Sunday, April 23, 2017

only 12 copies left

There are just 12 remaining copies of this magnificent edition of Poe available at Centipede Press. http://www.centipedepress.com -- an edition limited to 500 copies and featuring an Introduction by ye book's editor, S. T. Joshi. It's a massive 800-page, low-cost edition of Poe's finest fiction, with ribbon marker, head and tail bands, cloth binding, with an embossed Poe signature on ye front board. Inside one finds several photographs of Poe, Layout is attractive and text is easy to read.

Even if ye have an old edition of Poe in some dusty pocket of your grim and ghastly chamber, this edition is worth getting, especially at this low price. Although quick thick in size, the tome is not overly weighty and I find it easy to hold as I peruse ye Contents. This is a series of books from Centipede Press that concentrates on whut S. T. considers classics of supernatural fiction, from such early tales as "Metzengerstein" and "Berenice" to masterworks such as "Ligeia" and "The Fall of the House of Usher." Ye jacket is printed on a very sturdy stock and features a photo on the inside-back flap that I don't recall having seen--a rather intense-looking Poe, as if he has been dwelling on dark matters. I have been obsess'd with Poe ever since I first read him (in junior high school) and sat bewitch'd at cinemas watching ye Roger Corman films. Poe haunts much of my fiction, and actually appears as a character in ye novel I penned with David Barker, Witches in Dreamland.



Wednesday, April 19, 2017

H. P. LOVECRAFT'S "THE SHADOW OUT OF TIME" -part one



Let's see if this light blue text on black background works. Oh, yes, easy to read. Strangely, of late I've been missing my ability to record videos on YouTube. I used to be able to go and record/download directly there, but they've changed ye system and made it too difficult for computer-clueless goons like me to easily recird video blogs. Doing videos there was a great outlet for my exhibitionist proclivities and my love of wearing bizarre makeup. 

Things here are slow-going. I'm trying to work up ye energy to begin writing a non-Lovecraftian yarn for one of S. T.'s forthcoming anthologies--but I'm finding it difficult to enter into ye writing zone, to think like a writer and actually begin to weave a story in my head. My first "draft", so to speak, is always a mental outline, where I brood on an idea and try to dream a story in vague inner visuals. I usually don't have a lot of writing energy until I begin to work on a new book--& then I become obsessive and write furiously. But I simply can't begin to work on any new book, or begin to shape what such a book wou'd consist of, what will be its theme or plot motif. This doesn't feel like writer's block--it feels like boredom.

One rather surprising aspect of not writing is that I am feeling very little in the way or beginning work on a book of stories in the Clark Ashton Smith tradition. I wou'd have thought that Smith's fiction, whut I adore, wou'd certainly inspire a new fictive direction and fresh new work--but I simply don't know where to begin inye writing of such tales. In a way, this is a good sign--it's difficult to begin because I'm really trying to do something "different" and "new" compar'd to my old Lovecraftian work. 

I'm not stressing too much about not writing because I have two new books forthcoming--perhaps both to be publish'd this year. They are both utterly Lovecraftian, one being a novel written in collaboration with David Barker and set entirely in Lovecraft's dreamalnds; & ye other being a new, massively-illustrated edition of my finest newer work (stuff that I've written in ye past decade). I think as ye time of publication for those books draws nearer I'll begin to feel that aesthetic fit that results in new stories. 

Hope this finds ye well, my ducks.


Monday, April 17, 2017

new stuff

I cannot now remember if I mention'd in any earlier blog ye new Lovecraftian anthology, The Children of Gla'aki, edited by Brian M. Sammons & Glynn Owen Barrrass for Darl Regions Press. The book contains all-original stories--with ye exception of Ramsey Campbell's "The Inhabitant of the Lake," in which he introduced Gla'aki--by authors such as Orrin Grey, Tom Lynch, Tim Curran, John Langan, Thana Niveau, and many others. My own tale is a wee thing of 2,200 words, in which I bring ye eidolon of this great old one to a lake in Sesqua Valley. I wou'd never have written such a tale if I had not been invited to this anthology, so my story came as a nice surprise to me. 

I have been feeling an ache to write some new Sesqua stories, but writing is bloody difficult these days. I had to bow out of an anthology of stories tied to "Pickman's Model"--I just couldn't come up with an idea, perhaps because I had so thoroughly explor'd the theme in ye story I wrote for S. T.'s forthcoming anthology, The Red Brain. I have agreed to write a new weird tale for a non-Lovecraftian book that S. T. has started to work on--and hopefully because my tale will not be Lovecraftian I can come up with an original and interesting idea. 

Here's some old videos I did concerning ye creation of Sesqua.


Saturday, April 1, 2017

Re: The Sex Pistols - God Save The Queen



Sometimes I miss ye exhibitionist thrill of recording videos on YouTube, where they changed their policy so that one can no longer record vids directly at ye site. I used YouTube in a number of ways, moftly to review books or plug my own writing. YouTube was like a filmed journal, and I sometimes go back and watch my old videos so as to remember aspects of my past. Because I have, since childhood, had a "thing" about makeup and dressing up, recording my own video blogs gave me a superb outlet for creating weird looks. I've mellow'd a lot with old age, & now I rarely take the trouble to do makeup (it can be a lot of work, and I'm lazy...). There was a time, decades ago, when I wouldn't leave the house unless I was completely made up in punk drag. Influenced by Quentin Crisp, I felt a need to "announce to the world" what I was, shew yem ye essence of my transvestite soul. Then I realized that "the world" couldn't care less.

Friday, March 31, 2017

"Fungi from Yuggoth" part VI, by H.P. Lovecraft - creepypasta audiobook ...



I am consum'd with reading FUNGI FROM YUGGOTH--AN ANNOTATED EDITION, recently publish'd by Hippocampus Press. The book is edited and annotated by David E. Schultz, and for it ye brilliant Jason C. Eckhardt has created an illustration for each of Lovecraft's sonnets. The book also reproduces Lovecraft's original manuscript of the poem, & looking at it one can again sympathize with those brave editors who work on Lovecraft's texts.

Besides the sonnets and annotations, the book includes a fifty-page essay, "Dim Essences: The Origin of Fungi from Yuggoth. There are five appendixes: "Notes for Additional Sonnets," "The Book" [HPL's prose rendition of the sequence, which he never completed], "Chronology of Appearances of Fungi from Yuggoth," "Textual Variants," "The Musical Compositions of Harold S. Farnese.

I feel a potent "connection" to Fungi from Yuggoth because it inspir'd me to write "Some Unknown Gulf of Night," my prose-poem sequence that will be included in my forthcoming collection from Centipede Press at ye end of this year. Looking over this book to-day has me determin'd to write two or four new sonnets, as I need to print up two or four more pages for my new contribution to ye Esoteric Order of Dagon Amateur Press Association
Wish me luck with me Muse, my ducks.


Sunday, March 5, 2017

Judy Garland - The Man That Got Away (A Star Is Born, 1954)



Every time I watch this I get chills. I knew this rendition, first, as a child, when I would spend my chores money on 2nd hand records of musical comedies and movies such as this. Powerful as the performance is as a recording, nothing could prepare me for the power evident in the cinematic presentation. The power, passion, and poignancy of that singing voice has never been equaled.

Friday, February 10, 2017

hooray!

"Dreams in the Witch House" is a fascinating story, although many modern scholars dismiss it as one of Lovecraft's "failures"; and, for me, part of the tale's fascination comes from HPL's treatment of occult stereotypes: the witch hag, the Black Man of ye Sabboath, the familiar, &c &c. I remember how shocked I was, when I first read ye tale as a young lad, by the extreme violence and gore of its conclusion. I loved Lovecraft's fiction for its mood and dreamy atmosphere, having no taste for blood-&-guts horror (as perhaps my own fiction shews). I've been enchanted with the idea of beihng a witch since early childhood, and my elder sister and I identified as witches when we were young children. I used to stage "voodoo" rituals in my bedroom for neighborhood boys when I was a kid, dancing evocatively around my bedroom as I played Yma Sumac 45's on ye phonograph. My grandparents had bought me a knife when they visited Germany, ye handle of witch was a goat hoof, and that seemed a perfect ritual tool. 

I've depicted a number of witches in my weird fiction, and thus it delighted me when my charming collaborator David Barker wrote en entire novel concerning witches in H. P. Lovecraft's dreamlands. The novel was originally to be publish'd by Dark Regions Press, who publish'd my other collaborations with David; but they recently passed on the new novel, and so I offer'd it to Derrick Hussey at Hippocampus Press. S. T. Joshi, who assists Derrick in selection of projects, ad read and praised the novel, and went out of his way to copy edit the entire text. They have many other books to bring forth before they can get to WITCHES, so the book may have to9 wait until next year to see publication.

Below is a photo of me at work at the Jones Fantastic Museum in the 1960's. Mine was a rather unimaginative "traditional" approach to ye witch image.


Wednesday, February 1, 2017

as weird as weird can be...

Age changes your personality, I find. In ye olde days, I almoft never left home without wearing a shoggoth-load of makeup. I cannot, this morning, recall ye last time I wore makeup. I've simply lost interest in taking time to put all that stuff on me mug. Part of this results from no longer using publick transportation. It was such a trudge, taking the bus just to do grocery shopping. If I had to make all that effort going out, I wou'd make it amusing and look punk-queer. Part of ye exhibitionist thrill of punk, for me, was the variety of ways people reacted. It allow'd me to interact with people who wou'd otherwise never speak to me. Usually the people who stopped to speak were as kind as they were curious. It was only the blockheads who shouted insults from a safe distance. Another reason for no longer feeling ye need to dress up is, I think, a secure identity. In younger years I cultivated a variety of identities with which I proclaim'd myself in publick: queer, punk, transvestite, freak, ghoul, whutever. Now I have one solid identity: Lovecraftian author. 

One of ye great pleasures of writing and being publish'd, I find, is having my work illustrated. I cannot draw, and I admire those who have that wonderful talent. When they use that talent to bring to visual life a moment from one of my weird tales, oh honey, it thrills me. Check it out:



This is ye newest illustration by Tom Brown for my forthcoming Centipede Press book, An Ecstasy of Fear and Others. It is one ye strangest things my eyes have ever feasted on--eerie and hypnotic. I love his shading--and then, those two bright pinpoints that are daemonic eyes! Ia!! This illustrates a segment from my prose-poem sequence, "Some Unknown Gulf of Night," I believe. 

I find that I really have ye ache to write new stories. I'm just having a wee bit of difficulty getting started. Out of practice, so I am.



Monday, January 16, 2017

Thriller S1 Ep15 The Cheaters (1960)

To See Beyond



Above is Tom Brown's illustration for "To See Beyond." The illustration will appear in An Ecstasy of Fear and Others, whut will be publish'd by Centipede Press at the end of this year. I love Tom's work, and this drawing is almost perfect--in ye story the lens of these magick glasses are black in hue. My story is a sequel to Robert Bloch's amazing short story, "The Cheaters," which was later turned into an effective episode for Boris Karloff's THRILLER television series. In Bho's original tale, a fellow named Grimm (who narrates the story's final section) prepares to shoot himself while wearing the glasses, thus destroying both himself and the daemonic lens. In my tale--well, I'll let ye read how the fellow is interrupted in his preparation for extinction:

Grimm glanced down at the last page of his manuscript and saw its final word: finis. Yes, this was the end. A chill ran down his spine as he reached for the revolver that sat upon the desk, the metal of which was so horribly frigid to the touch. His fingers raised the tip of the barrel to one of the lenses as the author sought the courage needed to pull the trigger.
"The won't be required, Grimm," spoke a soft voice near his ear. A large hand wrapped its talons around the revolver's barrel. "It would be a crime to destroy those so amusing spectacles. Here, let me take them from your face."

Who is this bold interrupter, and why does he care about the fate of these sinister spectacles? If you've not read my story, you will get a chance when it is republished in my book at year's end. This is not ye first time I have written a story influenced by ye work of Robert Bloch (my favourite weird writer after Lovecraft), nor will it be ye last.

 

Saturday, January 7, 2017

More HPL


Above is S. T. Joshi and his lovely wife, Mary.
One of S.T.'s newest books is soon to be publish'd: Collected Fiction: A Variorum Edition: Revisions and Collaborations. The book will have a paperback edition only, and cost $25. Included will be an index to Variorum volumes 1 through 4. Ye cover art by Fergal Fitzpatrick shews Lovecraft's detested nemesis--ye typewriter.

from ye Hippocampus Press website:
"Following S. T. Joshi's acclaimed three-volume variorum edition of Lovecraft's fiction, this final collection includes al known revisions and collaborations undertaken by Lovecraft on behalf of his friends and clients. As with previous volumes in this series, the texts preserved herein scrupulously follow archival manuscripts, typescripts, or original publications, and constitutes the definitive edition of these stories.
"Since Lovecraft's customary procedure as a revisionist was to discard his client's draft and entirely rewrite the story in his own words, much of the fiction in this collection represents original work by Lovecraft, including such notable contributions to the Cthulhu Mythos as 'The Electric Executioner,' 'Out of the Aeons,' and 'The Diary of Alonzo Typer.' Supreme among the revisions in this volume is the brilliant novella, 'The Mound,' which embodies Lovecraft's satirical commentary on the Machine Age 'decadence' of his era.
"For the first time, students and scholars of Lovecraft can see at a glance all the textual variants in all relevant appearances of a story--manuscript, first publication in magazines, and first book publications. The result is an illuminating record of the textual history of the tales, in an edition that supersedes all those that preceded it."