Chilling Chat: Episode 171 | Loren Rhoads

chillingchat
Loren Rhoads served as editor for Bram Stoker Award-nominated Morbid Curiosity magazine as well as the books The Haunted Mansion Project: Year Two, Death’s Garden:Rhoads Headshots 9-18 FINAL-1782 Relationship with Cemeteries, and Morbid Curiosity Cures the Blues: True Tales of the Unsavory, Unwise, Unorthodox, and Unusual. Her short stories have appeared in the books Best New Horror #27, Strange California, Sins of the Sirens: Fourteen Tales of Dark Desire, Fright Mare: Women Write Horror, and most recently in the magazines Weirdbook, Occult Detective Quarterly, and Space & Time. 

Loren is an imaginative and skilled writer. We spoke of inspiration, editing, and cemeteries.

NTK: Welcome to Chilling Chat, Loren! Thank you for joining me today.

LR: My pleasure! I am really looking forward to chatting.

NTK: How old were you when you first discovered horror?

LR: I remember catching a glimpse of Barnabas Collins climbing out of his coffin when I was four. I didn’t know what I was seeing at the time, but the music was so deliciously creepy! I was definitely marked for life.

NTK: Is Dark Shadows your favorite horror TV show? What is your favorite?

LR: Wow, it’s hard to choose a favorite. I loved Dark Shadows, Kolchak, and the monster of the week episodes of The X Files. Now I’m loving Legion, which might not seem like horror, because the main character/villain is presented to be so charming. He’s really quite terrifying.

NTK: Do you prefer villains or heroes?

LR: I prefer characters who wander from one side of the equation to the other.

NTK: What do you think makes a character believable?

LR: Self-doubt.

NTK: When you write characters, do they have free will? Or are their actions predetermined?

LR: They definitely have minds of their own. I generally write to find out what I think, rather than the other way around, so I just wind my characters up and watch them go.

NTK:  Lily is a fascinating character in “Still Life with Shattered Glass.” What inspired that story?

LR: I was working at the University of Michigan as the Secretary of the Undergraduate English program. One of the perks was that I got to sit in on any English class I wanted, so I took all the creative writing classes. Students were strongly encouraged to “write what you know” so we read an awful lot of shitty roommate stories. I wanted to write a story where the reader wasn’t sure which roommate was worse. And I wanted to mock all the artistic pretensions that the undergrads were spouting.

NTK: “Still Life” is part of the anthology, Tales for the Camp Fire. Could you tell us what that anthology is about and what inspired it?

LR: Last November, there was a terrible wildfire in Northern California. Some of the power company’s equipment failed in a windstorm and threw sparks that burned for three weeks. The town of Paradise, California was leveled. The smoke from the fire was so bad that it could be seen from space. It drifted 200 miles from Butte County in the Sierra Nevada Mountains to settle in the Bay Area, where I live. For a week, we had the worst air quality in the world. So even if we didn’t lose anything directly in the fire, we were still affected by it.

Tales for the Camp FireThe local chapter of the Horror Writers Association decided to help the survivors. Ben Monroe suggested we put together an anthology that we could use to raise money for survivors. I volunteered to edit. Tomes & Coffee volunteered to publish it. All the stories—even the one by Clark Ashton Smith—are donations. The cover art was donated by Petersen Games. Even the cover designer donated her time.

All of the book’s profits are going to the North Valley Community Foundation, which is a clearinghouse in Butte County that applies funds to the greatest needs.

NTK:  Horror writers are great people. What did you look for in a story, when you edited that anthology?

LR: Because it wasn’t a themed anthology, I wanted to include as wide a spectrum of horror stories as possible: creepy, gross, funny, disturbing, thought-provoking, nightmarish. I wanted something about the story to stick in your mind after you read it, a splinter that would work away at you.

NTK: What is your favorite horror novel?

LR: The one I’ve read the most is Dracula. I find something new in it every time I read it. Other than that, my second favorite changes from day to day.

NTK: You spoke of your inspiration for “Still Life,” what inspires you in general? What gets the creative juices flowing?

LR: I’m just trying to make sense of life on earth. It can be so beautiful and yet so tragic. We don’t seem to make it easy for each other, even though we’re all trapped here. I write to get to the heart of that.

NTK: Do you have a favorite horror film?

LR: Alien. The first one. I still find it scary.

NTK: Is it the fear factor, or the fact that people are pulling together to fight a greater evil that attracts you to the story?

LR: I like watching Ripley, who is marginalized and ignored, turn out to be right. She knows what the protocol is supposed to be, but the more-emotional men overrule her and get killed for it. Watching Ripley, who has discounted herself, realize that she’s resourceful enough to survive it is amazing. And the monster still haunts my nightmares all these years later.

NTK: You are a well-known cemetery aficionado and I have been dying to ask you this question, have you ever been to Colma, CA?

LR: Oh so many times!

NTK: What’s it like?

LR: The absolute best. There are 17 cemeteries in town, one right beside the next. They range from Japanese to Chinese to Italian (full of sculpture) to Jewish to Catholic to a former Masonic cemetery to a former potter’s field. There’s even a pet cemetery!

They say 1 million people are buried in Colma but there are only 1,000 live ones.

Wyatt Earp is buried there, and Levi Strauss, and Emperor Norton (the only Emperor of North America and Protector of Mexico). It’s lovely and sad and full of treasures.

I don’t know if you know the history of the graveyards of San Francisco, but in the early 20th century, all of them were dug up and the bodies hauled to Colma. There are several huge mass graves down there. Even so, people keep finding bodies that were missed somehow and weren’t moved.

Several years ago, a woman doing yard work found an iron coffin with a little girl in it, still perfectly preserved, and visible through a glass window into the coffin.

NTK: Do you have any stories set in Colma?

LR: Not yet. I’ve written about it on Cemetery Travel (my cemetery blog) and in 199 Cemeteries to See Before You Die, but I haven’t set a story there yet.

NTK: I look forward to those stories. Loren, what does the future hold for you? What work do we Horror Addicts have to look forward to?

LR: I’m finishing up a novel that I hope to have out in October, so I can sell it at the199 Cemeteries Horror Addicts table at Sinister Creature Con. It’s the sequel to Lost Angels (which HA gave a super nice review to several years ago). This new one is called Angelus Rose. It continues the story of Lorelei, a succubus who falls for an angel named Azaziel. It’s set in LA—and bits of it take place in Forest Lawn, Westwood Memorial Park (where Marilyn Monroe is buried), and Angelus Rosedale, where Buffy was filmed in its first season. The story skates between erotic horror and urban fantasy romance, lots of sex and death and graveyards.

NTK: Thank you so much for chatting with me, Loren. You’re a terrific guest.

LR: Thank you so much for doing this, Naching! You asked some great questions. It was really fun.

Addicts, you can find Loren on Facebook, Twitter, and at Cemetery Travel.

You can purchase Tales for the Camp Fire: A Charity Anthology on Amazon.

Cure for the Holidaze Guest, Loren Rhoads

In our Cure for the Holidaze episode #150, Emz chats with Loren Rhoads. Listen below and check out her new book, 199 Cemeteries to See Before You.

 

Loren Rhoads is the author of 199 Cemeteries to See Before You Die and Wish You Were Here: Adventures in Cemetery Travel. She writes about graveyards for the Horror Writers Association and blogs blogs about cemeteries as vacation destinations at cemeterytravel.com.

199 Cemeteries to See Before You Die

Amazon | Barnes & Noble |  Indiebound

Wish You Were Here: Adventures in Cemetery Travel

Amazon

Guest Blog: The Most Haunted Cemetery in the World by Loren Rhoads

 

The Most Haunted Cemetery in the World

by Loren Rhoads

In 1447, Franciscan monks (the so-called Gray Friars) built their friary at the north end of the Grassmarket on a slope with a lovely view of Edinburgh Castle. The Franciscans, a medical order, served the poor there until they were chased out of Scotland in 1558 by the Reformation.

Their friary yard was claimed by Queen Mary in 1562 for a public burial ground. Just in time, too. The graveyard was used “extensively” during the Black Plague of 1568.

At the foot of the cemetery’s east walk stands the Covenanters’ Monument, which remembers Scottish Presbyterians who died for their faith rather than convert to the Anglican Church founded by Henry VIII in England.

The scourge of the Covenanters was Sir George Mackenzie. He was a highly educated member of the Scottish Parliament, a lawyer, and a member of the Privy Council of Scotland. In 1677, he became Lord Advocate in the service of King Charles II of England, in charge of punishing anyone who refused to swear loyalty to King Charles or rejected the Church of England.

Four hundred Covenanters were imprisoned in Greyfriar’s Kirkyard in 1679. The guards abused them. They suffered from the weather, lack of shelter, and starvation. Many ended up buried anonymously in a mass grave in the Kirkyard. In all, Mackenzie is blamed for the deaths of nearly 18,000 people during the eight years dubbed “the Killing Time.”

Mackenzie himself died and was buried in the Kirkyard in 1691. His tomb stood quietly until 1998 when a homeless man broke into it. When the thief ransacked the coffins, the floor collapsed beneath him, spilling him into a plague pit full of bones beneath the mausoleum. The man managed to haul himself out, then ran screaming into the night.

Something had been unleashed.

For the past twenty years, Greyfriars Kirkyard has been considered one of the most haunted graveyards in the world. Visitors have been scratched, bruised, and bitten near Mackenzie’s mausoleum. Blasts of cold air chase some visitors away. Others become nauseous and disoriented or are struck with splitting headaches. One woman was found unconscious near the mausoleum with bruises like finger-marks around her neck.

In 2000, spiritualist minister Colin Grant attempted to exorcise the mausoleum. He felt the presence of hundreds of souls in torment and a presence of overwhelming evil. He fled the Kirkyard, but it was too late. He died unexpectedly of a heart attack several weeks later.

YouTube is full of videos of people showing off bite marks and bruises received while touring Greyfriars Kirkyard. Enter at your own risk.

Greyfriars Kirkyard is one of the 199 Cemeteries to See Before You Die by Loren Rhoads. She is also the author of Wish You Were Here: Adventures in Cemetery Travel and writes about graveyards for the Horror Writers Association. She blogs about cemeteries as vacation destinations at cemeterytravel.com.

 

199 Cemeteries to See Before You Die

Amazon: http://amzn.to/2xFsas3

Barnes & Noble: https://www.barnesandnoble.com/w/199-cemeteries-to-see-before-you-die-loren-rhoads/1125684248?ean=9780316438438#/

Indiebound: https://www.indiebound.org/book/9780316438438

 

 

 

 

Wish You Were Here: Adventures in Cemetery Travel

Amazon: http://amzn.to/2wVzjG6

 

 

 

 

 

 

 

Press Release: Book Signing Loren Rhoads “199 Cemeteries to See Before You Die”

Press Release: Book Signing Loren Rhoads “199 Cemeteries to See Before You Die”

 

Loren Rhoads has a new book coming out, and she will be doing a couple of events for fans to discuss with her about the book and a book signing. Her new book is “199 Cemeteries to See Before You Die”. It features unforgettable cemeteries seen in more than 300 photographs. In this bucket list of travel musts, author Loren Rhoads, who hosts the popular Cemetery Travel blog, details the history and features that make each destination unique. Throughout will be profiles of famous people buried there, striking memorials by noted artists, and unusual elements, such as the hand carved wood grave markers in the Merry Cemetery in Romania.

 

Her first event will be on Tuesday, October 3 at 7:30 PM – 9 PM PDT at Green Apple Park Books on 1231 9th Ave San Francisco, California, CA 94122. Here she will discuss her book. Admission is free. More info here

Her second event is a book signing event on Wednesday, October 18 at 5:30 PM – 7:30 PM PDT at Ipso Facto 517 N Harbor Blvd, Fullerton, California 92832 Admission is free. More info here

 

Guest Blog: What a Piece of Work is Man by Loren Rhoads

guestblog2

What a Piece of Work is Man

by Loren Rhoads

From the Via Veneto, home of La Dolce Vita, the yellow brick church didn’t look like much. Mason marched up the sidewalk past it, but something about the name Chiesa di Santa Maria della Concezione gave me pause. “I think we’re here,” I called after him.

One might expect that a centuries-old international tourist attraction like the Church of the Immaculate Conception would have a multilingual sign. Not until we climbed the first flight of stairs up to a landing large enough to be considered a patio did we see a small plaque with an arrow pointing toward the Coemeterium.

That caught me off guard. I hadn’t expected to see a cemetery, which I think of as bodies buried in dirt or, at least, bodies hidden behind stone. We had come to see skeletons. This Capuchin “cemetery” ranked with the Paris Catacombs and Kutna Hora’s Bone Chapel in the European triumvirate of weird assemblages made from human bones. The visit marked a pilgrimage for me.

The Capuchins separated from other Franciscan monastic orders in 1525 AD. The Capuchin monks wanted to exist closer to the way St. Francis of Assisi had lived at the turn of the thirteenth century. To that end, they wore sandals without socks and a simple brown tunic that had a hood to cover their heads when the weather turned bad. The name Capuchin derives from this hood, called a capuce.

Capuchin monks gathered in houses near woods or green spaces, where they could meditate. They planted orchards, in which their work served as prayer. They cared for the poor, especially the sick. They continue those ministrations today.

In 1631, the Capuchins of Rome moved from their friary near where the Trevi Fountain now stands to land donated by Cardinal Barberini near his palace. The monks exhumed and brought with them bones of 4000 of their brethren. These bones were piled under their new church of Santa Maria della Concezione, in six rooms connected by a sixty-meter corridor.

Sometime in the 1700s, arrangement of the bones began. Several theories exist about the identities of the decorators. Either they were French Capuchins who fled the Terror, or a notorious criminal who sought refuge with the monks and atoned for his crimes by positioning the bones, or a man of “ardent faith, who is almost joking with death,” as the brochure suggests. The Marquis de Sade, who visited in 1775, suspected that a German priest constructed the decor.

*

Just inside a thick wooden door to the “cemetery” sat a paper-thin old man in blue coveralls. People tossed money into his wicker basket as they passed his rickety wooden table. Since the Capuchin catacombs were our first destination in Italy, we only had large bills or very small ones, neither of which Mason considered an appropriate donation. He put in a couple of thousand lira notes and hoped that once everyone came in, he could make change out of the basket to add more.

Although I felt devastated to be forbidden to photograph the bones, nothing prevented note-taking. I tugged my notebook out of my backpack and jotted down descriptions of the crypts.

A dim hallway stretched ahead of us. Gray light flowed in through cloudy windows facing an alley alongside the church. Inside the “cemetery,” the cool air smelled of dust.

To the left of the hallway, a painting of Christ leading Lazarus from the tomb dominated the first room. Grasping his friend’s wrist, Christ tugged the revenant up from the ground. The former corpse was nearly naked: his shroud had slipped down beneath his buttocks. Turned away from the viewer toward his sisters and Christ, Lazarus’s expression was impossible to gauge. One can only imagine his thoughts after having spent four days in his grave. Lettered boldly in yellow at the bottom was the legend: “Lazare veni foras”: Lazarus, come forth.

The command made me uncomfortable as we stood outside a room crammed with bones. I had a sense that the monks had tried to use as many bones as possible here, in order to fit everyone in. Skulls formed two triangular arches, beneath which lay the dusty mummies of two monks in tattered brown robes. I wanted to climb the low fence, step across the holy dirt brought from Jerusalem, and take a feather duster to the cadavers. Mason pointed out that the Catholic Church probably had a sacred maid to dust the hallowed bones. Looked to me like she didn’t come around often enough.

The next room — the only one on the corridor free of bones — served as the cemetery’s mass chapel. The altarpiece depicted Mary seated on a cloud. A toddler Jesus stood on her knee, his nakedness shielded a mere wisp of white fabric. With the help of three monks in brown robes and an angel in gray, they raised souls out of the flames of purgatory. Only one of the dead seemed to be female: she was modestly wrapped in more fire than the others. A dead man gave her the eye: bold behavior at the feet of his savior.

Next door, the Crypt of the Skulls had been decorated with curved niches formed by arm and thighbones, supporting cornices of skulls. Inside each arch lay another dusty monk.

In the tympanum of the central niche hung an hourglass made of two tailbones tip to tip. The bottom coccyx looked darker in color, as if the sands of time had all run down. A double row of very straight bones, perhaps somebody’s forearms, drew the hourglass’s case. Outside the case, four shoulder blades symbolized wings. While the message was certainly intended to be serious, I smiled at the artwork. Time flies, as these bones testified. The bone art seemed lighthearted, though not at all disrespectful. Joking with Death, indeed.

Ornaments made of bones continued overhead. A garden of ribs suggested furrows of earth, where tulips bloomed into single vertebrae. A chain formed by jawbones came to a point, from which descended a lamp made from a sheaf of thighbones. Unfortunately, it wasn’t illuminated. I wondered if it had been wired for electricity. Baroque squares with in-turned corners decorated the ceiling. A double row of vertebrae sketched these on the wall. Inside blossomed ten-pointed stars made of tailbones.

Next came the Crypt of the Pelvises. Against the back wall rose an ornate canopy made from stacks of pelvic bones. The flat planes of the hipbones nested together like scales or roof tiles. A fringe of vertebrae dangled from the cupola.

Mummies of three monks leaned into the room, so stooped they seemed to be bowing. Each cradled a wooden cross in the sagging sleeves of his robe. From their cuffs protruded hands that looked like withered sticks wrapped in autumn leaves. More than anything that had once been human, the monks’ leathery faces looked like masks from some science fiction film. I suppose that two hundred and fifty years of standing around in the open air will do that to a person.

Reading up on them later, I learned that some of the mummies are unidentified. I’d assumed that anyone important enough to preserve “whole” would have been important enough to remember. The records must have been misplaced or destroyed.

My favorite decorations in the Crypt of the Pelvises were crosses suspended from the ceiling formed of thighbones. X-ed across them were shinbones. Something about the mobile aspect of these dangling three-dimensional crosses struck my fancy.

Though the fifth room was called the Crypt of the Leg Bones and Thighbones, its predominant motif seemed to be skulls. Rows of leg bones interspersed with orderly stacks of skulls gave the overall impression of pinstripes. It was an incredibly beautiful arrangement — and functional, because it used up a great deal of bones. When you’ve got thousands of dead monks to jam into five rooms, you’ve got to get busy.

The room’s centerpiece caught my eye. Two severed arms, lopped off at the shoulders, had been affixed to the back wall. The arm on top was bare; the other wore a rough brown sleeve. Their skin had dried to the color of paper ash. Instead of curled into fists, bones protruded through their outstretched fingertips as if they wore Fagin’s gloves. The image shocked me more than anything else I’d seen. All the other bodies were either complete or defleshed. These amputated limbs looked inexplicably creepy.

(Much later, while researching the details of this essay, I discovered their significance. They represent the Franciscan coat of arms: the bare arm of Christ crossed over the robed arm of Francis of Assisi.)

The final room, called the Crypt of the Three Skeletons, was the most ornate. Complete skeletons of two children lounged over the altar made of pelvises on the back wall. The children reached up toward an adult skull. One child held a short spear like a fishing pole. The other balanced a winged hourglass atop his ribcage.

Another small skeleton lay flat against the ceiling. He held a staff formed of shinbones crested with a blade of scapulae. In his other hand swung a scale whose cups were skullcaps, dangling from chains strung of finger bones. A halo of foot bones and vertebrae encircled him. He was the least threatening death figure I’d ever seen. Even his grin looked wistful.

I turned to look back down the hall and saw an ornate clock above the arched doorway. Hand and finger bones formed its large Roman numerals. A breastbone served as its single hour hand. I read later that the clock symbolized that eternity had no beginning or end.

*

The ultimate sensation I took away from the Capuchin crypts? Joy. I could not interpret the lacy tracery of vertebrae and foot bones and ribs on the vaulted ceilings as anything other than ecstatic. What wonderful creatures we are, how marvelously made! Inside us hide complicated puzzles. Whether you believe in the cosmic clockmaker or rest your faith in evolution, you have to admit that humans — with joints that knit together, tailbones like doilies and shoulder blades like wings, the myriad complicated bones of hands and feet, the inquisitive orbits of our eyes, the cuplike hollows of our pelvises — are miraculous creatures.

Mason pointed out that most of the tourists in the dusty twilight corridor grinned. It was difficult not to get caught up in the joie de vivre of the decorators.

The sole English-language text Mason and I found inside the “cemetery” said that the monks made the place for three reasons: because the body doesn’t matter, to glorify God’s handiwork inside man, but especially because time is so short that one can’t wait to do good works.

We bought a stack of postcards from the little man in blue. Mason threw a larger bill into the collection plate. The caretaker beamed at us and disappeared under the church to find the last brochure they had in English. After he returned, Mason and I slipped out into the Roman sunshine to search out the Pantheon and the Mausoleum of Augustus. Life seemed rich and full. I was in Italy with the man I love and Rome was full of dead people. Carpe diem.

 

 

*********

It’s part of All you Need is Morbid, which was published on Wattpad: https://www.wattpad.com/story/19869433-all-you-need-is-morbid
Loren Rhoads is the cemetery columnist at Gothic Beauty. She also blogs about graveyards as vacation destinations at CemeteryTravel.com. Her book 199 Cemeteries to See Before You Die will be out in October 2017.

Kidnapped! Automatism Press

halogokidnappednotdate

Automatism Press is a two-person operation based in San Francisco. It was started in 1990 by Mason Jones and Loren Rhoads, went dormant for several years after the death of Morbid Curiosity magazine, and has recently returned with the books Lost Angels and Black Light, both published earlier this year.

Horror Addicts: What inspired you to start a press?

Loren Rhoads: When Mason and I first moved to San Francisco, we went to a lecture by Vale and AJ of RE/Search Books. They’d already published the William Burroughs/Brion Gysin/Throbbing Gristle book and the Industrial Culture Handbook, both of which we’d bought in Ann Arbor. At the time of the lecture, they were looking for help with their next book, which turned out to be Modern Primitives. They were very open about how they produced books, from interviewing subjects to design and layout to fulfilling orders. Working for them was a real education.

HA: Tell us about Automatism Press’s first book.

lend-the-eye-cover191

Loren: It was called Lend the Eye a Terrible Aspect, after the St. Crispin’s Day speech in Shakespeare’s Henry the V. We published it in 1994. It was a collection of stories and essays about North America on the brink of the 21st century: very earnest, very punk rock. In fact, it includes an essay by Jello Biafra of the Dead Kennedys about legalizing marijuana. One of my favorite essays is about the human need to form tribes by Claudius Reich.

 

HA: What inspired your second book, Death’s Garden: Relationships with Cemeteries?

Loren: My best friend’s husband was dying of AIDS in the early 90s. Blair gave me a bunch of photographs of graveyards he had visited. Originally, I was just going to publish his photos, but the more people I spoke to about the project, the more personal essays I got for it. Death’s Garden has been out of print for years, but I’m still really proud of it.

HA: How did Death’s Garden lead to publishing zines?

Loren: Mason started an indy record label called Charnel Music, which brought a lot of Japanese bands to the US. He hit on the idea of interviewing the bands and reviewing Japanese records, movies, candy – every part of Japanese underground or pop culture – so he started a zine called Ongaku Otaku. He would get the best things in the mail for the zine…and I got jealous. I wanted cool stuff in the mail, too. I realized I needed to publish my own zine.

I’d really enjoyed the process of assembling Death’s Garden, particularly the part where I got true stories from strangers. So I decided I wanted to receive confessional essays from people I didn’t know.

I never considered any other name for the project than Morbid Curiosity.

mc10_cover

HA: Morbid Curiosity magazine was published annually for ten years. What was it like putting it together?

Loren: It was an amazing amount of fun. I was always impressed by the things people would confess to, from deeply personal medical issues to coming in contact with serial killers to adventures that might possibly get them arrested. I never knew what was going to come in the mail next.

Even better were the live events. I started out hosting yearly release parties at Borderlands Bookstore, which brought together hundreds of people. I just adored hearing people confess in front of an audience. Those readings led to open mics at the World Horror Conventions and then on to being on NPR and all kinds of crazy stuff.

HA: Why’d you quit?

Loren: By 2006, the world had changed. Stories that would have come to Morbid Curiosity were going up on Livejournal instead. Tower Records had been one of my biggest distributors, so when it closed down, it was suddenly a whole lot harder for me to sell magazines. I lost thousands of dollars in their collapse. And I had a kid by then, so I didn’t have the time or patience to make the magazine great any more.

Ten issues seemed like a good place to go out: while the magazine was still good, still loved.

HA: What came next?

Loren: Automatism published a couple of chapbooks. The first was Ashes & Rust, which Alan at Borderlands Bookstore recommended I put together after he invited me to read at my first Litcrawl in 2005. Ashes & Rust collected up four of my science fiction stories that had been published in little magazines. I described it as “Sex. Drugs. Rock’n’roll. Space aliens. Demonic possession. Murder. Friendship.” All the best things in life.

After that, we published the Paramental Appreciation Society chapbook. The Paramentals were a writing group that I belonged to for six years. It included Claudius Reich (who had been in both Automatism anthologies and most issues of Morbid Curiosity), Lilah Wild, Seth Lindberg, and A.M. Muffaz, all of whom I’d worked with on Morbid Curiosity. Mason was a member of the group, too, for a while.

The chapbook contains my erotic vampire story set in Golden Gate Park, a witchy fairy tale set in the Tenderloin, a dragon slayer’s adventure set in Lower Pacific Heights, and then explores what the BART trains are really running from.

HA: Then the press went silent for a number of years.

Loren: Yeah, my own writing and editing career took off finally. I sold Morbid Curiosity Cures the Blues, a best of Morbid Curiosity book, to Scribner, which led to a collection of my cemetery travel essays called Wish You Were Here on Western Legends, a novel on Black Bed Sheets, a space opera trilogy at Night Shade, and a bunch more short stories published in books and magazines. I was too busy to be a publisher for a while.

HA: What brought you back?

Loren: The contract expired on my succubus novel and I got the rights back. It had always been planned as a two-book series, so I released the first book, Lost Angels, in April with my preferred text and a new cover.

HA: How did you publish the next book?

Loren: I served as a beta reader for Martha Allard’s Black Light. It is an amazing, aching ghost story with psychic vampires set in the rock-n-roll world of the 1980s. Martha had been planning to self-publish it when Mason heard me raving about it. He suggested we do it for her. I can’t say enough good things about the book. It’s beautiful and devastating.

HA: What’s next?

Loren: The second succubus novel was meant to be out this month, but I got offered a big project on a short deadline for a big New York publisher, so Angelus Rose is on hold until that monster is turned in. I’m still waiting on the contract, though, so I can’t announce its name yet.

When the second succubus novel finally does come out, Angelus Rose will complete the story of Lorelei and Azaziel. They burn down most of LA in the process. I’m excited to see it in print finally.

HA: Any plans beyond that?

Loren: I want to update Wish You Were Here, my cemetery travel essays. I’ve been collecting essays for a second volume of Death’s Garden called Death’s Garden Revisited. Emerian Rich has written a lovely piece for that book, actually. I’m hoping to kickstart the funding for that book next summer.deaths-garden-cover001

In addition, I’m going to experiment with putting a dozen of my Alondra short stories out as singles on Amazon. “The Shattered Rose,” from the Paramentals chapbook, is one of them.

But everything is on hold until I get my mystery project written. It’s supposed to come out in October 2017, so time is very, very short.

Lend the Eye:

http://www.charnel.com/automatism/lend.html

Death’s Garden: https://lorenrhoads.com/2016/10/11/deaths-garden-revisited-2/

Morbid Curiosity: https://lorenrhoads.com/editing/morbid-curiosity-magazine/

All the available books on my bookshop: https://lorenrhoads.com/bookshop/

 

HorrorAddicts.net 134, Loren Rhoads

HA tagHorror Addicts Episode# 134
SEASON 11!
Horror Hostess: Emerian Rich
Intro Music by: Valentine Wolfe

————————

loren rhoads, gild the morn, the veil

Find all articles and interviews at: http://www.horroraddicts.net

43 days till halloween

scare factor song quiz, win a book, phantoms, halloween decor, costumes, bad alice, cemeteries, statues, loren rhoads, cemeterytravel.com, david watson, scary rooms in movies, underworld blood wars, books, hollow house, greg chapman, the plague pit, alan frewin jones, sarah killian serial killer for hire, mark sheldon, crystal lake publishing, tales from the lake, vol. 3, sumiko saulson, beneath the lake cast, blood of socorro county, sean t. young, through dolls eyes, jesse orr, the artwork, james goodridge, nightmare fuel, dj pitsiladis, phillip experiment, open ghost doors, goth drag king, jean batt, victor/victoria, just one of the guys, morbid meals, dan shaurette, se7en, ants, carbonara, ghastly games, goosebumps, zombie kids, one night ultimate werewolf, one night ultimate vampire, booopoly, vampires of the night, midnight syndicate, zombies board game soundtrack, terror trax, gild the mourn, best band season 10 poll, kbatz, frightening flix, the veil, dead mail, murdo, plague pits, london, carl, office angst, pen, valerie, halloween carol bonus, loren rhoads, lost angels

http://www.Cemeterytravel.com

Scary Rooms – USA Today

http://www.usatoday.com/story/life/movies/2016/09/05/creepy-horror-movie-rooms-disappointments/89722886/

Underground Plague Pits

http://www.bbc.com/autos/story/20160906-plague-pits-the-london-underground-and-crossrail

Halloween Carol Bonus
http://traffic.libsyn.com/horroraddicts/HorrorAddictsBonusHalloweenCarols.mp3

Once Upon a Scream- special edition pack

https://horroraddicts.wordpress.com/2016/06/15/once-upon-a-scream-special-edition-pack/

“Broken Pieces” by Valentine Wolfe

http://valentinewolfe.bandcamp.com/track/broken-pieces

HorrorAddicts.net blog Kindle syndicated

http://www.amazon.com/HorrorAddicts-net/dp/B004IEA48W/ref=sr_1_1?ie=UTF8&qid=1431022701&sr=8-1&keywords=horroraddicts.net

———————–

Write in re: ideas, questions, opinions, horror cartoons, favorite movies, etc…

horroraddicts@gmail.com

————————

h o s t e s s

Emerian Rich

s t a f f

David Watson, Stacy Rich, Dan Shaurette, KBatz (Kristin Battestella), Mimielle, Killion Slade, D.J. Pitsiladis, Jesse Orr, A.D. Vick, Lisa Vasquez

Want to be a part of the HA staff? Email horroraddicts@gmail.com

b l o g  / c o n t a c t / s h o w . n o t e s

http://www.horroraddicts.net