guys who created it. Conrad was the star of ‘The Wild Wild West’, still after fifty years my favorite TV show of all time. Only one episode is truly horror related, ‘The Night of the Man-Eating House’. Hurd Hatfield from 1945’s The Picture of Dorian Gray is the guest star.
Paula Kelly (October 21, 1942 – February 8, 2020) American actress in the borderline horrific science fiction films, 1971’s The Andromeda Strain and 1973’s Soylent Green. Spoiler alert: It’s People!
Ron McLarty (April 14, 1947 – February 8, 2020) American actor whose first film role was as the real estate agent in 1977’s The Sentinel, which was based on the Jeffrey Konvitz horror novel of the same name.
Mirella Freni (27 February 1935 – 9 February 2020) Italian operatic soprano who sang in several genre-related operas over her illustrious fifty-year career, including Gounod’s Faust and Tchaikovsky’s Pique Dame (AKA Queen of Spades).
Marjorie Redmond (December 14, 1924 – February 10, 2020) American television actress, likely best known as Sister Jacqueline in ‘The Flying Nun’ (yes, a ‘60s TV show about a nun who, you guessed it, could fly), with stopovers along the way in ‘The Twilight Zone’ and ‘The Munsters’, as well as an episode of the spin-off (sort of) from Rod Serling’s ‘Night Gallery’, ‘The Sixth Sense’ in 1972.
Raphael Romero Marchent (May 3, 1926 – February 13, 2020) Mexican director, Santo vs Doctor Death (1973) and Curse of the Black Cat (1977).
Zoe Caldwell (14 September 1933 – 16 February 2020) Australian actress with one appearance on the TV version of radio’s classic series, ‘Suspense’, in 1960. She’s best known for her stage performances in Macbeth and Medea, both of which have horrific connections. In fact, in early 1983, she brought her touring company of Medea to Knoxville, Tennessee, while my wife and I were students there. Yes, we saw it, and, yes, it was very, very good. Mitchell Ryan, late of ‘Dark Shadows’ and Dame Judith Anderson, who co-starred with Vincent Price in the great film noir, Laura, in 1946, appeared with her. There is a filmed performance of that production on YouTube.
Frances Cuka (21 August 1936 – 16 February 2020) English actress in 1980’s Watcher in the Woods with Bette Davis, and one episode of the ‘Hammer House of Horror’ BBC series.
Sonja Ziemann (8 February 1926 – 17 February 2020) German actress, Ghost in the Castle (AKA Spuk im Schloß, 1947)
Flavio Bucci (25 May 1947 – 18 February 2020) Italian actor, Suspiria (1977)
Bob Cobert (October 26, 1924 – February 19, 2020) Soundtrack composer on numerous genre films and TV shows, including the aforementioned ‘Jekyll & Hyde’ with Kirk Douglas; House of Dark Shadows (1970) and Night of Dark Shadows (1971); and The Night Stalker (1972) and The Night Strangler (1973), the forerunners of the ‘Kolchak: The Night Stalker’ TV series. Also, The Norliss Tapes (1973), 1974’s TV Dracula with Jack Palance, and the 2012 Dark Shadows feature film with Johnny Depp as Barnabas Collins.
José Mojica Marins (13 March 1936 – 19 February 2020) Brazilian actor best known as Coffin Joe in a trilogy of films, 1964’s At Midnight I’ll Take Your Soul, 1967’s This Night I’ll Possess Your Corpse and The Embodiment of Evil in 2008, with numerous other spooky film and TV appearances along the way.
Peter Dreher (26 August 1932 – 20 February 2020) German artist who enjoyed painting skulls. He called this series of creepy images ‘Totenschädel‘.
Claudette Nevins (April 10, 1937 – February 20, 2020) American actress, The Mask (1961). Not the one with Jim Carrey. This one is in 3-D, which would be much too much to tolerate from a Jim Carrey movie.
Nicola Cuti (October 29, 1944 – February 21, 2020) Comic book writer, editor and artist who wrote well over two hundred scripts for the horror comics line published by Charlton Comics in the 1970s, and co-created with artist Joe Staton the classic comic book super-hero, E-Man.
Boris Leskin AKA Boris Lyoskin (5 January 1923 – 21 February 2020) Romanian actor who had a small role in 1988’s Vampire’s Kiss with Nicolas Cage.
Russ Cochran (July 3, 1937 – February 23, 2020) A former physics professor who quit academia to collate and reprint the EC Comics of the early 1950s, preserving for new generations those gruesome yarns from crumbling issues of Tales from the Crypt, The Haunt of Fear and The Vault of Horror. And some other stuff, Disney and Hopalong Cassidy comics and the like.
Ben Cooper (September 30, 1933 – February 24, 2020) American actor who made appearances on TV’s ‘Suspense’, ‘One Step Beyond’ and ‘The Twilight Zone’.
Michael Hugh Medwin, (18 July 1923 – 26 February 2020) American actor with one genre performance, in 1949’s Queen of Spades.
R. D. Call (February 16, 1950 – February 27, 2020) American character actor with appearances in ‘X-Files’ and ‘Supernatural’, among many, many other television shows.
Dieter Laser (17 February 1942 – 29 February 2020) German actor, Human Centipede (First Sequence), 2009
Frank McLaughlin (March 18, 1935 – March 4, 2020) Comic book artist and art director for Charlton Comics whose first credited work was on a story in the kaiju comic, Reptisaurus, in 1961.
Max von Sydow (10 April 1929 – 8 March 2020) Swedish actor and long-time collaborator with director Ingmar Bergman, he played chess with death in 1957 in The Seventh Seal and died trying to drive Pazuzu out of Linda Blair in The Exorcist in 1973.
Gary B. Kibbe (January 9, 1941 – March 9, 2020) American cinematographer on the John Carpenter films Prince of Darkness (1987), They Live (1988), In the Mouth of Madness (1995), Village of the Damned (1995), Escape from L.A. (1996) and Vampires (1998), and one episode of HBO’s ‘Tales from the Crypt’, 1992’s ‘King of the Road’ starring Brad Pitt.
Suzy Delair (31 December 1917 – 15 March 2020) French actress in the 1942 dark comedy L’assassin habite… au 21 (The Murderer Lives at Number 21).
Roy Hudd, (16 May 1936 – 15 March 2020) English actor who played a morgue attendant in 1968’s The Blood Beast Terror, which starred Peter Cushing.
Stuart Whitman (February 1, 1928 – March 16, 2020) American leading man, star of many theatrical and television westerns, mysteries and adventure yarns, with one episode of ‘Night Gallery’ on his resume. He also co-starred with Psycho victim Janet Leigh in 1972’s Night of the Lepus, generally considered one of the worst movies ever made. I will not take an opposing position on that question.
Giovanni Romanini (27 December 1945 – 20 March 2020) Italian cartoonist, illustrator of the dark and often horrific Italian comic book series, Satanik, in the early 1970s.
Lucia Bosè (28 January 1931 – 23 March 2020) Italian actress who had a small role in Jean Cocteau’s 1960 film, Testament d’Orphee.
David Collings (4 June 1940 – 23 March 2020) English actor who played Bob Cratchit in 1970’s Scrooge.
Melinda O. Fee (October 7, 1942 – March 24, 2020) American actress who played Mrs. Webber in 1985’s A Nightmare on Elm Street 2: Freddie’s Revenge.
Stuart Gordon (August 11, 1947 – March 24, 2020) American screenwriter and director on 1985’s Re-Animator, the 1991 version of The Pit and the Pendulum, 2001’s Dagon, and two episodes of the ‘Masters of Horror’ TV show.
Juan Padron (January 29, 1947 – March 24, 2020) Cuban director of Vampiros en La Habana (1985) and Mas Vampiros en La Habana (2003).
Barbara Rütting (21 November 1927 – 28 March 2020) German actress in early ‘60s adaptations of a couple of Edgar Wallace’s horror-thriller novels, Der Zinker (The Squeaker, 1963) and Das Phantom von Soho (1964).
Krzysztof Penderecki (23 November 1933 – 29 March 2020) Polish composer of Die Teufel von Loudun (The Devils of Loudun), a 1968-1975 opera based on an episode of mass demonic possession in 17th Century France. Yes, it took him seven years to write an opera. How long does it take YOU?
Hilary Heath, AKA Hilary Dwyer (6 May 1945 – 30 March 2020) British actress in 1968’s The Witchfinder General and 1969’s The Oblong Box, both with Vincent Price in Edgar Allen Poe inspired films, 1970’s Cry of the Banshee, also with Price, and in the 1970 version of Wuthering Heights, which starred future James Bond Timothy Dalton.
Vincent Marzello (July 4, 1951 – March 31, 2020) American actor in 1990’s The Witches.
Olan Montgomery (April 12, 1963 – April 4, 2020) An American actor known for playing a newsman for four episodes during the third season of the Netflix series, ‘Stranger Things’. He died of COVID-19.
Honor Blackman (22 August 1925 – 5 April 2020) British actress who made her mark in film history by portraying the redoubtable Pussy Galore in the third James Bond film, 1964’s Goldfinger, after having spent two seasons practicing her judo throws on bad guys in the BBC series, ‘The Avengers’. She co-starred with Christopher Lee and Nastassja Kinsky in 1976’s To the Devil a Daughter, based on the Dennis Wheatley novel.
Lee Fierro (February 13, 1929 – April 5, 2020) American actress who played the mother of the little boy eaten by the shark in Jaws in 1975.
James Drury (April 18, 1934 – April 6, 2020) American actor who spent nine seasons starring in the ninety-minute television western, ‘The Virginian’. Before that, though, he was a crewman on the spaceship C-57D in the 1956 science fiction classic, Forbidden Planet, which was loosely based on Shakespeare’s marginally horrific last play, The Tempest, and did have folks killed by something called ‘the monster from the Id’. So, yes. It counts as horror, at least a little.
Allen Garfield (AKA Allen Goorwitz; November 22, 1939 – April 7, 2020) American actor who specialized in playing officious minor authority figures whose bark was always worse than their bite. Except, of course, when he starred in 1978’s Sketches of a Strangler, in which he put the bite on several actresses in a manual way. He was also in the 1996 remake of the classic French horror film, Diabolique, with Sharon Stone.
Mort Drucker (March 22, 1929 – April 9, 2020) For decades, Hollywood actors only knew they’d finally ‘arrived’ when this Mad Magazine artist and master caricaturist included them in one of his movie or television parodies. Drucker started out doing war comics for DC before signing on with EC, Mad’s publisher, shortly after they shut down their comic book line (see the Russ Cochran entry above) in favor of putting all their eggs in the Mad basket. The first one of his I remember seeing must have been in one of the reprint collections Mad issued a time or two a year. It was the parody of Alfred Hitchcock’s classic, Psycho. To this day, there are frames from that film I see in my mind’s eye, not in cinematic black and white, but in Drucker’s distinctive style as he recreated them for the magazine.
Nobuhiko Obayashi (9 January 1938 – 10 April 2020) Japanese director, House (1977)
Margot Hartman (August 15, 1933 – April 11, 2020) American actress, Curse of the Living Corpse (1964). Janet Leigh should stay out of showers, and poor Margot should stay out of tubs for the same reason. How is a lady supposed to stay clean?
Danny Goldman (October 30, 1939 – April 12, 2020 American actor in 1974’s Young Frankenstein. He was the obnoxious medical student who drove Gene Wilder to stab himself in the thigh with a scalpel.
Joel M. Reed (December 29, 1933 – April 13, 2020) American schlock director of Blood Sucking Freaks (1976) and other exercises in questionable taste.
Brian Dennehy (July 9, 1938 – April 15, 2020) American tough guy actor, who discovered in First Blood that he wasn’t nearly as tough as Sylvester Stallone’s John Rambo. He didn’t do much better as the fire chief in 1977’s Ants!
Gene Deitch (August 8, 1924 – April 16, 2020) Czech-American animator on Where the Wild Things Are (1975), and creator of one of my childhood favorite cartoon series, ‘Tom Terrific’, who appeared periodically with his sidekick, Manfred the Wonder Dog, on the Captain Kangaroo show. Ah, the good old days.
Jacques Rosny (25 March 1939 – 18 April 2020) French actor who had a small role in Roman Polanski’s 1976 psychological horror film, The Tenant.
Hector Garrido (1928 – April 19, 2020) American illustrator who painted hundreds of paperback book covers in all genres, including horror.
Shirley Knight (July 5, 1936 – April 22, 2020) Oscar-nominated American actress whose only genre work I know of was an episode of ‘The Outer Limits’ in 1963, co-starring Martin Landau.
John Lafia (April 2, 1957 – April 29, 2020) American director of 1993’s Man’s Best Friend, one of several lethal dog movies from around that period
John Ericson (September 25, 1926 – May 3, 2020) German-American actor, the leading man and personification of the Great God Pan in The 7 Faces of Dr. Lao in 1964, and the German officer whose invading force was driven off of Britain’s shores by empty suits of armor animated by apprentice witch Angela Lansbury in the 1971 Disney live-action feature, Bedknobs and Broomsticks.
Richard Sala (June 2, 1954 – May 7, 2020) American comic book creator on 1995’s The Ghastly Ones and Other Fiendish Frolics from Manic D Press, and IDW’s 2005 Dracula, among others.
Marty Pasko (August 4, 1954 – May 10, 2020) Canadian comic book writer who primarily worked in the super-hero genre for DC and Marvel, but who began his career with a script each for Warren Publication’s Eerie and Vampirella magazines in the early ‘70s.
Jerry Stiller (June 8, 1927 – May 11, 2020) American comedian and actor, father of Ben. He appeared in one episode of ‘Tales from the Darkside’.
Frank Bolle (June 23, 1924 – May 12, 2020) Italian-American comic book artist who, among many other things, illustrated horror stories for Atlas Comics, the precursor to Marvel Comics, in 1956 and 1957.
Fred Willard (September 18, 1933 – May 15, 2020) American comedy actor, perhaps best known for his work in the series of Christopher Guest comedy films of the 1980s and 1990s, beginning with This is Spinal Tap. He did make a memorable appearance as the rascally realtor in the 1979 TV miniseries Salem’s Lot who gets caught with his pants down, both by the cuckolded husband and by vampire Kurt Barlow.
Cindy Butler (October 15, 1955 – May 26, 2020) American actress, The Town that Dreaded Sundown (1976) and Boggy Creek II: And the Legend Continues (1984). Neither one, to paraphrase Dr. Samuel Johnson, worth seeing, and even less worth going to see.
Richard Herd (September 26, 1932 – May 26, 2020) American character actor whose genre career began with 1980’s Schizoid and culminated in a videotaped performance of patriarch Roman Armitage in 2017’s Get Out, with a stop in the ‘Tales from the Crypt’ TV series along the way.
Anthony James (July 22, 1942 – May 26, 2020) Twitchy American actor, sort of the poor-man’s Anthony Perkins, who played the chauffeur in the 1976 classic Burnt Offerings with Bette Davis.
Dan van Husen (30 April 1945 – May 2020) German actor who, among many other minor horror roles, played the warden in 1979’s Nosferatu the Vampyre. If forced to choose between this among his films, or Killer Barbys vs Dracula from 2001, I think you know which way to jump.
Andrée Champagne (July 17, 1939 – June 6, 2020) Canadian actress, Playgirl Killer (1967). Not Canada’s finest hour.
Joanne Lara (June 3, 1952 – June 9, 2020) American actress notable, if that’s the word, for being the title character (‘Maria’) in an episode of ‘Tales of the Unexpected’, and for playing a bit part in It’s Alive III: Island of the Alive.
Joe Johnson (June 25, 1957 – June 10, 2020) American actor, victim of a misapplied power tool in The Slumber Party Massacre (1982)
Dennis O’Neil (May 3, 1939 – June 11, 2020) American comic book writer who worked for both Marvel and DC but is best known for his long association with the artist Neal Adams on Green Lantern/Green Arrow and on the various Batman titles, many stories for which he included a supernatural element. ‘The Secret of the Waiting Graves’, the Batman story in Detective Comics 295 from January of 1970 concerns a couple whose time ultimately runs out after several hundred years, for example. O’Neil also worked with artist Steve Ditko on Beware… the Creeper in the 1960s and with Mike W. Kaluta on The Shadow in the early 1970s.
Ian Holm (12 September 1931 – 19 June 2020) Distinguished English actor who, long before he was Bilbo Baggins, played a murderous android in 1979’s Alien.
Philip Latham (17 January 1929 – 20 June 2020) English actor, Dracula: Prince of Darkness (1966)
Joel Schumacher (August 29, 1939 – June 22, 2020) American director, notorious for taking the campy surrealism of Tim Burton’s two Batman films and twisting the franchise in his own two sequels into a surrealistic campiness that was a definite step down. Viewers can make up their own minds as to whether he redeemed himself by directing Gerard Butler in the film version of the Phantom of the Opera musical in 2004. This deponent sayeth not.
Joe Sinnott (October 16, 1926 – June 25, 2020) Legendary comic book artist, favored inker over the pencil work of King of the Comics Jack Kirby, and prolific illustrator of 1950s horror tales for the aforementioned Atlas Comics.
Stuart Cornfeld (November 13, 1952 – June 26, 2020) American producer, The Fly (1986)
Taryn Power (September 13, 1953 – June 26, 2020) American actress, daughter of Golden Age of Hollywood megastar Tyrone Power, Junior, and granddaughter of silent movie star Tyrone Power, Senior. She appeared in the Ray Harryhausen classic, Sinbad and the Eye of the Tiger, and not much else. This apple did, it seems, fall far from the tree.
James Holloway (d. June 28, 2020) American illustrator for many monster-laden Dungeons & Dragons related publications, including Dragon Magazine.
Johnny Mandel (November 23, 1925 – June 29, 2020) American music producer, orchestrator and conductor, Escape to Witch Mountain (1975)
Dan Hicks (July 19, 1951 – June 30, 2020) American actor, Evil Dead II (1987) and Darkman (1990).
Billy Tang (1951 – 7/2/20) Chinese director, Dial D for Demons (2000)
Yoon Sam-yook (May 25, 1937 – July 2, 2020) Korean screenwriter, Suddenly in the Dark (1981)
Ronald L. Schwary (May 23, 1944 – July 2, 2020) American producer, Meet Joe Black, the 1998 remake of the classic Death Takes a Holiday, previously filmed in 1934 and 1971.
P.H. Aykroyd (February 5, 1922 – July 4, 2020) Canadian father of Ghostbuster Dan Aykroyd, author of “A History of Ghosts: The True Story of Seances, Mediums, Ghosts and Ghostbusters” with Angela Narth
Ennio Morricone (10 November 1928 – 6 July 2020) Italian soundtrack composer, The Thing (1982), as well as numerous gialli. The spaghetti western scores he is most famous for comprise a small percentage of his total, voluminous output. Tell me you didn’t just whistle the opening bars to The Good, the Bad and the Ugly. Go ahead. Not that I’ll believe you. Wah-WAH-wah…
Charlie Daniels (October 28, 1936 – July 6, 2020) American musician, The Devil Went Down to Georgia. The Devil should have known better than to bet a golden fiddle against the soul of a Saltine-American bluegrass champion. Stupid Devil.
Raymundo Capetillo (1 September 1943 – 12 July 2020) Mexican actor, Bestia Nocturna (1986).
Kelly Preston (October 13, 1962 – July 12, 2020) American actress, Christine (1983).
Sonia Darrin (June 16, 1924 – July 19, 2020) American actress best known for playing the snarky porno dealer in the 1946 Humphrey Bogart-Lauren Bacall film noir classic, The Big Sleep, based on the novel by Raymond Chandler. That was pretty much the pinnacle of her brief career, but she did manage to squeeze in a bit part in Frankenstein Meets the Wolf Man in 1943.
Jacqueline Scott (June 25, 1931 – July 23, 2020) American actress, Macabre (1958).
John Saxon (August 5, 1936 – July 25, 2020) American actor, A Nightmare on Elm Street (1984). I had no idea he was living maybe twenty miles from me when he passed away. I’m not sure what I would have done had I known, but I’d like to think if I’d run into him at some point, I might’ve asked to shake the hand of a man who had sparred with Bruce Lee. That’s something not a whole lot of folks can say they’ve done.
Dame Olivia de Havilland (July 1, 1916 – July 26, 2020) British actress born in Japan, the woman no less an expert on the topic of feminine pulchritude than Errol Flynn always considered ‘the one that got away’. They made some damn good movies together, starting with 1938’s The Adventures of Robin Hood, far and away the best film version of that legend. Alas, Errol died in 1959, and a few years later Olivia joined the brigade of past-their-prime actresses in the psychological horror film fad of the early 1960s. Hush… Hush, Sweet Charlotte was the 1964 entry in that sweepstakes, and it’s a doozy, with Bette Davis, Bruce Dern, Mary Astor, Joseph Cotten and Agnes Morehead along for the ride.
Jan Skopeček (19 September 1925 – 27 July 2020) Czech actor, The Mysterious Castle in the Carpathians (1981)
Gianrico Tedeschi (20 April 1920 – 27 July 2020) Italian actor, Frankenstein: Italian Style (1975) and Dr. Jekyll Likes Them Hot (1979).
Alan Parker (14 February 1944 – 31 July 2020) English director, Angel Heart (1987), starring Mickey Rourke and Robert DeNiro as the Devil, based on the novel by William Hjortsberg.
Wilford Brimley (September 27, 1934 – August 1, 2020) American actor and commercial spokesman, owner of one of the few mustaches more impressive than mine, and one of the poor fools isolated at the top of the world with an interplanetary shapeshifter in 1982’s second version of The Thing. Okay, the 1951 original scared the hell out of me when I was eight and caught it on Night Owl Theater early on a Saturday morning, but I totally get why many folks consider John Carpenter’s remake of John W. Campbell’s 1938 short story ‘Who Goes There?’ to be superior. I don’t agree, but I don’t totally disagree. Either way, Brimley’s performance is suitably creepy, albeit brief.
Daisy Coleman (March 30, 1997 – August 4, 2020) American actress and advocate for her fellow victims of sexual violence, she made Texas Death Trippin’ in 2019 before committing suicide a year later. Regardless of the film’s quality, it’s such a terrible waste of a human life and potential that I find the situation far more horrific than the film could possibly be. People suck.
Ben Cross (16 December 1947 – 18 August 2020) English actor who essayed the role of Barnabas Collins in the revival of the TV classic, Dark Shadows, in 1991. He also appeared in an episode of HBO’s ‘Tales from the Crypt’, and played another vampire in 1989’s Nightlife opposite Maryam d’Abo.
Lori Nelson (August 15, 1933 – August 23, 2020) American actress, Revenge of the Creature (1955). Clint Eastwood has a bit part as a marginally competent lab assistant. Lori gets carried off into the Florida swamps by the escaped Gillman in this first sequel to Creature from the Black Lagoon, until she’s rescued by leading man and former Mr. Shirley Temple John Agar. Like the first one, this is also in 3-D.
Joe Ruby (March 30, 1933 – August 26, 2020) American television producer and co-creator of Scooby-Doo. Darn those meddling kids!
Peter Licassi (April 1, 1959 – August 27, 2020) Actor, Killer Clowns from Outer Space (1988)
Sidney Noel Rideau (December 25, 1929 – August 27, 2020) New Orleans TV host of ‘House of Shock’ (Dr. Morgus).
Bob Fujitani (October 15, 1921 – September 6, 2020) American comic book artist of Irish-Japanese ancestry. He illustrated numerous stories in all genres for a variety of publishers in the 1940s, including some horror. He had a long run on the peripherally horrific series, The Hangman. The Hangman appeared in MLJ’s Pep Comics as well as in his own title. MLJ was the original name of the publisher now called Archie Comics, by the way.
Dame Diana Rigg (20 July 1938 – 10 September 2020) British actress who, like Honor Blackman, graduated from female lead of the BBC’s ‘The Avengers’ to Bond Girl status in On Her Majesty’s Secret Service in 1969. Unlike Blackman, she got 007 (George Lazenby) to put a ring on it. Too bad arch-nemesis Ernst Stavro Blofeld machine-gunned her out of the British spy’s life before the wedding night. She went on to play the daughter of crazed Shakespearean actor Vincent Price in 1973’s Theatre of Blood, probably the best specifically Vincent Price movie ever. Partisans of the Dr. Phibes films are free to disagree, but they’re still wrong.
Barbara Jefford (26 July 1930 – 12 September 2020) British actress who manages to get herself garroted in her wheelchair in The Ninth Gate (1999). How rude!
Michael Chapman (November 21, 1935 – September 20, 2020) American cinematographer, Invasion of the Body Snatchers (1978). The second version of the classic Jack Finney story first published in Collier’s Weekly magazine in the 1950s. The tale of how I and two friends saw this film at the old Tennessee Theater in downtown Nashville is the stuff of legend, and if you and I ever run in to one another in a bar or pub somewhere, and you buy me a few drinks, I will tell you all about it. The saga involves a 1956 Chevy, a double-boom wrecker and a multiple Hugo Award winning science fiction author, so I don’t think I’m too out of line in assuming that you’ll be obliged to admit in advance that it’s worth the price of a few drinks to be told. If I’m wrong, I’ll apologize.
Ron Cobb (September 21, 1937 – September 21, 2020) American production designer and concept artist, Alien (1979). And what a great job he did! I’ve got to tell you folks, I saw this film the first night of its release, and I was the only person in the audience who knew about the chest-burster scene. You have not lived until you’ve been in a movie theater with four hundred strangers going absolutely berserk over what’s happening to John Hurt, while you’re sitting back and laughing at the whole bloody thing.
Xavier Loyá (December 31, 1934 – September 22, 2020) Mexican actor, one of the partygoers trapped in the apres-opera drawing room in the Luis Buñuel classic, The Exterminating Angel (1962). He was also in Santo vs the Vampire Women the same year. A very versatile fellow, apparently.
Juliette Gréco (7 February 1927 – 23 September 2020) French actress, Jean Cocteau’s Orphee (1950).
Yūko Takeuchi (April 1, 1980 – September 27, 2020) Japanese actress, Ringu (1998).
Maud Hansson (5 December 1937 – 1 October 2020) The Swedish actress appeared as a witch in the 1957 Ingmar Bergman film, The Seventh Seal.
Armelia McQueen (January 6, 1952 – October 3, 2020) American actress, Ghost (1990).
Henryk Boukolowski (January 11, 1937 – October 4, 2020) Polish actor in the 1972 short film, Beczka Amontillado, based on Edgar Allen Poe’s short story, ‘A Cask of Amontillado’. For the love of God, Montressor!
Margaret Nolan (29 October 1943 – 5 October 2020) English actress, went from a bit part in 1964’s Goldfinger with Sean Connery to a bit part in 1968’s Witchfinder General with Vincent Price. Not exactly a step up, but neither was it a step down. Call it a lateral move.
Osvaldo Ruggieri (January 8, 1928 – October 10, 2020) Italian actor, Werewolf Woman (1976).
Rhonda Fleming (8/10/23-10/14/20) Zaftig American actress known as the Queen of Technicolor for how the process loved her red hair, green eyes and fair skin. She made mostly westerns and a few films noir, as well as the first (and best) version of The Spiral Staircase in 1946, based on the novel by Ethel Lina White. She gets her pretty neck wrung by serial killer George Brent well before the denouement. Am I beginning to sense a theme here?
Spencer Davis (17 July 1939 – 19 October 2020) Welsh musician and actor. Way up there, near the top of this list, I mentioned The Ghost Goes Gear. Here it is again. See the previous entry. Davis discovered his lead singer, Steve Winwood, later of Traffic, when the fourteen-year-old was playing jazz in a club in Birmingham, England. The Spencer Davis Group made some very good records. Movies, not so much. Unlike Herman’s Hermits, who made three films, they had the good sense to quit when they weren’t too far behind.
Gianni Dei (21 December 1940 – 19 October 2020) Italian actor, Patrick Still Lives (1980).
Wojciech Pszoniak (2 May 1942 – 19 October 2020) Polish actor, The Devil (1972).
Marge Champion (September 2, 1919 – October 21, 2020) American dancer who, with her husband, Gower, was perpetually prominent in the MGM musicals of the Golden Age of Hollywood, and who modeled for Walt Disney on his feature films, Snow White & the Seven Dwarves (1937), Pinocchio (1940) and Fantasia (1940). Not specifically for characters in the scary parts of those pictures, but close enough for inclusion here.
Richard A. Lupoff (February 21, 1935 – October 22, 2020) American speculative fiction author and genre historian. I can’t say that knew Dick Lupoff, although he was a member of a couple of Yahoo groups I belonged to when that was still a thing. We might have commented on the same threads, I don’t recall. I wish I had interacted more with him when I had the chance, for he was a treasure. He was one of the editors and contributors to both All in Color for a Dime and The Comic Book Book, two of the seminal histories of one of the crucial media by which our genre has been disseminated, and both of which volumes included important chapters regarding horror in the comic books. Future columns on horror comics will no doubt contain information gleaned from one or the other of those two volumes.
Jacques Godin (September 14, 1930 – October 26, 2020) Canadian actor, The Pyx (1973) with Karen Black and Christopher Plummer.
Ricardo Blume (August 16, 1933 – October 30, 2020) Peruvian actor, Sobrenatural (All of Them Witches, 1996)
Sean Connery (25 August 1930 – 31 October 2020) Scottish actor. There is a no-doubt apocryphal story that Connery was contacted when Gordon Scott decided to hang up his loincloth and retire as the cinematic Tarzan. Connery had played one of the villains in Tarzan’s Greatest Adventure in 1959, Scott’s penultimate appearance in the series. Sean had done such a good job that he was supposedly asked if he’d be willing to don the loincloth himself. According to legend, he told Tarzan producer Sy Weintraub that he was committed to star in some spy picture, and that once that was finished, he’d consider the offer to play the Lord of the Jungle. As everyone knows, Connery went on to play James Bond another six times after Dr. No, won an Oscar for The Untouchables in 1987 and never got around to playing the apeman. Weintraub was forced to go with the villain from Scott’s last Tarzan picture, Jock Mahoney, as his next jungle lord. The two pictures Mahoney starred in are considered among the best of the Tarzan films. A pity Connery got so tied up with Bond. He might have made something of himself, had he dispensed with the vodka martinis, Aston-Martins and Bond Babes, doffed his tuxedo and run off into the jungle wearing a scrap of deerskin instead. Ah, well. Fortunately for horror fans, he had already appeared in the Disney live-action Halloween staple, Darby O’Gill & the Little People, in 1959, as scary a picture as the Mouse Factory ever produced.
Rachel Caine (April 27, 1962 – November 1, 2020) Author of, among other works, the Morganville Vampire series of young adult novels.
Elsa Raven (September 21, 1929 – November 2, 2020) American actress, The Amityville Horror (1979).
John Fraser (18 March 1931 – 6 November 2020) Scottish actor in Roman Polanski’s Repulsion (1965), with Catherine Deneuve.
Ken Jones (d. November 6, 2020) American actor, Phantasm (1979).
Sven Wollter (11 January 1934 – 10 November 2020) Swedish actor, The 13th Warrior (1999).
Philip Voss (20 August 1936 – 13 November 2020) English actor, Frankenstein and the Monster from Hell (1974). Voss’s last work was as Mason in the British TV series, ‘Vicious’, with Sir Ian McKellan and Sir Derek Jacoby.
Daria Nicolodi (19 June 1950 – 26 November 2020) Italian actress, Dario Argento’s Profundo Rosso (Deep Red, 1975) and Paganini Horror (1989).
David Prowse (7/1/35-11/28/20) English bodybuilder and actor. Yes, yes we all know about Darth Vader, but everyone eulogizing Prowse seems to have forgotten that he also played the monster in two Hammer films, The Horror of Frankenstein in 1970 and Frankenstein and the Monster from Hell in 1974. And in 1980, he was in Nashville for a Star Wars convention I attended. I was standing in the back of one of those big hotel ballrooms, in front of a pair of double doors, listening to Peter Mayhew talk about being Chewbacca. I was twenty-two years old, six-foot-one, 210 solid pounds, young and impressive and in the best shape of my life, with all my teeth and a lot more wavy, blond hair than I possess now. I frequently enjoyed the company of attractive ladies, and they seemed to enjoy my company, as well. I was feeling, in other words, pretty good about myself.
And then, something huge moved into the room behind me. It was like being in the gravity well of a small planet. I turned and looked up and up and up at David Prowse, not in the Vader costume, but a head taller and a twice as wide across the shoulders as me on my best day. I felt very, very small and insignificant, indeed. We smiled and nodded, and then he was gone. I never spoke to him at that convention. I’m not sure I would have been able to.
The weekend was not ruined for me, I’m glad to say. That evening turned out well. Remember those drinks you were going to buy me? Add a few more, and you’ll hear the epic saga of a gold-plated droid, an AMC Hornet, and a crimson crustacean.
Richard Corben (10/1/40-12/2/20) American comic book artist. I first noticed his distinctive air-brushed style in the black and white Warren magazines, Creepy and Eerie, around 1970. His best-known work was probably in the Heavy Metal magazine in the late 1970s, for which he created the perpetually naked, bald and musclebound hero, Den. Den’s origin story was adapted to animated form in the Heavy Metal movie in 1981. He also did a lot of horror genre work for underground publishers Last Gasp and Rip Off Press.
André Gagnon (2 August 1936 – 3 December 2020) Canadian soundtrack composer, Phobia (1980)
Eduardo Galvão (April 19, 1962 – December 7, 2020) Brazilian actor, appeared in one episode of the 2002 television series ‘O Beijo do Vampiro’ (A Vampire’s Kiss).
Barbara Windsor (6 August 1937 – 10 December 2020) English actress, played Jack the Ripper’s second victim Annie Chapman in 1965’s A Study in Terror. The poor lass was well and truly dismembered before Sherlock Holmes (John Neville) could put a stop to Jack’s spree of spontaneous vivisection.
Hanna Stankówna (4 May 1938 – 14 December 2020) Polish stage and screen actress from the lovely city of Posnan, where my wife and I enjoyed a delightful lunch and some damn good beer some years ago. Her only genre role, as far as I can tell given my non-existent ability to decipher titles or plot synopses in her native language, was Lokis. Rekopis profesora Wittembacha (Lokis, the Manuscript of Professor Wittembach), from 1970.
Peter Lamont (12 November 1929 – 18 December 2020) British art director and production designer, Aliens (1986), as well as a slew of James Bond films.
Jiří Hálek (9/10/1930-12/18/2020) Czech actor, The Cremator (1969).
David Giler (January 10, 1943 – December 19, 2020) American film producer & screenwriter, Alien (1979).
Pero Kvrgić (4 March 1927 − 23 December 2020) Croatian actor, Nausikaya (1995).
Guy N. Smith (21 November 1939 – 24 December 2020) Prolific British horror author.
Josefina Echánove (September 29, 1927 or July 21, 1928 – December 29, 2020) Mexican actress, Amityville 3-D (1983).
Corrado Olmi (24 October 1926 – 29 December 2020) Italian actor in the dark comedy The Devil in Love (1966) and in the classic Giallo, The Cat o’ Nine Tails (1971).
Dawn Wells (October 18, 1938 – December 30, 2020) American actress. Like most families in the 1960s, we only had one television. While my parents were pretty indulgent as far as allowing my brother and I, and later our sisters, to watch whatever we wanted to, Dad did draw the line a few times. One of those instances was whenever Gilligan’s Island came on. He considered it the dumbest show ever, and objectively, at this considerable temporal remove, it’s only the existence of My Mother, the Car that argues very much against that assessment. So it was that I rarely watched it in first run. However, it ran, and still runs, in syndication, so I caught up with it as I raced into puberty in the early 1970s. And I was Team Ginger, all the way. I never got why anyone would prefer Mary Ann, and still don’t. I didn’t dislike her. As a character, I thought she was fine. As fine as the material allowed, anyhow. She seemed very sweet, and she was pretty in a cornfed sort of way, but for pure prurient interest, it was Ginger for whom I lusted. Oddly, in the case of WKRP in Cincinnati, I’m all about Bailey instead of Jennifer, which is the exact opposite dynamic. Wonder why that is?
Never mind. When Dawn Wells died, yesterday as I write this, from COVID-19, I was shocked and more than a little saddened. She lived in my hometown of Nashville for some years, and lent her support to the Elephant Sanctuary in Hohenwald, Tennessee, a worthy cause if there ever was one. Ginger is the last surviving castaway, and that makes me feel more than a little old. Dawn’s only forays into horror were a couple of truly wretched B-flicks, The Town that Dreaded Sundown (1976) and Return to Boggy Creek (1977). Probably just as well she didn’t make any more, but I’m glad there were enough to include her in this list, even if she never was the object of my desire.
Robert Hossein (30 December 1927 – 31 December 2020) French writer, director and actor, The Wax Mask (AKA Maschera di Cera, 1997)
And there it is. Hopefully, the list I compile at the end of 2021 will be shorter. ‘Twould be a consummation devoutly to be wish’d.
Mitch slid onto the vacant seat beside the woman in the red hot dress.
“And who do I have the pleasure of speaking to?”
She smiled. “I’m Sasha.”
He was sizing her up—an easy 9 out of 10—with her smooth supple skin and generous curves in all the right places. Mitch had no shortage of women throwing themselves at him and thirsting over his social media selfies. He was a music executive in his early thirties who could still pass off as a decade younger. A charming smile, tousled hair, and the right touch or words allowed him to get away with much more than a lesser mortal could.
“Take Me Home, Country Roads” started playing and the lights coming back on signaled it was the bar’s last call. The patrons didn’t need to head for home, but it was time to leave.
Sasha’s dark hair flowing down her back was mesmerizing. Mitch wondered how nobody else was being transfixed by her. Was she too intimidating, or were people too drunk to care?
He followed Sasha like a dream as she led him to the nearby Maxx boutique hotel.
A faint yet familiar scent permeated the room…the sweet vanilla notes of his last girlfriend’s favorite perfume. Anna. Her name was enough to send a shiver down Mitch’s spine. He briefly recalled the night his hands had closed around her throat when he had had enough of her teary-eyed episodes where they had broken up and made up for the upteenth time. She sure left a beautiful corpse at the morgue.
When Sasha turned around, it was too late: her face had turned into Anna’s. She grabbed him by the throat as soon as the door shut behind them.
“Now we can be together forever,” she said, delivering an icy kiss of death that drained the life from Mitch’s body.
Her words were the same last words Mitch had said to her and all the other young girls he discarded once he had deflowered them.
Author Bio: Jess Chua is a writer and editor for a personal development podcast. Her microfiction was a runner-up in the Mysterious Photograph contest at Alfred Hitchcock Mystery Magazine. She enjoys yoga, healthy cooking, and spending time with her pets. Her website is www.jesschuabooks.com
PLANNER INCLUDES 13 months of monthly and weekly spreads Monthly goal and recap sheets Weekly check-ins and note pages Writing challenges, planners, and instructions. Submissions, published works, and contacts trackers. Marketing, newsletter, and blog planners. Check-off sheets for website maintenance, social media profiles, and expenses. Fun sheets to generate writing ideas, track your favorite TV series, or to be read and watched lists.
Jess Chua is a writer and editor for a personal development podcast. Her micro-fiction was a runner-up in the Mysterious Photograph contest at Alfred Hitchcock Mystery Magazine. She enjoys yoga, healthy cooking, and spending time with her pets.
NTK: How old were you when you discovered horror?
JC: I was possibly five years old when I first started learning about ghosts. I’ve been savoring taking my own sweet time exploring the genre since then.
NTK: What is your favorite horror movie?
JC: Hmm, it’s hard to pick just one. Some of my favorites include Psycho, The Shining, Pet Sematary.The Stepford Wives (1975). Alien, Silence of The Lambs, and The Texas Chain Saw Massacre (1974).
I recently added some Asian horror movies (like Third Eye and 23:59) onto my Netflix queue and look forward to checking those out.
The Ring (Japanese; 1998) was very creepy, too! I watched a little bit of it long ago and will need to finish watching it someday…
NTK: Do you have a favorite horror television show?
JC: I was very drawn in by Bates Motel and Kingdom (South Korean). I found the latter’s portrayal of zombies refreshing.
NTK: What is your favorite horror novel?
JS: Psycho was a slim book that packed a punch. I enjoyed the pacing and range of human emotions in Pet Sematary.
Aside from novels, I enjoy short stories in this genre as it allows me to check out different worlds and characters in a short amount of time.
NTK: Who is your favorite horror author?
JS: I’ve been a big fan of Edgar Allan Poe since I was sixteen. His haunting tales of the macabre stay with me long after I’ve finished reading them.
I almost have the full collection of out-of-print books by the late Singaporean writer Damien Sin, so he’s definitely another one of my favorite horror authors. I appreciate the originality and authentic, local flavor of his writing.
NTK: What inspires your writing?
JS: The highs and lows of the human psyche and human behavior.
NTK: If you were to meet a reader for the first time, and they asked for a recommendation from you about one of your works, what is the one book or story you would recommend to them?
JS: I would probably recommend a dark fiction chapbook that I’d like to compile in the near future. It’d be a convenient way for a new reader to check out my writing style and ideas.
NTK: Do your characters have free will? Or do you plan their every move?
JS: I think a 50-50 approach is fun to take. The characters sometimes have free will within a set idea that I have beforehand of what I’d like them to experience or be like. Visualizing the scenes they’re in is always a creative and analytical exercise.
NTK: What is your favorite monster?
JS: The Pontianak (a malevolent female spirit in Malaysian and Indonesian folklore), King Kong, or Godzilla.
NTK: As an Asian writer in the horror community, how has your experience been?
JS: As a writer of mixed ethnicity (Chinese-Eurasian) who has lived in different countries, it’s sometimes difficult to find the right balance in a story or piece of creative work. It can become very anxiety-inducing to think about whether the characters or story is inclusive enough to readers of different cultures and backgrounds. I try to stay focused on the plot and characters, and if race or geographic setting is integral to the story, then I do my best to write about it in an authentic way.
NTK: What does the future hold for you? What works do HorrorAddicts have to look forward to?
JS: I’d like to continue working on short stories and reading the horror anthologies on my bookshelf. One of my stories will be published in a Gluttony-themed anthology and I have some Singapore-based ghost stories in mind. Southeast Asia has a rich variety of paranormal lore which have stayed with me, even though I’ve lived halfway across the world for over a decade now. Thanks for checking out my interview–and best wishes for 2021!
Next Tuesday editors and authors from the new horror anthology, Black Cranes: Tales of Unquiet Women will be featured on the next Skeleton Hour, the Horror Writers Association’s monthly horror literature webinar series. Please join Lee Murray, Geneve Flynn, Nadia Bulkin, Rena Mason and myself for this event. You can register for the online event on Facebook here.
Leading up to this event I’ll be posting interviews with some of the Black Cranes so you have a chance to know them a little better ahead of time. Think of questions you want to ask because I believe there will be an opportunity for Q&A in the chat. Today we get a closer look at one of the minds that brainstormed this beautiful book into being—the warm and lovely Geneve Flynn.
Geneve Flynn is a freelance editor from Australia who specializes in speculative fiction. Her horror short stories have been published in various markets, including Flame Tree Publishing, Things in the Well, and the Tales to Terrify podcast. She loves tales that unsettle, all things writerly, and B-grade action movies; if that sounds like you, check out her website at www.geneveflynn.com.au.
Geneve, thank you so much for taking the time to share your work in more depth. What are some of your favorite themes to explore?
I have a background in psychology, so I like thinking about what drives a character and why they make the choices they do. One of my favourite themes is that everyone has a hidden side, especially girls and women, because so much of our lives and our identities are about making others happy, putting others first, about shrinking ourselves. Everyone has a face for the public, and a face that no one sees. That’s the side I want a peek at.
Oh, I like that and I absolutely agree with you. How much of you as creator is hidden in your characters and stories?
I think there’s a bit of me in all my stories. When you’re able to take a deep breath and write authentically, exposing all parts of yourself – the palatable and unpalatable, that’s when a story comes alive.
In my story “The Fledgling,” I write about a mother’s guilt at failing her children because she’s trying to hold down a career. “Little Worm” explores the dilemma of individualism vs filial duty. It’s a question of who cares for aging parents and the expectations laid at the feet of women in families, especially Asian women, who are often seen as the caretakers, the dutiful daughters, the ones whose first and only prerogative is the family. This is something that’s looming for me at this point in my life, and it was an uncomfortable story to write, but it was honest.
As I’ve matured, I find I’m very much okay with knowing that the monsters in my stories also have a bit of me in them. This goes back to the hidden side of human nature. I think as you get older, you become much more comfortable with allowing that side out, and allowing it to live. I take a certain glee in celebrating the monstrous side.
The monstrous side is my favorite side, I think. As you say, it’s where I am myself. Tell us a bit about your heritage and your experience of ‘otherness.’ Has this influenced what you write?
I’m Chinese, born in Malaysia. When I was young, my family moved around because of my dad’s work. We lived in South Korea for eighteen months, in a visitor’s compound with one wonderful Canadian teacher for all the kids. I’d gotten a taste of a western education, and when I returned to the very strict Malaysian schooling system, I was miserable. I’d forgotten a lot of Malay and Chinese, so I spent my days struggling to understand what I was learning, terrified that I would be caned because my grades were dropping.
We emigrated to Australia when I was about eight years old. The school system was a lot better, but being one of only a few Asian kids, I came up against a lot of casual and not-so-casual racism. It’s waxed and waned over the years, flaring with political campaigns against Asian immigration and multiculturalism, and media reports of Asians “taking over” certain areas with property development.
My experiences have influenced what I write in that I can easily tap into that sense that the world is an unpredictable, unsafe, and sometimes hostile place. As a young woman, whenever I walked past a group of people, I never knew if I was going to be catcalled, told to “go back to your country,” or left alone.
How has this affected you as an Asian writer? As a writer of dark fiction? Has this changed over time, or not?
When I first started writing, the majority of what I’d read was by white, male writers. The very idea of writing Asian characters, Asian mythology, and Asian settings didn’t even occur to me. And when it did, I shied away from it, thinking that no one wanted to read stories like that.
I thought of myself first and foremost as a horror writer, and it’s only with Black Cranes that I’ve embraced being an Asianfemale horror writer.
As I’ve attended more and more writing conventions, I’m also delighted to continue to discover the breadth of perspectives in fiction. The hunger for diversity in publishing has definitely changed.
I’ve only identified as an Asian female author relatively recently as well, and I appreciate you sharing that. It’s empowering. What do you think of common depictions of Asian women in dark fiction? What, if anything, would you like to see done differently?
I remember reading the Chung Kuo dark sci-fi series by David Wingrove back in the 90s. The premise was a world where the Han Chinese have become the dominant race. While it was sprawling and ambitious in worldbuilding and scope, the depictions of Chinese culture and women were problematic. The Chinese were seen as a monolithic people, stuck in a cycle of stagnation and tradition. Women and girls were largely sexual objects, wives, and mothers.
On screen, there are countless examples of Asian women as highly eroticised, almost doll-like creatures. They’re passive, adoring girlfriends, dragon ladies, or martial artists. And very rarely the main character.
Comics were where I first saw a major Asian female character. My folks owned newsagencies (kind of like corner stores where you can buy newspapers and magazines), and I misspent a lot of my youth reading comics. Seeing Jubilation Lee, an Asian female mutant, in a storyline with Wolverine in the X-Men was pretty special. I was a bit bummed that the writers gave her storyline to Rogue in the movies.
A recent portrayal that I love is from the Netflix horror series, Kingdom, which is set three years after Japan invades Korea. Seo-bi is a female healer, caught in the midst of a mysterious plague outbreak. She’s brave and smart and driven to find out what’s causing the outbreak. She has no interest in romantic relationships. She’s not a wilting flower, needing rescue. Her story doesn’t revolve around a man’s.
These are the characters I want to see and read. Complex, determined, capable women, who drive their own stories.
Do you have any recommendations for works that have resonated for you as an Asian horror writer?
Well, obviously, all work by our wonderful Cranes. I loved Alma Katsu’s The Hunger. I found the examination of the American belief in manifest destiny fascinating. I’ve also enjoyed exploring more diverse works because there’s often that sense of being the other. Chikodili Emelumadu’s writing is wonderful, and I just finished Mongrels by Stephen Graham Jones, and The Ballad of Black Tom, by Victor LaValle.
Oh, yes. The Hunger was brilliant. Can you tell us briefly about your last project and what you’re working on next?
I co-edited the anthology with fellow Australian editor Louise Zedda-Sampson, and we were thrilled with the quirky, scary, and inventive stories that came across our desks.
In terms of writing, I’m working on a story about Ching Shih. She went from a prostitute in a floating brothel to the most successful pirate in history, commanding 80,000 sailors at the height of her power. How did she do that? Of course, I have a monstrous answer.
Geneve Flynn is a freelance editor from Australia who specializes in speculative fiction. Her horror short stories have been published in various markets, including Flame Tree Publishing, Things in the Well, and the Tales to Terrify podcast. She loves tales that unsettle, all things writerly, and B-grade action movies; if that sounds like you, check out her website at www.geneveflynn.com.au.