tag:blogger.com,1999:blog-27811534204800845532024-02-25T11:12:35.357-05:00My Bloody ObsessionThe home of author Brad MiddletonBrad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.comBlogger176125tag:blogger.com,1999:blog-2781153420480084553.post-89794402204332884512024-02-23T17:45:00.001-05:002024-02-23T17:45:47.401-05:002023 Bram Stoker Awards Final Ballot Announced<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH4yyyLXfpDW2rzSDlcwiY_YtT0GK0Vg6HTEvLTIfDynRr556p7EXzxoghzSgT-mSleW18gjTGPfTdZGHFjk0Q2L5FApjW1P0KIkBvK4xcWNwtMuyusf5rjw7nCg83VicLgKDmgIoxXgGibQYzgxNSk6e5rkXuFGsovjoUgOQG0TzeL7msfFvKE2PvoMc/s569/tumblr_dab92c2d84fdd80f3315f2102a68bb14_0f84eec9_640.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="383" data-original-width="569" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH4yyyLXfpDW2rzSDlcwiY_YtT0GK0Vg6HTEvLTIfDynRr556p7EXzxoghzSgT-mSleW18gjTGPfTdZGHFjk0Q2L5FApjW1P0KIkBvK4xcWNwtMuyusf5rjw7nCg83VicLgKDmgIoxXgGibQYzgxNSk6e5rkXuFGsovjoUgOQG0TzeL7msfFvKE2PvoMc/w200-h134/tumblr_dab92c2d84fdd80f3315f2102a68bb14_0f84eec9_640.jpg" width="200" /></a></div>The Horror Writers Association (HWA) has announced the Final Ballot for the 2023 Bram Stoker Awards®. The HWA (see <a href="http://www.horror.org/" rel="nofollow" target="_blank">http://www.horror.org/</a>) is the premier writers organization in the horror and dark fiction genre, with more than 2,000 members. They have presented the Bram Stoker Awards in various categories since 1987 (see <a href="http://www.thebramstokerawards.com/" rel="nofollow" target="_blank">http://www.thebramstokerawards.com/</a>).<p></p><p></p><span><a name='more'></a></span><p><b>The 2023 Bram Stoker Awards® Final Ballot</b></p><p><i>Superior Achievement in an Anthology</i><br /></p><ul style="text-align: left;"><li>Aquilone, James – <i>Shakespeare Unleashed </i>(Crystal Lake Publishing, Monstrous Books)</li><li>Golden, Christopher, and Keene, Brian – <i>The Drive-In: Multiplex </i>(Pandi Press)</li><li>Hawk, Shane and Van Alst, Jr., Theodore C. – <i>Never Whistle at Night: An Indigenous Dark Fiction Anthology </i>(Vintage)</li><li>Peele, Jordan, and Adams, John Joseph – <i>Out There Screaming </i>(Random House)</li><li>Rowland, Rebecca – <i>American Cannibal </i>(Maenad Press)</li></ul><p style="text-align: left;"><i>Superior Achievement in a Fiction Collection</i><br /></p><ul style="text-align: left;"><li><span style="color: red;">Files, Gemma </span>– <i>Blood from the Air </i>(Grimscribe Press)</li><li>Keisling, Todd – <i>Cold, Black, & Infinite </i>(Cemetery Dance)</li><li>Malerman, Josh – <i>Spin A Black Yarn </i>(Del Rey)</li><li>Nogle, Christi – <i>The Best of Our Past, the Worst of Our Future </i>(Flame Tree Press)</li><li>Read, Sarah – <i>Root Rot & Other Grim Tales </i>(Bad Hand Books)</li></ul><p style="text-align: left;"><i>Superior Achievement in a First Novel</i><br /></p><ul style="text-align: left;"><li>Carmen, Christa – <i>The Daughters of Block Island </i>(Thomas & Mercer)</li><li>Compton, Johnny – <i>The Spite House </i>(Tor Nightfire/Macmillan)</li><li>LaRocca, Eric – <i>Everything the Darkness Eats </i>(CLASH Books/Titan)</li><li>Leede, CJ – <i>Maeve Fly </i>(Tor Nightfire/Macmillan/Titan)</li><li>Rebelein, Sam – <i>Edenville </i>(William Morrow/Titan)</li></ul><p style="text-align: left;"><i>Superior Achievement in a Graphic Novel</i><br /></p><ul style="text-align: left;"><li>Bunn, Cullen (author) and Leomacs (artist) – <i>Ghostlore, Vol. 1 </i>(BOOM! Studios)</li><li>Cesare, Adam (author) and Stoll, David (artist) – <i>Dead Mall </i>(Dark Horse Comics)</li><li>Chu, Amy (author) and Lee, Soo (artist) – <i>Carmilla: The First Vampire</i> (Dark Horse) </li><li>Ito, Junji (author and artist) – <i>Tombs </i>(Viz Media)</li><li>Tanabe, Gou (author and artist) – <i>H.P. Lovecraft's The Shadow Over Innsmouth</i> (Dark Horse Comics)</li></ul><p style="text-align: left;"><i>Superior Achievement in Long Fiction</i><br /></p><ul style="text-align: left;"><li>Due, Tananarive – "Rumpus Room" (<i>The Wishing Pool and Other Stories</i>, Akashic Books)</li><li><span style="color: red;">Jiang, Ai </span>– <i>Linghun </i>(Dark Matter INK)</li><li><span style="color: red;">Khaw, Cassandra </span>– <i>The Salt Grows Heavy </i>(Tor Nightfire/Macmillan/Titan)</li><li>McCarthy, J.A.W. – <i>Sleep Alone </i>(Off Limits Press LLC)</li><li>Murray, Lee – <i>Despatches </i>(PS Publishing)</li></ul><p style="text-align: left;"><i>Superior Achievement in Long Nonfiction</i><br /></p><ul style="text-align: left;"><li>Coleman, Robin R. Means and Harris, Mark H.– <i>The Black Guy Dies First: Black Horror Cinema from Fodder to Oscar </i>(Gallery/Saga Press)</li><li>Fitzpatrick, Claire (ed.) – <i>A Vindication of Monsters: Essays on Mary Wollstonecraft and Mary Shelley</i> (IFWG Publishing International)</li><li>Hartmann, Sadie – <i>101 Horror Books to Read Before You’re Murdered </i>(Page Street Publishing)</li><li>Morton, Lisa – <i>The Art of the Zombie Movie </i>(Applause Books)</li><li>Murray, Lee and Smith, Angela Yuriko (eds.) – <i>Unquiet Spirits: Essays by Asian Women in Horror </i>(Black Spot Books)</li></ul><p style="text-align: left;"><i>Superior Achievement in a Middle Grade Novel</i><br /></p><ul style="text-align: left;"><li>Henning, Sarah – <i>Monster Camp </i>(Margaret K. McElderry Books)</li><li>López, Diana – <i>Los Monstruos: Felice and the Wailing Woman </i>(Kokila)</li><li>Senf, Lora – <i>The Nighthouse Keeper </i>(Atheneum Books for Young Readers)</li><li>Tuma, Refe – <i>Frances and the Werewolves of the Black Forest </i>(HarperCollins)</li><li>Young, Suzanne – <i>What Stays Buried </i>(HarperCollins)</li></ul><p style="text-align: left;"><i>Superior Achievement in a Novel</i><br /></p><ul style="text-align: left;"><li>Due, Tananarive – <i>The Reformatory </i>(Gallery/Saga Press/Titan)</li><li>Hendrix, Grady – <i>How to Sell a Haunted House </i>(Berkley/Titan)</li><li>Jones, Stephen Graham – <i>Don’t Fear the Reaper </i>(Gallery/Saga Press/Titan)</li><li>LaValle, Victor – <i>Lone Women </i>(One World)</li><li>Wendig, Chuck – <i>Black River Orchard </i>(Del Rey/Penguin Random House)</li></ul><p style="text-align: left;"><i>Superior Achievement in Poetry</i><br /></p><ul style="text-align: left;"><li>Gold, Maxwell Ian – <i>Bleeding Rainbows and Other Broken Spectrums </i>(Hex Publishers)</li><li>McHugh, Jessica – <i>The Quiet Ways I Destroy You </i>(Apokrupha Press)</li><li>Pichette, Marisca – <i>Rivers in Your Skin, Sirens in Your Hair </i>(Android Press)</li><li>Walrath, Holly Lyn – <i>Numinous Stones </i>(Aqueduct Press)</li><li>Wytovich, Stephanie M. – <i>On the Subject of Blackberries </i>(Raw Dog Screaming Press)</li></ul><p style="text-align: left;"><i>Superior Achievement in a Screenplay</i><br /></p><ul style="text-align: left;"><li>Brooker, Charlie – <i>Black Mirror: Beyond the Sea </i>(Episode 03:06) (Zeppotron, Babieka, Banijay Entertainment, Broke and Bones, House of Tomorrow)</li><li>Cervera, Michelle Garza and Castillo, Abia – <i>Huesera: The Bone Woman </i>(Disruptiva Films, Machete Producciones, Maligno Gorehouse)</li><li>Duffield, Brian – <i>No One Will Save You </i>(20th Century Studios, Star Thrower Entertainment)</li><li>Rugna, Demián – <i>When Evil Lurks </i>(Machaco Films, Aramos Cine, Shudder)</li><li>Yamazaki, Takashi – <i>Godzilla Minus One </i>(Robot Communications, Toho Studios)</li></ul><p style="text-align: left;"><i>Superior Achievement in Short Fiction</i><br /></p><ul style="text-align: left;"><li>Daniels, L.E. – “Silk” (<i>Hush, Don’t Wake the Monster: Stories Inspired by Stephen King</i>, Twisted Wing Productions)</li><li>Jones, Rachael K. – “The Sound of Children Screaming” (Nightmare Magazine)</li><li>Miller, Sam J. – “If Someone You Love Has Become a Vurdalak” (The Dark)</li><li>O’Quinn, Cindy – “Quondam” (<i>The Nightmare Never Ends</i>, Exploding Head Fiction)</li><li>Tabing, Nadine Aurora – “An Inherited Taste” (<i>No Trouble at All</i>, Cursed Morsels Press)</li></ul><p style="text-align: left;"><i>Superior Achievement in Short Non-Fiction</i><br /></p><ul style="text-align: left;"><li>Bissett, Carina – “Words Wielded by Women” (Apex Magazine)</li><li>Bulkin, Nadia – “Becoming Ungovernable: Latah, Amok, and Disorder in Indonesia,” (<i>Unquiet Spirits: Essays by Asian Women in Horror</i>, Black Spot Books)</li><li>Kulski, K.P. – “100 Livers” (<i>Unquiet Spirits: Essays by Asian Women in Horror</i>, Black Spot Books)</li><li>Murray, Lee – “Displaced Spirits” (<i>Unquiet Spirits: Essays by Asian Women in Horror</i>, Black Spot Books)</li><li>Wetmore Jr, Kevin – “A Theatre of Ghosts, A Haunted Cinema: The Japanese Gothic as Theatrical Tradition in Gurozuka” (<i>The Wenshan Review of Literature and Culture: Special Issue on Asian Gothic</i>)</li></ul><p style="text-align: left;"><i>Superior Achievement in a Young Adult Novel</i><br /></p><ul style="text-align: left;"><li><span style="color: red;">Dimaline, Cherie </span>– <i>Funeral Songs for Dying Girls </i>(Tundra Book Group)</li><li>Simmons, Kristen – <i>Find Him Where You Left Him Dead </i>(Tor Teen)</li><li>Smith, Cynthia Leitich – <i>Harvest House </i>(Candlewick Press)</li><li>Tingle, Chuck – <i>Camp Damascus </i>(Tor Nightfire/MacMillan/Titan)</li><li>Tran, Trang Thanh – <i>She Is a Haunting </i>(Bloomsbury YA)</li></ul><p style="text-align: left;"><br />The 2023 Bram Stoker Awards® will be announced during the Annual Bram Stoker Awards Banquet held during StokerCon™ 2024 in San Diego, California. Bookings and information for StokerCon are available at: <a href="https://www.stokercon2024.com/" rel="nofollow" target="_blank">https://www.stokercon2024.com/</a>. </p><p style="text-align: left;">Note: Banquet Tickets are separate from the Convention Membership and should be purchased directly from: <a href="https://www.eventbrite.com/e/stokercon-2024-tickets-657825793657" rel="nofollow" target="_blank">https://www.eventbrite.com/e/stokercon-2024-tickets-657825793657</a>. Click “Tickets” to see the Banquet option as an add-on to your existing registration or an option for a new registration. </p><ul style="text-align: left;"><li style="text-align: left;">Questions about the ballot? Email: stokerchair@horror.org</li><li style="text-align: left;">Questions about StokerCon? Email: info@stokercon.com</li><li style="text-align: left;">Questions about the HWA? Email: director@horror.org</li></ul><p style="text-align: left;">Congratulations to all the nominees!<br /><br /><span style="color: red;"><i>* names in red are Canadian authors! - Brad</i></span><br /></p><p style="text-align: left;"></p><p style="text-align: left;"><br /></p>Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-53356258453516173612024-02-11T22:44:00.001-05:002024-02-11T22:54:24.268-05:00Unearthing author Joseph Trainor<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisMtnvm4mWY5KU53G7hHXIlS11W646Df3q6KnR5il-K1MqcfQJK0Re45UXvRJo7QmPzZ1xyHl4S7E15lfvXobCvpMIT4opCETsaBqQuig1Hy3pEQNybnQTrVAv8mrDVZ2Zilk8uzD1DvhHlsOcCiG1qkUECST7v-VtGArcZPVHXFqn-qZFLM0Oe1v3y24/s1536/Twilight-Where-Darkness-Begins-Watery-Grave-Joseph-Trainor-scaled.webp" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="Courtesy of BLOODY DISGUSTING https://bloody-disgusting.com/books/3719933/joseph-trainor-watery-grave-1983-book/" border="0" data-original-height="1536" data-original-width="936" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisMtnvm4mWY5KU53G7hHXIlS11W646Df3q6KnR5il-K1MqcfQJK0Re45UXvRJo7QmPzZ1xyHl4S7E15lfvXobCvpMIT4opCETsaBqQuig1Hy3pEQNybnQTrVAv8mrDVZ2Zilk8uzD1DvhHlsOcCiG1qkUECST7v-VtGArcZPVHXFqn-qZFLM0Oe1v3y24/w122-h200/Twilight-Where-Darkness-Begins-Watery-Grave-Joseph-Trainor-scaled.webp" title="Courtesy of BLOODY DISGUSTING https://bloody-disgusting.com/books/3719933/joseph-trainor-watery-grave-1983-book/" width="122" /></a></div>While researching possible pseudonyms that Canadian author Robin Hardy (1952-1995) had used, "Joseph Trainor" stood out as a potential match, primarily because there's little to no information about him. <p></p><p>For those who were preteens in the early 1980s, the name may seem familiar: he was attributed as the author of two books in the popular series <u>Twilight: Where Darkness Begins</u>, published by Cloverdale Press--which is where Hardy got his start after moving to New York City, becoming the executive editor from 1987-1991.<br /><span></span></p><a name='more'></a>The Trainor books were published while Hardy was still living in Canada, although at the time he had written a number of novels that were published in the United States under different pen names. So, I wasn't ready to rule it out. These <u>Twilight </u>books are incredibly popular and incredibly rare--and fetch an incredible price on the used market. The two novels in question:<br /><p></p><p><i>Watery Grave </i>(1983) - Book #18<br /><i>Why can't anyone see what is happening? Julie knows she is not hallucinating, but no one believes the things she has seen. First the pages of her Spanish book appear completely blank-except for one word; LAVINA. Then she watches in horror as the letters flow together and drip down the page, staining her skirt with blood. Lost in a thick fog on her way home, she encounters a strange man in seaman's clothes who calls out to here: LAVINA. Who is Lavina? Is Julie part of an ancient nightmare? Is there no escape?</i></p><p><i>Family Crypt </i>(1984) - Book #20<br /><i>Life turned sour for Janet Marie Simpson the day she agreed to cut school and join the gang on Senor Bunk Day. What could be nicer than a cruise across Lake Champlain on a beautiful summer day? How could they have known that the motor would conk out, that they would have to spend the night on a tiny, nameless island in the middle of the lake? For Janet, her parents' punishment-indefinite grounding-is only the beginning. The dreams and the blackouts are far worse. Blackouts that leave her weak and exhausted. Dreams that always end up in a graveyard. Then Janet begins to understand that an old evil is trying to escape from the place where it has been imprisoned for so many years. Is Janet a victim, or is she the vehicle of doom?</i></p><p>I then discovered that a Joseph Trainor wrote “No Man Escapes His Fate” in the pulp digest magazine <i>FATE</i> (Vol. 35, No. 10, Issue 386), in October 1982. Even better! </p><p>However, my research then uncovered a press photo from 1987 (listed on eBay) that shows "romance author" Joseph Trainor in attendance at the Romance Writers Convention at Framingham State College in Framingham, Massachusetts. <br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhETs740u65TVpWqW38AskZv6vqa4EeQwyfGVFLTm8xHhj02GYaX59R5o2YAD2ZhM4yAGMMWcVhqpIJERYMFps7jpLThgs_D6AvryZ9g0hrwd9X3v153AQgXy2-rGh0jtZHh0Pm3YgvkZkz6HPpp_g1XYfoc0yryKzkzPSowsg_6VUzrd8KcIWSQkpK_RQ/s1027/TRAINOR%20Press%20Photo%201987%20Romance%20Writer%20Joseph%20Trainor%20@%20Framingham%20State%20College%20EDIT.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Joseph Trainor in attendance at the Romance Writers Convention at Framingham State College in Framingham, Massachusetts (1987)" border="0" data-original-height="1027" data-original-width="928" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhETs740u65TVpWqW38AskZv6vqa4EeQwyfGVFLTm8xHhj02GYaX59R5o2YAD2ZhM4yAGMMWcVhqpIJERYMFps7jpLThgs_D6AvryZ9g0hrwd9X3v153AQgXy2-rGh0jtZHh0Pm3YgvkZkz6HPpp_g1XYfoc0yryKzkzPSowsg_6VUzrd8KcIWSQkpK_RQ/w289-h320/TRAINOR%20Press%20Photo%201987%20Romance%20Writer%20Joseph%20Trainor%20@%20Framingham%20State%20College%20EDIT.jpg" title="Joseph Trainor in attendance at the Romance Writers Convention at Framingham State College in Framingham, Massachusetts (1987)" width="289" /></a></div><p></p><p>He's pictured holding a copy of <u>Sweet Valley High Super Editions</u> #6 - <i>Spring Fever </i>(1987). This book is attributed to the house name ‘Kate William’, which makes me wonder if he, in fact, was the author. Assuming that all of these men are the same person, then this rules out Joseph Trainor as a potential Hardy pseudonym. <br /></p><p>Hard to believe this was almost 40 years ago! Joseph Trainor, are you still out there? What else did you write? Inquiring minds want to know..!<br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p>Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-63844215697399496202021-10-30T12:44:00.001-04:002021-10-30T12:44:00.219-04:00CFP: Global Horror-Local Perspectives, May 2022<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHXyjVejDtkI_4l-lIEdWciaJ2gA9S1cLTSl-30Y1oWfMSEjm59dCvIw4FEhf8dXeZcM0-Yw2tYkyuVVHzLFXY-SToGRFqzlT_-2VD67JJD_fUnUXb4EBpsAcsuYyGA-p9FuI-3ugjong/s977/chernobyllarge.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="650" data-original-width="977" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHXyjVejDtkI_4l-lIEdWciaJ2gA9S1cLTSl-30Y1oWfMSEjm59dCvIw4FEhf8dXeZcM0-Yw2tYkyuVVHzLFXY-SToGRFqzlT_-2VD67JJD_fUnUXb4EBpsAcsuYyGA-p9FuI-3ugjong/w200-h133/chernobyllarge.jpg" width="200" /></a></div><i>From Renfield's newswire:</i> Horror pervades our lives. The emotional experiences based on fear and
dread it provides affect us both individually and collectively, and the
fascination it exerts is undeniable and ancient, as evidenced by its
lurking recurrence in mythologies, folklore, literature, cinema,
historical narratives, and virtually every other field of human
knowledge and realm of storytelling. <p></p><p>Growing awareness and appreciation of the rich horror traditions of other countries around the world, including Japan, Korea, India, Brazil, Sudan, and Thailand, has highlighted the importance of considering horror in a global context. </p><p><span></span></p><a name='more'></a><p></p><p>Global Horror: Local Perspectives<br />2nd Global Inclusive Interdisciplinary Conference<br />Sunday 8th May 2022 - Monday 9th May 2022<br />Prague, Czech Republic</p><p>The <i>Global Horror: Local Perspectives Project</i> provides a platform for exploring the ways in which horror motifs and themes are expressed through the 'local perspectives' that inform the creative practices and daily life of particular nations and cultures. It is not the intent of the Project to exclude Anglo-European and
American perspectives from the conversation of global horror, but rather
to focus on other horror traditions which have frequently been
de-centred or completely overlooked in the past. </p><p></p><p>The scope of the
Project therefore includes work that explores marginalised local
perspectives within Anglo-European and American horror, and work that
examines Anglo-European and American horror from a global perspective
with a view to forming an innovative interdisciplinary publication to
engender further research and collaboration.</p><p>The paradox of horror lies precisely in the fact we deem it simultaneously appealing and repulsive. We are taught to avoid that which is horrifying, but the appeal of horror, whether in the form of fiction or sensational news, is irresistible. Indeed, we simultaneously narrate, describe, imagine, consume, dread and crave horror in all of its dimensions, and with the most varied goals.<br /></p><p><b>Key Topics</b><br />Horror taps into primal emotions of fear and disgust that are universal to the human condition, and finds expression across cultures and historical periods. Yet he texts that shape the ways in which horror is broadly understood historically reflect predominantly Anglo-European and American cultural, social, historical and geographical contexts.</p><ul style="text-align: left;"><li>Case studies of un(der)-represented horror traditions in nations and cultures</li><li>How the history, religion, cultural norms of a nation/culture influence local perceptions and representations of horror in literature, film, television, music, art and videogames</li><li>Impact of digital technology on creating and disseminating local perspectives on horror</li><li>How globalisation as a cultural and economic force influences 'local perspectives' on horror</li><li>Creative practitioners whose work shapes local perspectives on horror</li><li>Dark humour and making fun of global horror</li><li>Connections between horror in everyday life and fictional horror</li><li>Impact of real or fictional global horrors on individuals (mental illness, trauma, nightmares, other physiological symptoms)</li><li>Horror in religious/spiritual systems (martyrdom, grotesque/monstrous deities, rituals, etc.)<br />Social practices associated to horror: cannibalism, (self-)mutilation, abusive rites of passage, suicide, heresies</li><li>Horror in nation-building (slavery, war, genocide, etc.)</li><li>Medical/clinical perspectives: interfaces of horror and medicine; dealing with patients struggling to cope with horrifying experiences</li><li>Educational perspectives: how the curriculum shapes perceptions of horror, its uses and its impacts; horror in children's stories/horror as pedagogical tool, etc.</li><li>The horrifying impacts of the COVID pandemic on our lives</li><li>Technology as agent of horror (weapons, dissemination of fear, etc.)</li><li>How national and international law facilitate and mitigate horror</li><li>Activism as response to horror</li><li>Horror and the media: news coverage, sensationalism</li><li>Horror and space: streets, cities, towns, buildings, deserted areas</li><li>The design of horror: images, branding, advertisement, commercial campaigns involving horror</li><li>Urban legends and local horrors</li><li>Best practice for researching and studying global horror</li><li>Inter-disciplinarity as a tool to overcome the indescribability of horror</li></ul><p>There will also be opportunities to explore aspects of horror within Prague.<br /><br /><b>What To Send</b><br />The aim of this inclusive interdisciplinary conference and collaborative networking event is to bring people together and encourage creative conversations in the context of a variety of formats: papers, seminars, workshops, storytelling, performances, poster presentations, problem-solving sessions, case studies, panels, q and a's, round-tables etc. Creative responses to the subject, such as poetry/prose, short film screenings/original drama, installations and alternative presentation styles that engage the audience and foster debate are particularly encouraged. Please feel free to put forward proposals that you think will get the message across, in whatever form.<br /><br />At the end of the conference we will be exploring ways in which we can develop the discussions and dialogues in new and sustainable inclusive interdisciplinary directions, including research, workshops, publications, public interest days, associations, developing courses etc. which will help us make sense of the topics discussed during the meeting. There is an intention, subject to the discussions which emerge during the course of the meeting, to form a selective innovative interdisciplinary publication to engender further research and collaboration.<br /><br /><b>300 word proposals, presentations, abstracts and other forms of contribution and participation should be submitted by Friday 26th November 2021. </b>Other forms of participation should be discussed in advance with the Organising Chairs.<br /><br />All submissions will be at least double reviewed, under anonymous (blind) conditions, by a global panel drawn from members of the Project Team, the Development Team and the Advisory Board. In practice our procedures usually entail that by the time a proposal is accepted, it will have been triple and quadruple reviewed.<br /><br />You will be notified of the panel's decision by Friday 10th December 2021.<br /><br />If your submission is accepted for the conference, a full draft of your contribution should be submitted by Friday 8th April 2022.<br /><br />Abstracts and proposals may be in Word, RTF or Notepad formats with the following information and in this order:<br />a) author(s), b) affiliation as you would like it to appear in the programme, c) email address, d) title of proposal, e) type of proposal e.g. paper presentation, workshop, panel, film, performance, etc, f) body of proposal, g) up to 10 keywords.<br /><br />E-mails should be entitled: Global Horror Submission<br /><br /><b>Where To Send</b><br />Abstracts should be submitted simultaneously to the Organising Chair and the Project Administrator:<br /><br />Claudio Zanini (Organising Chair): <a href="mailto:haunted32@yahoo.com.br">haunted32@yahoo.com.br</a><br />Len Capuli (Project Administrator): <a href="mailto:praguehorror@progressiveconnexions.net">praguehorror@progressiveconnexions.net</a></p><p>Website: <a href="https://www.progressiveconnexions.net/interdisciplinary-projects/evil/global-horror/conferences/" target="_blank">https://www.progressiveconnexions.net/interdisciplinary-projects/evil/global-horror/conferences/</a></p><p><br /></p><p></p><p></p><p><br /> <br /> </p>Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-52427130367274668742021-10-28T12:43:00.000-04:002021-10-28T12:43:07.221-04:00Inside FANGORIA 138 (November, 1994)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLlbMbOrAKT596BuA2rI-yyn6kJ1b3aps9F6Wm4BP8A9NYOv6r5r2fWr_ISBBGjh1KMLWeDwZKvPae1mzYkr1Jhjrqgzm0KcnXMbRPpWa4wCWkAhFg245pnIKv_fJfmiS2dGGpIYVV1nk/s2048/FANGORIA+138+00.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1514" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLlbMbOrAKT596BuA2rI-yyn6kJ1b3aps9F6Wm4BP8A9NYOv6r5r2fWr_ISBBGjh1KMLWeDwZKvPae1mzYkr1Jhjrqgzm0KcnXMbRPpWa4wCWkAhFg245pnIKv_fJfmiS2dGGpIYVV1nk/w148-h200/FANGORIA+138+00.jpg" width="148" /></a></div>In November, 1994, I watched Neil Jordan's <i>Interview with the Vampire</i> for the first time, at a theatre in North Vancouver. Having been a fan of Anne Rice's books since the late 1980s, I eagerly anticipated this film adaptation--and was not disappointed. That is why I pretty much bought any magazine with an article about that movie, such as <i>Fangoria </i>138, so many of these "inside look" posts will likely feature a few magazines from that time. <p></p><p>This one has an excellent preview of the film, plus a great article about renowned artist Basil Gogos. And there are ads--many, many ads--for a lengthy trip down memory lane. </p><span><a name='more'></a></span><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-GavXF93KLb8FYTETSpJM4SlvQCZ4ODdlevodp0Vvp4NeTUGb5ycPPZb1W84FmOxNc3Iq6-9wfb2xsUou7qgSB5oWZ6v5HJkD7Q5h8TyDjEmeB-yFb6oYIAPu3dnWiGBT-e58LHqz8AA/s2048/FANGORIA+138+01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1438" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-GavXF93KLb8FYTETSpJM4SlvQCZ4ODdlevodp0Vvp4NeTUGb5ycPPZb1W84FmOxNc3Iq6-9wfb2xsUou7qgSB5oWZ6v5HJkD7Q5h8TyDjEmeB-yFb6oYIAPu3dnWiGBT-e58LHqz8AA/w281-h400/FANGORIA+138+01.jpg" width="281" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Mosquito </i>(1994). Human-sized bloodsuckers!<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIcIFNC4VAWv1B-mSm-PudyRrr0dzk2vw-dEiHKcSUjdOeNvKI-SpQccnxfxM9NVyp-PWjM4Yb5e1NEEFt7mi70WhBku60TgcF-GLSKFpN0qWvo3j5gSIT7ZYfJk_B6QjKYV-vzs7thSE/s2048/FANGORIA+138+02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1516" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIcIFNC4VAWv1B-mSm-PudyRrr0dzk2vw-dEiHKcSUjdOeNvKI-SpQccnxfxM9NVyp-PWjM4Yb5e1NEEFt7mi70WhBku60TgcF-GLSKFpN0qWvo3j5gSIT7ZYfJk_B6QjKYV-vzs7thSE/w296-h400/FANGORIA+138+02.jpg" width="296" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Contents page<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisijhGKA6ScR35scfT3TY7Rdl8CqDg1aUBE3pdksOzIM-LZvh1gqik0E_dbvfHQWXwmVLgq50HyYgKdlyPJGuKxSVZArzF8uxFDFBSVPGOngYbjoKvxnU1CkNxmhn3f0cm4FD6Gzs8XvQ/s2048/FANGORIA+138+03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1514" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisijhGKA6ScR35scfT3TY7Rdl8CqDg1aUBE3pdksOzIM-LZvh1gqik0E_dbvfHQWXwmVLgq50HyYgKdlyPJGuKxSVZArzF8uxFDFBSVPGOngYbjoKvxnU1CkNxmhn3f0cm4FD6Gzs8XvQ/w296-h400/FANGORIA+138+03.jpg" width="296" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Stephen King library book club<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3heBhAn3rI-XN1UhXMemIAQFU6NKoDfez2p9PQKcqNl6Nvd-WYrXvioRTElQ5PSSZDfwy7G2JSM5Fx__IcDq_jj07Vh4NAlf-Zyc7tc-A_UKASTJRY9f0BUScyAiSd_ZL7wRydOzNcD4/s2048/FANGORIA+138+04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1510" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3heBhAn3rI-XN1UhXMemIAQFU6NKoDfez2p9PQKcqNl6Nvd-WYrXvioRTElQ5PSSZDfwy7G2JSM5Fx__IcDq_jj07Vh4NAlf-Zyc7tc-A_UKASTJRY9f0BUScyAiSd_ZL7wRydOzNcD4/w295-h400/FANGORIA+138+04.jpg" width="295" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Weekend of Horrors in L.A.<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxhFF0A8_GNAgoIZMkO9TgVRQrFVmcZTBgM4c8mp5NKdowBBUvMs5jTQ5GALfvIgCz28b5-PQvycO1nymJ_l5Mm9QjKp-FFramoQbhPBJVqsHwCRHQe4myu38vBm5-78rzSQICeWmygsI/s2048/FANGORIA+138+05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1486" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxhFF0A8_GNAgoIZMkO9TgVRQrFVmcZTBgM4c8mp5NKdowBBUvMs5jTQ5GALfvIgCz28b5-PQvycO1nymJ_l5Mm9QjKp-FFramoQbhPBJVqsHwCRHQe4myu38vBm5-78rzSQICeWmygsI/w290-h400/FANGORIA+138+05.jpg" width="290" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Horror music on CD<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsh0wl-TCHX1WbSk-IsJZJBDoOcXXemM5kXM0NFcinP_E-xbUB2v4O8M-jn6iKJzXFunwVbhlIB5Ce49v5fGS3n7GKQKaHgeKi1ytpJXFfxQXRmw_x39h6YFHKZPYnmc0rHjDtyhEGWvw/s2048/FANGORIA+138+06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1471" data-original-width="2048" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsh0wl-TCHX1WbSk-IsJZJBDoOcXXemM5kXM0NFcinP_E-xbUB2v4O8M-jn6iKJzXFunwVbhlIB5Ce49v5fGS3n7GKQKaHgeKi1ytpJXFfxQXRmw_x39h6YFHKZPYnmc0rHjDtyhEGWvw/w400-h288/FANGORIA+138+06.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Complections makeup school<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgETPa5kjQh40G7WPE4CctXk6cFcZSTgfrkIV1Oa_gK_zFwc_x5x-Qmo64rXVXntYu_A3G3tc_flI8B_vTriReFd-RvhKK6wOf6LbHrGu0yaDRQ3I5RvSV_xlpDYmN4fjVNHtpxIX4nfRQ/s2048/FANGORIA+138+07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1498" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgETPa5kjQh40G7WPE4CctXk6cFcZSTgfrkIV1Oa_gK_zFwc_x5x-Qmo64rXVXntYu_A3G3tc_flI8B_vTriReFd-RvhKK6wOf6LbHrGu0yaDRQ3I5RvSV_xlpDYmN4fjVNHtpxIX4nfRQ/w293-h400/FANGORIA+138+07.jpg" width="293" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Weekend of Horrors, NYC<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC_dkp9PoSq2a19KuNN4LpAdp8gMJ9qPMYsqTSWIQSrwN4XeZu_xj6_nb4EQVhY-d5ELkkY8t2ao23myTbINFWkMZkxhSiKQ2CXahfYS3PpVzw-HixNCFXXwabXLleFkoXmgrvvlLdZxM/s2599/FANGORIA+138+08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2599" data-original-width="1210" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC_dkp9PoSq2a19KuNN4LpAdp8gMJ9qPMYsqTSWIQSrwN4XeZu_xj6_nb4EQVhY-d5ELkkY8t2ao23myTbINFWkMZkxhSiKQ2CXahfYS3PpVzw-HixNCFXXwabXLleFkoXmgrvvlLdZxM/w186-h400/FANGORIA+138+08.jpg" width="186" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Wicked Games </i>(1994)<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvEGtK22Pm_kLqVeSqq-URvr8HVr7YphD_oUwd1YAkzh3G6QTLGmFL7AQWVcJXKWfFeGkaxXyvKKeZ9r4-ulOnZNoOiJBPL0nWoFSeisJMvz3r9qHJyEPBhzRTQOG75jdMgO0KpzYnNxg/s2612/FANGORIA+138+09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2612" data-original-width="1204" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvEGtK22Pm_kLqVeSqq-URvr8HVr7YphD_oUwd1YAkzh3G6QTLGmFL7AQWVcJXKWfFeGkaxXyvKKeZ9r4-ulOnZNoOiJBPL0nWoFSeisJMvz3r9qHJyEPBhzRTQOG75jdMgO0KpzYnNxg/w185-h400/FANGORIA+138+09.jpg" width="185" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ancient Futures sculptures<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXO2w5WfENqwkzd7K7tuyVkXf8lkSw2TR6yqmCyavEfPsMofNhtZcXSreath37WoAjoakdjoORuPU-LTa-05QW-5Ze37DjwxGrCeNBTzTeIEXExgByRiuPwsUuWeZ6c77NZEhrbqYu878/s2048/FANGORIA+138+10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1049" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXO2w5WfENqwkzd7K7tuyVkXf8lkSw2TR6yqmCyavEfPsMofNhtZcXSreath37WoAjoakdjoORuPU-LTa-05QW-5Ze37DjwxGrCeNBTzTeIEXExgByRiuPwsUuWeZ6c77NZEhrbqYu878/w205-h400/FANGORIA+138+10.jpg" width="205" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dick Smith's makeup course<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxu4bZLJu-cEq3busxh8vnib2tDtazkbnicr9Ce873f7xxw7B4DQS8XSgRHKD-Egv9hHrUGuF206KaDEWQhCa2TPXgJLuLwj031Hew-fXAREMwtZNnSub03vfFMc8Drl8FInmWnD_JRjw/s2048/FANGORIA+138+11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1496" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxu4bZLJu-cEq3busxh8vnib2tDtazkbnicr9Ce873f7xxw7B4DQS8XSgRHKD-Egv9hHrUGuF206KaDEWQhCa2TPXgJLuLwj031Hew-fXAREMwtZNnSub03vfFMc8Drl8FInmWnD_JRjw/w293-h400/FANGORIA+138+11.jpg" width="293" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darth Vader sculpture (I have this!)<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNt-7ePjopmeFCNUG7HimsxzqP1gMMrqB8PTGyuBZhGPLpc-qgFlldnwSG3kvX6XocrY0Sy-OQD4MUGiVLDgWFKhTYjL7MMup-KSQbSX-Rrue5XWtMK2vTLoUvg0Qsn3dUI5zp1-kFmjw/s2581/FANGORIA+138+12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2581" data-original-width="1218" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNt-7ePjopmeFCNUG7HimsxzqP1gMMrqB8PTGyuBZhGPLpc-qgFlldnwSG3kvX6XocrY0Sy-OQD4MUGiVLDgWFKhTYjL7MMup-KSQbSX-Rrue5XWtMK2vTLoUvg0Qsn3dUI5zp1-kFmjw/w189-h400/FANGORIA+138+12.jpg" width="189" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joe Blasco school<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmnXovGVRakDwrOb_mFu_EzeBZhN0LPghot8bVqlOwTq8zJV7MqeEfAQL7GLa3xqT7ug2kuOx6fIfCL5BFNDDxN774gdF4hpaC-0tUWoNKgqJ8AExP34RlssdmeedR3Hdo5ZiS9ztP8Es/s2048/FANGORIA+138+13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1493" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmnXovGVRakDwrOb_mFu_EzeBZhN0LPghot8bVqlOwTq8zJV7MqeEfAQL7GLa3xqT7ug2kuOx6fIfCL5BFNDDxN774gdF4hpaC-0tUWoNKgqJ8AExP34RlssdmeedR3Hdo5ZiS9ztP8Es/w291-h400/FANGORIA+138+13.jpg" width="291" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Full Moon Fan Club ft. <i>Puppet Master 5 </i>(1994)<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibm_h5IuILgBxLCqezdawxG2xs9mDxEttq98kUwAUFEPfVtGTnloDCzVMXNeRXju-ZeIzZh4x_znd1F2s0htw7oJH7gUAqs6AxONdRCs8co60qDTIw9W9VCN2tOABwvfKtGX-BuKzVDOY/s2048/FANGORIA+138+14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1507" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibm_h5IuILgBxLCqezdawxG2xs9mDxEttq98kUwAUFEPfVtGTnloDCzVMXNeRXju-ZeIzZh4x_znd1F2s0htw7oJH7gUAqs6AxONdRCs8co60qDTIw9W9VCN2tOABwvfKtGX-BuKzVDOY/w294-h400/FANGORIA+138+14.jpg" width="294" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Judge Dredd t-shirts<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW37zPPLYD8EzSH3lxoEiIQZ1Pla8lI6w7oDpmHNfW6eXrg1ixAsUD7vHN9QAwE_ppkv4SuoemPPhqZR26LsWQHRE0cziq-5085oXK3IXfUEIip9r_nATaAh2Nrhr56eYDOI_WCFwx-24/s2048/FANGORIA+138+15.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1494" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW37zPPLYD8EzSH3lxoEiIQZ1Pla8lI6w7oDpmHNfW6eXrg1ixAsUD7vHN9QAwE_ppkv4SuoemPPhqZR26LsWQHRE0cziq-5085oXK3IXfUEIip9r_nATaAh2Nrhr56eYDOI_WCFwx-24/w291-h400/FANGORIA+138+15.jpg" width="291" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Masks from <i>The Mask </i>(1994)<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL0knqZfe1PYgMKZMsY_X01OHlbKMW5ufv7mX_EJ2iOHmdqj0b9jYs-NX3l28FZ8uY-9f_hJtdrHiaThJlNBTOfdt6N079pJ8w9sAlGCcbxeScIgpT40tP1MSL6SSqN1nAgt6HmVVFpuc/s2048/FANGORIA+138+16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1338" data-original-width="2048" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL0knqZfe1PYgMKZMsY_X01OHlbKMW5ufv7mX_EJ2iOHmdqj0b9jYs-NX3l28FZ8uY-9f_hJtdrHiaThJlNBTOfdt6N079pJ8w9sAlGCcbxeScIgpT40tP1MSL6SSqN1nAgt6HmVVFpuc/w400-h261/FANGORIA+138+16.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Judge Dredd model kits<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvqK9t13FSn2mQqNgVd8Mj-Y-f4af4Yni3A1nJQxXFII-frzEMFMDHsooTjCXd3R9ksVbHKbm5Es3oR0ChPbOgbO_G25vJ_TcG8GyjhNjZps0LQ97pQbEHSdH5RjcyhWVDoOqXC3R_zWI/s2048/FANGORIA+138+17.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1508" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvqK9t13FSn2mQqNgVd8Mj-Y-f4af4Yni3A1nJQxXFII-frzEMFMDHsooTjCXd3R9ksVbHKbm5Es3oR0ChPbOgbO_G25vJ_TcG8GyjhNjZps0LQ97pQbEHSdH5RjcyhWVDoOqXC3R_zWI/w295-h400/FANGORIA+138+17.jpg" width="295" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Critter hand puppet from <i>Critters 4 </i>(1992)<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSjS3IilWcZMZKUFRSPbYGv3mPQNlPCP9aWJyTfOLAH1vRQjvM2HWlPIALfvu0dLi8C-94Fzs6fbJZO_m8_as4be-wRJxaQ3ja4Qr0WoEBgrVhWiQ3ap8y6f2W2kKn0-LqWWoeuFkdbGc/s2048/FANGORIA+138+18.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1085" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSjS3IilWcZMZKUFRSPbYGv3mPQNlPCP9aWJyTfOLAH1vRQjvM2HWlPIALfvu0dLi8C-94Fzs6fbJZO_m8_as4be-wRJxaQ3ja4Qr0WoEBgrVhWiQ3ap8y6f2W2kKn0-LqWWoeuFkdbGc/w213-h400/FANGORIA+138+18.jpg" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Yet another makeup school<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGxcSth9rlzTUhWvsm5BUn1nHwD-cVK0Oai1TH_NnaLjIZyRJMg2Q68gC8oxM-gmiKPkDAdUPgiGXO1Q3gNIiEWV12U3EUmIAUPMaG5hLt44QisQvvVSdAT4X8ycp9PR6Kmo0mLUOPS2E/s2588/FANGORIA+138+19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2588" data-original-width="1215" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGxcSth9rlzTUhWvsm5BUn1nHwD-cVK0Oai1TH_NnaLjIZyRJMg2Q68gC8oxM-gmiKPkDAdUPgiGXO1Q3gNIiEWV12U3EUmIAUPMaG5hLt44QisQvvVSdAT4X8ycp9PR6Kmo0mLUOPS2E/w188-h400/FANGORIA+138+19.jpg" width="188" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Monster Makers<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfdBxFP_mUBGN8wdPMv-3_SLAnOAfj8SCGHjwaq0MZ23Y0tlp6L3y6YMfb5OhB7B1XAxrVbvaTe0piDKajv7SDNY0tLpU-dfDA5C9O4zA-yyVMK_oDgevpHQDbDjOJ0oCozI7xSN2_YyQ/s2584/FANGORIA+138+20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2584" data-original-width="1217" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfdBxFP_mUBGN8wdPMv-3_SLAnOAfj8SCGHjwaq0MZ23Y0tlp6L3y6YMfb5OhB7B1XAxrVbvaTe0piDKajv7SDNY0tLpU-dfDA5C9O4zA-yyVMK_oDgevpHQDbDjOJ0oCozI7xSN2_YyQ/w189-h400/FANGORIA+138+20.jpg" width="189" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Star Blazers </i>and <i>Yamato </i>VHS and t-shirt<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif-N2tb7GTpCJPoMj8Ez11TOlagwSmudbhU1kMzwjkQqnaTUeWQXR7dSFuWMu49ajWwaJK2Ftbn1z4xesBx7yAUP2E4iE87Nkm45HLcJvkYPsJs8UKirG3FJYco_i6ZheMRI8wwSNCLRk/s2627/FANGORIA+138+21.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2627" data-original-width="1197" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif-N2tb7GTpCJPoMj8Ez11TOlagwSmudbhU1kMzwjkQqnaTUeWQXR7dSFuWMu49ajWwaJK2Ftbn1z4xesBx7yAUP2E4iE87Nkm45HLcJvkYPsJs8UKirG3FJYco_i6ZheMRI8wwSNCLRk/w183-h400/FANGORIA+138+21.jpg" width="183" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">...and another SFX school...<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiW8uNe63zRAxknid-N10-Jpr5c_r-HtIoykZEhYCChJrWxLDVxyCVWBUCW7QBXhXhKcxGetC-lIRzxDddHrUdPYY8aN6TEmK2PQ9-dU8bRQjt2XH9BsYbq_rsDnjYkVkQzcmiABZ3bdM/s2048/FANGORIA+138+22.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1468" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiW8uNe63zRAxknid-N10-Jpr5c_r-HtIoykZEhYCChJrWxLDVxyCVWBUCW7QBXhXhKcxGetC-lIRzxDddHrUdPYY8aN6TEmK2PQ9-dU8bRQjt2XH9BsYbq_rsDnjYkVkQzcmiABZ3bdM/w286-h400/FANGORIA+138+22.jpg" width="286" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gore Store<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgedagzEFLRbyu9Oul0XM1y-52PfiO_e3qUqybqN8XycXi-LS5bV5j3n5KI2voOYyhzXIjJsmvxF0XamBjZe59xp430OM_0O7Fxgkxu60Bpz6cezV6Sr3hRW04s21qr9rrOaJElgW-1Npo/s2048/FANGORIA+138+23.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1442" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgedagzEFLRbyu9Oul0XM1y-52PfiO_e3qUqybqN8XycXi-LS5bV5j3n5KI2voOYyhzXIjJsmvxF0XamBjZe59xp430OM_0O7Fxgkxu60Bpz6cezV6Sr3hRW04s21qr9rrOaJElgW-1Npo/w281-h400/FANGORIA+138+23.jpg" width="281" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gore Store<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUoaJSFDBel74Hhyphenhyphen3rOrcEWTVWkeK9yqYKralM_maImh99W9tbV9ECJ7FCH17cNfeqQlJMZK1u78EIowwwzH0Se0siSS30I-k3YK3oU3sbi_JXFvfIZOh5gOwLp-o-eKshgWTQxaBA25U/s2048/FANGORIA+138+24.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1498" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUoaJSFDBel74Hhyphenhyphen3rOrcEWTVWkeK9yqYKralM_maImh99W9tbV9ECJ7FCH17cNfeqQlJMZK1u78EIowwwzH0Se0siSS30I-k3YK3oU3sbi_JXFvfIZOh5gOwLp-o-eKshgWTQxaBA25U/w293-h400/FANGORIA+138+24.jpg" width="293" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Scream Queen store<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpCfWGashaxtGoe8RQXJPZ-ArSc2wmfGwjUbcgBy_uuKPrFygy_vNrNU9GuNex-Z0I1GD5w4YqtjOO66ZW3sI1pDoIkJf79LQGkLtNAQr9taDxFC-bqYTg6CcZN9e-pEXAj9Nj8nzFwo8/s2048/FANGORIA+138+25.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1515" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpCfWGashaxtGoe8RQXJPZ-ArSc2wmfGwjUbcgBy_uuKPrFygy_vNrNU9GuNex-Z0I1GD5w4YqtjOO66ZW3sI1pDoIkJf79LQGkLtNAQr9taDxFC-bqYTg6CcZN9e-pEXAj9Nj8nzFwo8/w296-h400/FANGORIA+138+25.jpg" width="296" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Full Moon Fan Club ft. <i>Shrunken Heads </i>(1994)<br /></td></tr></tbody></table><br /><p><br /></p>Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-87077091252108450092021-10-25T14:49:00.000-04:002021-10-25T14:49:09.502-04:00Inside HAUNT OF HORROR 3 (September, 1974)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcXhuj9VQYjH43VtrcAUz15s6HlCfR-8N4uPQyLBb__OkUyvNYOAsvDBzKVmDjEGYDrmSj4HRyybJ86mOlBvy6GviiJ-36hOgFIYRdNe2LvGik6_qAwAXEAGAnnSNro1TjsUnTUZwqCP4/s2048/HAUNT+HORROR+3+00.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1523" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcXhuj9VQYjH43VtrcAUz15s6HlCfR-8N4uPQyLBb__OkUyvNYOAsvDBzKVmDjEGYDrmSj4HRyybJ86mOlBvy6GviiJ-36hOgFIYRdNe2LvGik6_qAwAXEAGAnnSNro1TjsUnTUZwqCP4/w149-h200/HAUNT+HORROR+3+00.jpg" width="149" /></a></div><br />The first two issues of this short-lived magazine were more prose-oriented, while the subsequent three issues were random horror stories. Published by Curtis Magazines, an imprint of Marvel, these black and white tales did not have to follow the restrictions imposed by the Comics Code Authority. <p></p><p>This issue ran no third-party ads, but there were some ads specific to Marvel titles, which appear below.</p><span><a name='more'></a></span><p><br /></p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4MQyhJ7S1WnZ1nY6ESS5Cyswel84n9I3N5fQpZoKmwgUjYFCgB-Zmm4izWiPVYEbr2sRX7FZhBXP9XLwKz3VeabWmdCNnNJINkxUTAQv9YEMqtP6GxyeuPumIPetuQtWQOHcnwFMwWp8/s2048/HAUNT+HORROR+3+01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1504" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4MQyhJ7S1WnZ1nY6ESS5Cyswel84n9I3N5fQpZoKmwgUjYFCgB-Zmm4izWiPVYEbr2sRX7FZhBXP9XLwKz3VeabWmdCNnNJINkxUTAQv9YEMqtP6GxyeuPumIPetuQtWQOHcnwFMwWp8/w294-h400/HAUNT+HORROR+3+01.jpg" width="294" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Contents</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhse_ASuETOQxLhVeUesXeIlrzd4ZI3mmdZdDCd9zWurlCXxds8oJeRBtToeqEmho7sr0t3JMBCfO7vAOZZQjLmz7nDPP4FkP5kVyB6kpQS5SVzOZ2q94SQioQumFMNHqDhBIump3j43DM/s2048/HAUNT+HORROR+3+02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1445" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhse_ASuETOQxLhVeUesXeIlrzd4ZI3mmdZdDCd9zWurlCXxds8oJeRBtToeqEmho7sr0t3JMBCfO7vAOZZQjLmz7nDPP4FkP5kVyB6kpQS5SVzOZ2q94SQioQumFMNHqDhBIump3j43DM/w283-h400/HAUNT+HORROR+3+02.jpg" width="283" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ad for <i>Crazy </i>magazine featuring Stan Lee<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbQnradrEufWjbgosyfG44QWZi-9UfUsOCuuX5W2WY6Fw4jhQptkuDk42TOw8mKwY_vrky_2PcNd3HnzBtoialcUvyuCJ5NTKfJaSEiXj5_iDLi0sQsLh3cn1zhAAyiCGNZLG-2V_mDKo/s2048/HAUNT+HORROR+3+03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1533" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbQnradrEufWjbgosyfG44QWZi-9UfUsOCuuX5W2WY6Fw4jhQptkuDk42TOw8mKwY_vrky_2PcNd3HnzBtoialcUvyuCJ5NTKfJaSEiXj5_iDLi0sQsLh3cn1zhAAyiCGNZLG-2V_mDKo/w300-h400/HAUNT+HORROR+3+03.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Such adorable monsters...<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhRgNMTol-JfAmhOtaWPtU32GXb9uDfNC-8X_Z3pCSRBs8kBZlUsgT6llnPYsF2qJlGEPdtiIZFSlR0NLRz3L5pOQwETxTW7EefAO4BhmhwR9CK4Xt1oVaD6dGGyKuvzkTR4x943471Wo/s2048/HAUNT+HORROR+3+04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1440" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhRgNMTol-JfAmhOtaWPtU32GXb9uDfNC-8X_Z3pCSRBs8kBZlUsgT6llnPYsF2qJlGEPdtiIZFSlR0NLRz3L5pOQwETxTW7EefAO4BhmhwR9CK4Xt1oVaD6dGGyKuvzkTR4x943471Wo/w281-h400/HAUNT+HORROR+3+04.jpg" width="281" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Tales of the Zombie</i>, plus <i>Savage Tales</i><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgThe1HULB4tLwYEwDnA7dUTh2aGVFPw1TbL7bY5-XLHgTrL5YhswVx8OhnP9Ew7XDB4f8CYHRyuU8Ogj0kT-y2IGlW4zpehUBRAdoZisW-cwVAwB1rkvR17THgNoj0mYW0s3K1YKEf2f0/s2048/HAUNT+HORROR+3+99.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1551" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgThe1HULB4tLwYEwDnA7dUTh2aGVFPw1TbL7bY5-XLHgTrL5YhswVx8OhnP9Ew7XDB4f8CYHRyuU8Ogj0kT-y2IGlW4zpehUBRAdoZisW-cwVAwB1rkvR17THgNoj0mYW0s3K1YKEf2f0/w303-h400/HAUNT+HORROR+3+99.jpg" width="303" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Back cover ad for<i> Satana, The Devil's Daughter</i><br /></td></tr></tbody></table><br />Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-17367385510877840652021-10-22T13:24:00.001-04:002021-10-22T13:24:15.922-04:00Inside FANGORIA 116 (September 1992)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzgPsTGfKP0oLUM-DUKIcpY5IaXFCFVvxyN71c__fF19fv55sF4rnKE99BPBCprHb5jsF-HTye4eVppEx5UgPa-n0OSBrIrGKQjB01jR9JFXHTNRf0KQDSGz1OyDPL1ErYsHI1lfR_yCY/s2048/FANGORIA+116+00.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1529" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzgPsTGfKP0oLUM-DUKIcpY5IaXFCFVvxyN71c__fF19fv55sF4rnKE99BPBCprHb5jsF-HTye4eVppEx5UgPa-n0OSBrIrGKQjB01jR9JFXHTNRf0KQDSGz1OyDPL1ErYsHI1lfR_yCY/w149-h200/FANGORIA+116+00.jpg" width="149" /></a></div><br />Next up in my quest to preserve horror pop-culture ads come from the pages of <i>Fangoria </i>#119, published in September 1992. <p></p><p>This was a special "All-Vampire" issue, featuring a great interview with Anne Rice. There are also some great ads, from horror masks, spooky attractions, and horror makeup schools. Enjoy!</p><span><a name='more'></a></span><p><br /></p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaKFFm9Kn2kEpV0Z65zVEhVeVi2Xv-vvN-U7cXCmd_d9AE-ZWTEommtbWZWqUiN8IkmSiuvDNci7echKQgInUrjtybfvwgBulTkwsW5ZdbwuI04BIiWZOMfiLIhi3_CrCI46sM1uQJw-s/s2048/FANGORIA+116+01.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1468" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaKFFm9Kn2kEpV0Z65zVEhVeVi2Xv-vvN-U7cXCmd_d9AE-ZWTEommtbWZWqUiN8IkmSiuvDNci7echKQgInUrjtybfvwgBulTkwsW5ZdbwuI04BIiWZOMfiLIhi3_CrCI46sM1uQJw-s/w286-h400/FANGORIA+116+01.jpg" width="286" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Human "spare parts" by Distortions<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh29BF3AeXn3SGl5y45g1fj-tTX19gs2Cxv8sy66bxRRl2XxAbEWctV_u9hjQMXgFGJu1D7xL41kT1_t4fqJiRm-RNWZJVAh1ETeKnAVdmKgNrstDCIilUunHVQE-Vlncvdb5-YwxGzuZ4/s2048/FANGORIA+116+02.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1529" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh29BF3AeXn3SGl5y45g1fj-tTX19gs2Cxv8sy66bxRRl2XxAbEWctV_u9hjQMXgFGJu1D7xL41kT1_t4fqJiRm-RNWZJVAh1ETeKnAVdmKgNrstDCIilUunHVQE-Vlncvdb5-YwxGzuZ4/w299-h400/FANGORIA+116+02.jpg" width="299" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Contents</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgehdkZImekgVyRxJ0ob4ZNaas81VzPpegMQqkLTUETAass-lFG8W_mRzNlR9-L0SctwpNrcm_YEkCudObNhDKnKtAeLSXTfsCA06AvwkndsN-5FKbpQkDaHU0tFSEawG4O8J7YFKiXbU/s2048/FANGORIA+116+03.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1517" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgehdkZImekgVyRxJ0ob4ZNaas81VzPpegMQqkLTUETAass-lFG8W_mRzNlR9-L0SctwpNrcm_YEkCudObNhDKnKtAeLSXTfsCA06AvwkndsN-5FKbpQkDaHU0tFSEawG4O8J7YFKiXbU/w296-h400/FANGORIA+116+03.jpg" width="296" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Spooky hay rides at the Berlin Fun Farm!<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-SXkpkB4hmhyA7ncJva55iagbqcG8kJSJUBJ-tCjQiM1wxeEg7AGt3NGY9ZKgBPwGIUiu1mH99djYYquaK-x_3V2x2bRt6P8cYiy78fNcx7vLTJTe330rIHT2KWecqExu9C8BIklgfMU/s2048/FANGORIA+116+04.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1534" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-SXkpkB4hmhyA7ncJva55iagbqcG8kJSJUBJ-tCjQiM1wxeEg7AGt3NGY9ZKgBPwGIUiu1mH99djYYquaK-x_3V2x2bRt6P8cYiy78fNcx7vLTJTe330rIHT2KWecqExu9C8BIklgfMU/w300-h400/FANGORIA+116+04.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Plethora of offerings from Fantaco Enterprises<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-A0bN8YpiHXGIZBsm2VNeyPaV9FtFqfG_or5ZPCk4DayzUjZt1KYi4oocmBE6gbLnX7EauIoODXqzT4yq3iEhWgym6uzoqPpxosD7P0eGkPC9rM9IoqTSAPsUVQm2FfIhyphenhyphenwgmYXDhv1c/s2048/FANGORIA+116+05.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1441" data-original-width="2048" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-A0bN8YpiHXGIZBsm2VNeyPaV9FtFqfG_or5ZPCk4DayzUjZt1KYi4oocmBE6gbLnX7EauIoODXqzT4yq3iEhWgym6uzoqPpxosD7P0eGkPC9rM9IoqTSAPsUVQm2FfIhyphenhyphenwgmYXDhv1c/s320/FANGORIA+116+05.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Toronto's London School of Make-up. Huh?<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAYjqspvwtb3wvZkokEAGe8HS98iYhQeivKSGARbn_aAQUwgcF2148e5pVANWc7qGCeY4xkGoxkXVL9hMPCLVpCEIDpuRHgL5TflidGaa71EgZxGi6Ax1d5Iu_WBee37QFevnrrouNRew/s2848/FANGORIA+116+06.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2848" data-original-width="1104" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAYjqspvwtb3wvZkokEAGe8HS98iYhQeivKSGARbn_aAQUwgcF2148e5pVANWc7qGCeY4xkGoxkXVL9hMPCLVpCEIDpuRHgL5TflidGaa71EgZxGi6Ax1d5Iu_WBee37QFevnrrouNRew/w248-h640/FANGORIA+116+06.jpg" width="248" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">They had me at "Nudist Colony of the Dead"<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjguwtZYK8whJAopE5hEZP_eUCMkoOQBa9_N2-8js3uleXjOFAZ-_Vl1nM4XhdFrDh-SKsfcF3zPito1yCTaJj9SiGQ2Jj5p6VwwvuEjarkquvaaHWdy4hAv6Nz6vkCt8H9fZ1xZ_ETGVo/s2682/FANGORIA+116+07.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2682" data-original-width="1172" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjguwtZYK8whJAopE5hEZP_eUCMkoOQBa9_N2-8js3uleXjOFAZ-_Vl1nM4XhdFrDh-SKsfcF3zPito1yCTaJj9SiGQ2Jj5p6VwwvuEjarkquvaaHWdy4hAv6Nz6vkCt8H9fZ1xZ_ETGVo/w280-h640/FANGORIA+116+07.jpg" width="280" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Skulls by Ancient Futures<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFJCD4ayhJhNmXboKpSdXL4OytwsJH9sSdgt_pL-nn3Q_MTwfMo4ZYi2VhclCSidUfvlJlrRoov6JY-WhacsuOOKkFghw-SsDE5jxHqAXWKI3Baer5h711AyurSilnSlH3Lk6jl-cn6vA/s3606/FANGORIA+116+08.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3606" data-original-width="872" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFJCD4ayhJhNmXboKpSdXL4OytwsJH9sSdgt_pL-nn3Q_MTwfMo4ZYi2VhclCSidUfvlJlrRoov6JY-WhacsuOOKkFghw-SsDE5jxHqAXWKI3Baer5h711AyurSilnSlH3Lk6jl-cn6vA/w154-h640/FANGORIA+116+08.jpg" width="154" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joe Blasco makeup training<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuMkswtsZSlfz4JTNjpJbhOxZ_hIGD0ED2p2T4AHzjYAinwwdOh5RFeVkRxMWlJZry8V4xXkOdokudf8Y4Dw80ED7mtpb0kTHf6V8dGMgIHdY9DtZx2i9EbNiDjXlzCNZ5ajTV6sFf-As/s2048/FANGORIA+116+09.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1924" data-original-width="2048" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuMkswtsZSlfz4JTNjpJbhOxZ_hIGD0ED2p2T4AHzjYAinwwdOh5RFeVkRxMWlJZry8V4xXkOdokudf8Y4Dw80ED7mtpb0kTHf6V8dGMgIHdY9DtZx2i9EbNiDjXlzCNZ5ajTV6sFf-As/s320/FANGORIA+116+09.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Was this guy legit? It seems a bit sketchy.<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZdut0TJt_XZwInW2IqqINnOYSU-BeqIlhyphenhyphenWs6plGWFdis5JiqbLUNnn14G893cqlc9pW4a98ZHiqLWL0g5B-klyeyKmDD59TOynhimia2G3_1P4bTsbyCd9cNQ-un_c1iQQurGD78Zwc/s2048/FANGORIA+116+10.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1501" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZdut0TJt_XZwInW2IqqINnOYSU-BeqIlhyphenhyphenWs6plGWFdis5JiqbLUNnn14G893cqlc9pW4a98ZHiqLWL0g5B-klyeyKmDD59TOynhimia2G3_1P4bTsbyCd9cNQ-un_c1iQQurGD78Zwc/w294-h400/FANGORIA+116+10.jpg" width="294" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">I wonder if these masks looked anything like the photos<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiup3Hrq97pzcWRpPNxuMfPp-WxJdgROwJiU5PFowBR1zWmlI4vkGo6zb3d63CopZ0fsanem-bOH9BXp4ZC9TDS7YvI40-JaHL0hniw8KowNrNSkEDXYDphAKrfBhIR1Ei4alIUOUSVvi4/s2048/FANGORIA+116+11.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1537" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiup3Hrq97pzcWRpPNxuMfPp-WxJdgROwJiU5PFowBR1zWmlI4vkGo6zb3d63CopZ0fsanem-bOH9BXp4ZC9TDS7YvI40-JaHL0hniw8KowNrNSkEDXYDphAKrfBhIR1Ei4alIUOUSVvi4/w300-h400/FANGORIA+116+11.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">These Universal Monster wind-up toys look pretty cool<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1o7n80RvN34V_J984MelKbosOIqJ6nBB__yP_U5XYQEkmO9Oe0DYQDuRZ10FxYCDMvLiHX8YPXyDJzRDAO5i03ipmX9PIMG6xuP4Za46A7B1PQZgnLjCHhCENy7yyXByi9GLTrGtJYbo/s3465/FANGORIA+116+12.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3465" data-original-width="907" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1o7n80RvN34V_J984MelKbosOIqJ6nBB__yP_U5XYQEkmO9Oe0DYQDuRZ10FxYCDMvLiHX8YPXyDJzRDAO5i03ipmX9PIMG6xuP4Za46A7B1PQZgnLjCHhCENy7yyXByi9GLTrGtJYbo/w168-h640/FANGORIA+116+12.jpg" width="168" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ed Wood documentary. I wonder if this is on YouTube by now.<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO-FqT5wHxMeA-tfkYl2J35HV3EUYZPJ6MLEEaPGr6Q-ob3sIGFCT665aZSn_7zmqbXqtWHwtbqJ4ngXCYBbnM6LAyMJJpwMAn3tgFe4NZLxzcyo9ZLGn-LdnqvzE-HLe9I6OYHlWVhWU/s2568/FANGORIA+116+13.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2568" data-original-width="1225" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO-FqT5wHxMeA-tfkYl2J35HV3EUYZPJ6MLEEaPGr6Q-ob3sIGFCT665aZSn_7zmqbXqtWHwtbqJ4ngXCYBbnM6LAyMJJpwMAn3tgFe4NZLxzcyo9ZLGn-LdnqvzE-HLe9I6OYHlWVhWU/w191-h400/FANGORIA+116+13.jpg" width="191" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ad for Sinister Cinema offerings<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH1Mr_TUchn6cdSwOETXrIQS9hYqn44hrbm8fHgHbXEUKcKxstRuXrbnWOu89Wtf1rBZJckBMnbNbK7hAev_gdPoH1XIr4YtTdaS5xKBCtdiNTxyNIb_pk8aBCPBGhYmURNKXS3-tu9OU/s2606/FANGORIA+116+14.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2606" data-original-width="1206" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH1Mr_TUchn6cdSwOETXrIQS9hYqn44hrbm8fHgHbXEUKcKxstRuXrbnWOu89Wtf1rBZJckBMnbNbK7hAev_gdPoH1XIr4YtTdaS5xKBCtdiNTxyNIb_pk8aBCPBGhYmURNKXS3-tu9OU/w185-h400/FANGORIA+116+14.jpg" width="185" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Vampire Hunter D is still one of my faves<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7JvHSqd-Tcv9HS_5o2uvykXiOnyNwxEiy5QEwZPb3P_oQv8srGM5W-BsrMn1Szz9RUA86Fc_JNIfp_KLMdsUuPXnsHIjvOldhe18usREh0QOIO1dFY2JIbZcn2TKnF2K87-f9D-74ixA/s2048/FANGORIA+116+15.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1458" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7JvHSqd-Tcv9HS_5o2uvykXiOnyNwxEiy5QEwZPb3P_oQv8srGM5W-BsrMn1Szz9RUA86Fc_JNIfp_KLMdsUuPXnsHIjvOldhe18usREh0QOIO1dFY2JIbZcn2TKnF2K87-f9D-74ixA/w285-h400/FANGORIA+116+15.jpg" width="285" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Space Robot Warriors, anyone? I'm in!<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOXnuFquGmoGoKKOHIl4NsiSHSWDIbQEoxaT_jbeykUnaczoU8RvGU8EgHMQgbnj13ntKSjaFHWm3ZD9Odkz7V-7KB2XVHk1vlit6rMWVrDi6Fz3Pj2Pd875xlcjsfISe0WbyEGHjgv44/s2048/FANGORIA+116+16.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1515" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOXnuFquGmoGoKKOHIl4NsiSHSWDIbQEoxaT_jbeykUnaczoU8RvGU8EgHMQgbnj13ntKSjaFHWm3ZD9Odkz7V-7KB2XVHk1vlit6rMWVrDi6Fz3Pj2Pd875xlcjsfISe0WbyEGHjgv44/w296-h400/FANGORIA+116+16.jpg" width="296" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">More pop culture magazines of the day<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKpifbmng3lO6j0dhHigqieNKOQVYLmnidHoBA9CJq_cfKjHGwsxEpE_BnhuTawWC92oSxfb4_ugJ9auhv6vZ9XFBTSXsdMvTrkoc1ECB4wvD5bKFhdKEiKSendL6JkZlDNP_kcLPRhro/s2048/FANGORIA+116+17.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1490" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKpifbmng3lO6j0dhHigqieNKOQVYLmnidHoBA9CJq_cfKjHGwsxEpE_BnhuTawWC92oSxfb4_ugJ9auhv6vZ9XFBTSXsdMvTrkoc1ECB4wvD5bKFhdKEiKSendL6JkZlDNP_kcLPRhro/w291-h400/FANGORIA+116+17.jpg" width="291" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Who wouldn't want to shop at the Gore Store?<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGq7Y-2i2Wv8k3ULCUsc4PhnhkPPoJjvqL8dhXgTqjSHilcShYyTMy3x_-vCnbLGZAOouY-8EP8hLvVfj1Cs7WN3ovkZ8DDHsY_D5tENbIp3t6c3TouXLkS1IXntnFkWqlB_AEjle54k/s2048/FANGORIA+116+18.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1529" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGq7Y-2i2Wv8k3ULCUsc4PhnhkPPoJjvqL8dhXgTqjSHilcShYyTMy3x_-vCnbLGZAOouY-8EP8hLvVfj1Cs7WN3ovkZ8DDHsY_D5tENbIp3t6c3TouXLkS1IXntnFkWqlB_AEjle54k/w299-h400/FANGORIA+116+18.jpg" width="299" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">More masks by Tony Gardner<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirODNotisTqoMBfCdM0noA3SIcyKMjvPgIJnrmeZlOpSIDI996a7fTaHep1nZh7FmWqv7JFbye8dkDebXLlekQjUd7wt-z2EOoSXFWKCqpzh3kgKYwjhpGRzcVJiRqxmVLzqGPQHlK_hY/s2048/FANGORIA+116+19.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1520" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirODNotisTqoMBfCdM0noA3SIcyKMjvPgIJnrmeZlOpSIDI996a7fTaHep1nZh7FmWqv7JFbye8dkDebXLlekQjUd7wt-z2EOoSXFWKCqpzh3kgKYwjhpGRzcVJiRqxmVLzqGPQHlK_hY/w298-h400/FANGORIA+116+19.jpg" width="298" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">An eye for an eye...<br /></td></tr></tbody></table><br /><p><br /></p><p><br /></p>Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-64963009505196082662021-10-20T12:47:00.002-04:002021-10-22T13:02:21.506-04:00Inside EERIE 125 (October 1981)<p></p><div style="text-align: right;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcn5IJhiyomQkINibtl0bak7ikczRIFMgLb6M7wpLO1wf-LqEty5YrAyWXMfuKyBnLat3xHPLx-vVmQ3-co_8wwxljE1fTSBdEtoPl0kSPyK6grITbbRidh4pOfjMeR43irVvkul0aADo/s2048/EERIE+125+00.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1524" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcn5IJhiyomQkINibtl0bak7ikczRIFMgLb6M7wpLO1wf-LqEty5YrAyWXMfuKyBnLat3xHPLx-vVmQ3-co_8wwxljE1fTSBdEtoPl0kSPyK6grITbbRidh4pOfjMeR43irVvkul0aADo/w149-h200/EERIE+125+00.jpg" width="149" /></a></div>In an effort to downsize, I decided it was time to clear out some of my collections (there are too many!). This round, I've chosen to sell off a number of vintage horror magazines. <p></p><p>As I go through each one, I thought--as a pop culture nut--it was worthwhile to preserve the various ads that appeared in these magazines. Although I don't recall mailing away for anything in my youth, there were many opportunities to get anything your heart desired: from Star Wars, Superman, Mego toys--you name it.</p><p><span></span></p><a name='more'></a><p> </p><p>Here are the ad pages that appeared in EERIE 125 published in October, 1981. This issue was devoted to the legendary Neal Adams.<br /></p><p></p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ABbEtXqw_uE_tlsRBGDTrlXMR_EcQEzb9CAXNsjfcNFBvVLliEBn_3uJ1_4EUjHtoVdg4Nb3rou_q5t_G57-4OKgFeOc2ZNgrK2QV3B0TjK2GNB9VILilOJBoJM-Fgzyavo1v-VYTVQ/s2048/EERIE+125+01.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1485" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ABbEtXqw_uE_tlsRBGDTrlXMR_EcQEzb9CAXNsjfcNFBvVLliEBn_3uJ1_4EUjHtoVdg4Nb3rou_q5t_G57-4OKgFeOc2ZNgrK2QV3B0TjK2GNB9VILilOJBoJM-Fgzyavo1v-VYTVQ/w290-h400/EERIE+125+01.jpg" width="290" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Battlestar Galactica model kits<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-BJOfwooTcrTu5czpQhBhHTfDPQJ5MbZe1PWkXo-zKomXDLJms3gNXQezMIZshKo5S7tHyZaByUY3er-ZLzDTVkOg5VmUlUvVuZnj4x8Uh_maZ9qtlHBVnwT0AjkQ3O7P1A8MEqNwmd0/s2048/EERIE+125+02.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1487" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-BJOfwooTcrTu5czpQhBhHTfDPQJ5MbZe1PWkXo-zKomXDLJms3gNXQezMIZshKo5S7tHyZaByUY3er-ZLzDTVkOg5VmUlUvVuZnj4x8Uh_maZ9qtlHBVnwT0AjkQ3O7P1A8MEqNwmd0/w290-h400/EERIE+125+02.jpg" width="290" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Contents for this issue<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUCNEN0hszVllkORxOAx8L4aq4v6mOjLN6JARS3ziqaFEUti3At302quCFGkkMgosm-DTiqedimQPXE3hyB5pF9U81lziAvxZ7Bj7GuvKMq4Uui5LUGdwSyJYgQ-NixrR7Xr48q0U7fRE/s2048/EERIE+125+44.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1496" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUCNEN0hszVllkORxOAx8L4aq4v6mOjLN6JARS3ziqaFEUti3At302quCFGkkMgosm-DTiqedimQPXE3hyB5pF9U81lziAvxZ7Bj7GuvKMq4Uui5LUGdwSyJYgQ-NixrR7Xr48q0U7fRE/w293-h400/EERIE+125+44.jpg" width="293" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Empire Strikes Back action figures<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwCzcF9slqQjK7WuaVbOPJz8z9tVNqOR1hdcGUVSHoTyy1S8pU9iArYWN9vZMutK58OG92XbeSUnv6vjfKkpSMXpoSvY-GvEa6RmM0ruNyCdRCxkmFXK_IcfA-0dUel1x06KUM_I2Q94g/s2048/EERIE+125+67.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1460" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwCzcF9slqQjK7WuaVbOPJz8z9tVNqOR1hdcGUVSHoTyy1S8pU9iArYWN9vZMutK58OG92XbeSUnv6vjfKkpSMXpoSvY-GvEa6RmM0ruNyCdRCxkmFXK_IcfA-0dUel1x06KUM_I2Q94g/w285-h400/EERIE+125+67.jpg" width="285" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Star Wars large size action figures<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoat0XC7Q57yOt8ScNS2U-wLlbpK_VDk_iSPRfNCbEzT2A5GBF-C2G2eImDXYKhziZnJ-MjUgul45aD0x2c8XwUtwfn6TakvNDAO7oYqh4r0uyaEF_TlsDTslI2-ioODemgx80iVVGOsc/s2048/EERIE+125+68.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1499" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoat0XC7Q57yOt8ScNS2U-wLlbpK_VDk_iSPRfNCbEzT2A5GBF-C2G2eImDXYKhziZnJ-MjUgul45aD0x2c8XwUtwfn6TakvNDAO7oYqh4r0uyaEF_TlsDTslI2-ioODemgx80iVVGOsc/w293-h400/EERIE+125+68.jpg" width="293" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Oldtime radio LPs<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIRelA1vbr37ky9m0UeFxj1G6bcFjtbnelWMLZ3jqXes0Z9d07sFCS3YZdpww7AxXqnTTismqWT2XhRpudiDlCAfi7oDMCtXnFnC5H3kRAN2_5miq92hTWqi0j0lnKwhjUyGsAwUNFw40/s2048/EERIE+125+69.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1506" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIRelA1vbr37ky9m0UeFxj1G6bcFjtbnelWMLZ3jqXes0Z9d07sFCS3YZdpww7AxXqnTTismqWT2XhRpudiDlCAfi7oDMCtXnFnC5H3kRAN2_5miq92hTWqi0j0lnKwhjUyGsAwUNFw40/w294-h400/EERIE+125+69.jpg" width="294" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Superman movie tie-ins<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgppXg03ETq0mvqwzrsBL1A7xqdj2QApaY_Qjd68D_URAhFEOMd2SEuaPX57j8XV9OCfQXwWxvER5mPWBCcBdOwaGWgWPwB43JXAj1RyU1lex0QEh7-LWZZ4jsEP6XtlbdsZ4_PRa1uBGU/s2048/EERIE+125+70.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1491" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgppXg03ETq0mvqwzrsBL1A7xqdj2QApaY_Qjd68D_URAhFEOMd2SEuaPX57j8XV9OCfQXwWxvER5mPWBCcBdOwaGWgWPwB43JXAj1RyU1lex0QEh7-LWZZ4jsEP6XtlbdsZ4_PRa1uBGU/w291-h400/EERIE+125+70.jpg" width="291" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">More OTR LPs and ESB novels<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIvLG0Ei_wu8GqRESYDKAwReFZvUlMJ2zspWIOtUYZ9hmcwBcxevAnjdCQtGOeCIsR5g9lYjikhYemdE6Gt7uJVq8jRNhogwzcb42EGr5IoPeu3ZUveQ4kwRQiZaAOUBJW48oB6T2REao/s2048/EERIE+125+71.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1509" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIvLG0Ei_wu8GqRESYDKAwReFZvUlMJ2zspWIOtUYZ9hmcwBcxevAnjdCQtGOeCIsR5g9lYjikhYemdE6Gt7uJVq8jRNhogwzcb42EGr5IoPeu3ZUveQ4kwRQiZaAOUBJW48oB6T2REao/w295-h400/EERIE+125+71.jpg" width="295" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Large size Mego superheroes plus monster makeup!<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij01_l8_EDrKH9mM6nJt0Zz9Bmdqw0l_ii2PpXH15xTXXKiu05KfBQTdZHL-PXHEgw66vGrbL3RR8pQq38ozOB0ZN3duERRmu0bFw5GESSpwA3_NxIl4ldFP3dv9Aj4xuNHWhfdP7mrys/s2048/EERIE+125+72.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1495" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij01_l8_EDrKH9mM6nJt0Zz9Bmdqw0l_ii2PpXH15xTXXKiu05KfBQTdZHL-PXHEgw66vGrbL3RR8pQq38ozOB0ZN3duERRmu0bFw5GESSpwA3_NxIl4ldFP3dv9Aj4xuNHWhfdP7mrys/w293-h400/EERIE+125+72.jpg" width="293" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">8mm monster home movies<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgifFLaZl4pYa3_mCogTZAwkkZ8cEtlO_mXi4RAURpQ_Na4kQ45cwVsokAYmccfcX7Nduvg4eSSHrLLC0rCyy3Ob7uuYqao0ULqg-p2kfXsuMdCDnE7KuIHU5-9fKZXRTYgbBeynAztSsE/s2048/EERIE+125+73.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1487" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgifFLaZl4pYa3_mCogTZAwkkZ8cEtlO_mXi4RAURpQ_Na4kQ45cwVsokAYmccfcX7Nduvg4eSSHrLLC0rCyy3Ob7uuYqao0ULqg-p2kfXsuMdCDnE7KuIHU5-9fKZXRTYgbBeynAztSsE/w290-h400/EERIE+125+73.jpg" width="290" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jigsaw puzzles and sci-fi robots<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKcA2HGCYQDXuGJnk31WVQX2oCoyqhzjE5ntmZUuvpzPsaDPhQNEYR85Q6YGAOWHKRuTetciqGDlPwlUqO4XY9mLb-Ym7A0TJpGydv2r27LvWzWcVG4_78HWQxKS5G_jSnACOtkNQadFM/s2048/EERIE+125+74.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1488" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKcA2HGCYQDXuGJnk31WVQX2oCoyqhzjE5ntmZUuvpzPsaDPhQNEYR85Q6YGAOWHKRuTetciqGDlPwlUqO4XY9mLb-Ym7A0TJpGydv2r27LvWzWcVG4_78HWQxKS5G_jSnACOtkNQadFM/w291-h400/EERIE+125+74.jpg" width="291" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">New ESB action figures and playsets<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4v_KZN54pDugDq5rWnQBHRZlcZ18wfrDoChO5jU6AWjdtLcoibaPSgzhMgon0GICks6NJTFJv2-tXiHmVsmvOjrKjGIRtMkf6vuP-qnpZ34Qn0HOpw7R-BD4eq3B-OOUlw8KTqXDcFPE/s2048/EERIE+125+75.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1483" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4v_KZN54pDugDq5rWnQBHRZlcZ18wfrDoChO5jU6AWjdtLcoibaPSgzhMgon0GICks6NJTFJv2-tXiHmVsmvOjrKjGIRtMkf6vuP-qnpZ34Qn0HOpw7R-BD4eq3B-OOUlw8KTqXDcFPE/w290-h400/EERIE+125+75.jpg" width="290" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Art books featuring Neal Adams, John Buscema and John Byrne<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ozxjaU5lCdnCPcuplRXJeSym8goN-8LOV_d-jkghyT-tNEedQI337Y5D180RgVGiWGeZ2rf0rAYVlf7GDLUe8BQGuCv0Ho0qwBjRJAcFdEXfqPsFWxqK4ZrF5toTdfhqNu002mxW5JE/s2048/EERIE+125+77.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1485" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ozxjaU5lCdnCPcuplRXJeSym8goN-8LOV_d-jkghyT-tNEedQI337Y5D180RgVGiWGeZ2rf0rAYVlf7GDLUe8BQGuCv0Ho0qwBjRJAcFdEXfqPsFWxqK4ZrF5toTdfhqNu002mxW5JE/w290-h400/EERIE+125+77.jpg" width="290" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Biotron! Zodor! Zoark! (Micronauts)<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3afKo9TulpGPKYYrnrUS_IZhO5OBWi4P5wfNEYD2G0f5vwVchVlVoWDF5k3VY165JPI1lsegXFerG7kWVWUUKC2qKOIfZq7QuSWAu8BBGjw9MJ9L0Kr9ZQ3vI6hZ2Z2NRp2SMFzlXtEI/s2048/EERIE+125+78.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1481" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3afKo9TulpGPKYYrnrUS_IZhO5OBWi4P5wfNEYD2G0f5vwVchVlVoWDF5k3VY165JPI1lsegXFerG7kWVWUUKC2qKOIfZq7QuSWAu8BBGjw9MJ9L0Kr9ZQ3vI6hZ2Z2NRp2SMFzlXtEI/w289-h400/EERIE+125+78.jpg" width="289" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">More Superman tie-ins plus vampires!<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxGwaKbcvHTXGycsNy4-vQxR8htDU0yO0sr6ERng1r6SXGmLe6z0A8AW6eMPIjGpIHvhVjXjoPKKU5jbTwZAzwho3v8G9mnHYABz1FzLYSgcPJX4gCUSq6XVSfHbFXsO83rYlt_X2iygI/s2048/EERIE+125+79.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1492" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxGwaKbcvHTXGycsNy4-vQxR8htDU0yO0sr6ERng1r6SXGmLe6z0A8AW6eMPIjGpIHvhVjXjoPKKU5jbTwZAzwho3v8G9mnHYABz1FzLYSgcPJX4gCUSq6XVSfHbFXsO83rYlt_X2iygI/w291-h400/EERIE+125+79.jpg" width="291" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Art portfolios by Berni Wrightson and Neal Adams<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijHhXlcwKcdQfZmkpSJAqowHh-TLbpyBwzZ_VBBe6fqMP7yyzxSkocSgFViE0qz94xzJYGT-HGes9DY1HraZPZnT2QViGC02VNq6kzRxYM-OSDAbbyEZlPgbRlGXgxXQNaIMrKTrxfVU4/s2048/EERIE+125+80.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1485" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijHhXlcwKcdQfZmkpSJAqowHh-TLbpyBwzZ_VBBe6fqMP7yyzxSkocSgFViE0qz94xzJYGT-HGes9DY1HraZPZnT2QViGC02VNq6kzRxYM-OSDAbbyEZlPgbRlGXgxXQNaIMrKTrxfVU4/w290-h400/EERIE+125+80.jpg" width="290" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Star Wars tie-ins (I want them all!)<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitXDkAG93j-Vsecv1FM5TPq1EOqJRKQ4ajCGn89zYXcrQhmj3FU1oyVa5lSD0rsHP7l8lfa0CC_GkeDgy2CHnyKlgb5cI455aIFk3PZzryd5RZAa6UWPkaVxJUihfIoz95X022GahIb4A/s2048/EERIE+125+81.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1492" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitXDkAG93j-Vsecv1FM5TPq1EOqJRKQ4ajCGn89zYXcrQhmj3FU1oyVa5lSD0rsHP7l8lfa0CC_GkeDgy2CHnyKlgb5cI455aIFk3PZzryd5RZAa6UWPkaVxJUihfIoz95X022GahIb4A/w291-h400/EERIE+125+81.jpg" width="291" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Yes! Some fine horror paperbacks<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnpLDKZC43wG4tMM6aoloiOyFP20AvC7ZJp5rlox6JXGRxt_vd4RQ_cIUmsEIHX0CNUHjKvvZG1QW2mRsWTwIZQHfkvc9SxWfvHO7XSi585DVBE0ksO05fcXduY2_VDy-3A6ew1koUDGY/s2048/EERIE+125+82.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1503" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnpLDKZC43wG4tMM6aoloiOyFP20AvC7ZJp5rlox6JXGRxt_vd4RQ_cIUmsEIHX0CNUHjKvvZG1QW2mRsWTwIZQHfkvc9SxWfvHO7XSi585DVBE0ksO05fcXduY2_VDy-3A6ew1koUDGY/w294-h400/EERIE+125+82.jpg" width="294" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hulk model, plus the order form<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzWXAtZ45mNL7n69-iuw8Fggs_b1O_q1srHAUMpelpX2m_kwcOkJUQAQBiYLy1CizjdHLN5VhVMJoftwkr1XhJE_Whbsk66j2ls-CLFKCkSDzAi40WhGJqNbHK8dmz-KOGxYVYYqBc5s4/s2048/EERIE+125+99.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1481" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzWXAtZ45mNL7n69-iuw8Fggs_b1O_q1srHAUMpelpX2m_kwcOkJUQAQBiYLy1CizjdHLN5VhVMJoftwkr1XhJE_Whbsk66j2ls-CLFKCkSDzAi40WhGJqNbHK8dmz-KOGxYVYYqBc5s4/w289-h400/EERIE+125+99.jpg" width="289" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">More art books<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH-yp-Fi8TT1NrYNPHy0WMRSDofXpxqqppqVlTLIkqjGQDQmne_7Cnne3w34xfIXWJYIKuvPdVup8MKwk-19vo4y3BmuydBW5hnHg-5wHD4UUO6IpNKbMFNhPxZuvx96w-67KBP-9jmXI/s2048/EERIE+125+100.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1483" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH-yp-Fi8TT1NrYNPHy0WMRSDofXpxqqppqVlTLIkqjGQDQmne_7Cnne3w34xfIXWJYIKuvPdVup8MKwk-19vo4y3BmuydBW5hnHg-5wHD4UUO6IpNKbMFNhPxZuvx96w-67KBP-9jmXI/w290-h400/EERIE+125+100.jpg" width="290" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Back cover ad. I'd totally have rocked this look at The Disco<br /></td></tr></tbody></table><br /><p><br /></p>Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-55041950000123699412021-03-26T16:33:00.001-04:002021-03-26T16:33:33.283-04:00The Running Man (1976) by Jon Ruddy<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkKKb55Tfuq7-dvOdmgkQTgU76d-8CJFmB9I5tBy2Gpu9viyvyvqeNsTLYj6oRRJPQnjY2Fl_mVm3tfwk8QhvUIIMgpvHfuU7LtUUqZvLewG1kV1Z4Lb7RAwcdO3lTLO-FrR_GBIsS0is/s2048/RUNNING-MAN-cover-Ruddy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1255" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkKKb55Tfuq7-dvOdmgkQTgU76d-8CJFmB9I5tBy2Gpu9viyvyvqeNsTLYj6oRRJPQnjY2Fl_mVm3tfwk8QhvUIIMgpvHfuU7LtUUqZvLewG1kV1Z4Lb7RAwcdO3lTLO-FrR_GBIsS0is/w123-h200/RUNNING-MAN-cover-Ruddy.jpg" width="123" /></a></div>With the cover declaring "demonic cultists torture and murder in their ruthless hunt for The Running Man" I expected, well, demonic cultists, torture, and murder. But this debut novel from renowned <i>Maclean's</i> journalist Jon Ruddy is less about those things, and more about the protagonist's interest in booze, sleeping around, and getting high. <p></p><p><span></span></p><a name='more'></a>The story begins with a strange supernatural event that certainly piqued my interest, however it's slow-going after that with little action taking place until the final chapters. I couldn't help but wonder if the main character, freelance journalist Jake Willoughby, was based on Ruddy himself--and if he was under the influence of something when writing it. <p></p><p>Like many early Canadian horror novels, this book is relatively scarce. There was also a hardcover version simultaneously published by General Pub. Co. as one of their "TrendSetter Editions." These were notorious for copy errors, as if the manuscript saw no editor before going to print, and the dust jacket for <i>The Running Man </i>refers to "demonic culturists!" I'd have been far more interested in this story had the antagonists been a group of cultured Satan worshippers, rather than the bland cast of Anglicans they turned out to be.<br /></p><p></p><p>Here's hoping the next one in the queue, his haunted-house book <i>The Rosedale Horror</i>, is more entertaining with some actual horror elements! </p><p></p><p><i>Please note: I've intentionally kept this review short since I am writing
more extensively about Jon Ruddy and his novels in my forthcoming book,
The Great Fright North.</i></p>Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com2tag:blogger.com,1999:blog-2781153420480084553.post-41405462532781648872021-03-03T12:16:00.000-05:002021-03-03T12:16:18.135-05:00Online Gothic Fairies Conference, April 2021<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhph8tGe5NPCYKWGnYg5xWdsJve293qjgYXkOO9bMg1E5eRx028FrzaJUZ8_QlTDcsecijN2UhyICpGNUP0ZlDoWXzI67qWS1iL4dV0_hgu3NoBVXHziKhVsAV_K_JjVSqAcqUpbdsYHdo/s1000/HNZrF.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="760" data-original-width="1000" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhph8tGe5NPCYKWGnYg5xWdsJve293qjgYXkOO9bMg1E5eRx028FrzaJUZ8_QlTDcsecijN2UhyICpGNUP0ZlDoWXzI67qWS1iL4dV0_hgu3NoBVXHziKhVsAV_K_JjVSqAcqUpbdsYHdo/w200-h152/HNZrF.jpg" width="200" /></a></div>The Open Graves, Open Minds Project announce their online conference, ‘Ill met by moonlight’: Gothic encounters with enchantment and the Faerie realm in literature and culture. This conference is uniquely situated at the intersection between folklore, fairy tale, and the Gothic. It celebrates the darker aspects of fairies and their kin and marks the centenary of the publication by Sir Arthur Conan Doyle of the infamous Cottingley Fairies photographs in the <i>Strand Magazine </i>(Dec 1920). <p></p><p><span></span></p><a name='more'></a>It is broadly interdisciplinary, embracing literature, art, folklore, film, TV, photography, fashion, performance, gaming, and fairy fiction writing. Our journey into the history of the fae will see us explore a diversity of media and genres, from early modern burlesque poetry and Victorian fairy painting, to fairies on stage and recent cinematic interpretations of the Cottingley Fairies; from Paranormal Romance, steampunk and fairy fashion, to the twenty-first-century fae of Young Adult Fiction and TV’s <i>Carnival Row</i>.<br /><br />The conference boasts eight keynotes, including Prof. Owen Davies, President of the Folklore Society and Dr Merrick Burrows, Curator of the forthcoming Cottingley Fairies Exhibition (Brotherton Library). We also have Dr Sam George (Associate Professor of Research, University of Hertfordshire) on ‘Fairy Lepidoptera’; Prof. Diane Purkiss (Keble College, Oxford), ‘Where Do Fairies Come From?; Prof. Catherine Spooner (Lancaster University), ‘Glamourie: Fairies and Fashion’; Prof. Dale Townshend (Manchester Metropolitan University), ‘The fairy kind of writing’: Dr Maisha Wester (Indiana University; Global Professorship Fellowship, University of Sheffield), ‘Nalo Hopkinson’s Folkloric Revisions of Classic Fairytales and Myths’; Dr Ivan Phillips, Associate Dean, School of Creative Arts, University of Hertfordshire, ‘What the Puck?’.<br /><br />Delegates are invited to take part in a range of exciting fairy themed activities, including a wine and wings social, a fairy flash fiction writing competition, and workshops by YA fantasy writer Betsy Cornwell (Tides, Mechanica, Venturess) on the creative adaptation of fairy lore; and Dr Ceri Houlbrook (University of Hertfordshire; <i>Magical Folk </i>(2018)), on outreach in the field of folklore studies for postgraduate students and ECRs.<br /><br /><a href="https://www.opengravesopenminds.com/ill-met-by-moonlight-2021/programme/" target="_blank">You can view the full programme here</a> of keynote talks, panels and papers, and other events. Tickets are available for individual days or for all four days (with a reduction) and there are concessionary tickets for unwaged and postgraduates (we ask that you pay what you can afford as this is a not-for-profit project).<br /><br />Fees are:<br />£10/ day (full rate)<br />£35 for all four days<br />£7/day (unwaged/PGs)<br />£25 for all four days (unwaged/PGs)<br /><br />Booking Link: <br /><a href="https://www.eventbrite.co.uk/e/ill-met-by-moonlight-gothic-encounters-with-enchantment-and-faerie-tickets-142369187071">https://www.eventbrite.co.uk/e/ill-met-by-moonlight-gothic-encounters-with-enchantment-and-faerie-tickets-142369187071</a><br /><br />Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-14194026183691132732021-01-31T00:57:00.000-05:002021-01-31T00:57:39.422-05:00Robert Eighteen-Bisang: A Tribute<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZKiUDg58O9kOIdtXVWiW0ZnvE-BM7HyF0f_SayMUmZcTfoOhlNRZzn2T-URmAWirzgssPFXCpHsNXiI8KGwHlVwR-1xJQWfCQyhA2wVg1hRqu_bxmnWE7t3KhxOEy06BXQvTYM42Gl9I/s649/reb.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="649" data-original-width="505" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZKiUDg58O9kOIdtXVWiW0ZnvE-BM7HyF0f_SayMUmZcTfoOhlNRZzn2T-URmAWirzgssPFXCpHsNXiI8KGwHlVwR-1xJQWfCQyhA2wVg1hRqu_bxmnWE7t3KhxOEy06BXQvTYM42Gl9I/w156-h200/reb.jpg" width="156" /></a></div>The COVID-19 pandemic has made life more insular, and in my case I had to focus so much more on work and family that I lost touch with great people whose friendship I cherish immensely. One of those friends is Robert Eighteen-Bisang, noted vampire literature aficionado and <i>Dracula </i>scholar, whom I had the great fortune to have met in 1998--and who was responsible for not only getting me my first professional writing gig, but also encouraged me over the years to continue researching and writing about our shared areas of interest. Rob passed away in September, 2020, and sadly I only found out about it today. This is devastating news, especially considering I've been telling myself for months now that I should call him to see how he's been faring during the pandemic. Regretfully, that opportunity is now lost. But I'd like to tell you more about my friend Rob.<br /><p></p><span><a name='more'></a></span><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmFdzq6xwPr4ZbhbpNZJhazdx4pj07cHs8Lvr0dodvyNHEQPZ4WjmhErQj8Pdv93mr8vfR9shbxGJYFSgkYsdN6Gy5y1RcdOWxtTcSv38GbaFyAPzaW_YAasTGATi5dstbmBpLgCy5JPw/s2048/reflections+on+drac.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1374" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmFdzq6xwPr4ZbhbpNZJhazdx4pj07cHs8Lvr0dodvyNHEQPZ4WjmhErQj8Pdv93mr8vfR9shbxGJYFSgkYsdN6Gy5y1RcdOWxtTcSv38GbaFyAPzaW_YAasTGATi5dstbmBpLgCy5JPw/w134-h200/reflections+on+drac.jpg" width="134" /></a></div>If memory serves, I had virtually met Rob via email sometime after I had created my vampire pop culture website, <i>Vampyres Only</i>, in 1994. We first met in person in 1996 at his home in White Rock, after I had asked him to take part in an audio documentary that I was producing for a college course. This was also when I learned more about his publishing company, Transylvania Press, and the high-quality, limited edition hardcover (with slipcase!) books that he had produced: <i>Dracula: The Rare Text of 1901</i>, <i>Love Bite </i>by Sherry Gottlieb, <i>The Vampire Stories of Chelsea Quinn Yarbro</i>, and <i>Vanitas: Escape from Vampire Junction </i>by S. P. Somtow (he was gracious enough to give me a copy of each one, which I treasure to this day). At that time, he even asked me to design the cover for Elizabeth Miller's <i>Reflections on Dracula </i>(1997).<br /><p></p><p>It was only after interviewing Rob that I truly began to appreciate his immense knowledge of vampire literature, Bram Stoker, and <i>Dracula</i>--and I had the unique opportunity to see his collection first hand. In the basement of his home, in a climate-controlled, security-protected room, was a vast specialist library like none other in the world. This horror collection eventually amassed over 2000 comics, 1000 magazines, 100 films, and 2500 books--many of which were rare vampire books that had been unknown or forgotten until he unearthed them. <br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNvp0hcZPMq9uz7GXwFbc5ERsq1w2guMOc4tH2uVr-nXDChjJ0V56QX0sLtAJmhc619tnxeBY3kD1nQcsEZcZRVXeeCYi2m5PTBdA52JJOSWQP6KCE5x1AzA1fM6qi0PaAZm_fsu_zbIg/s413/reb2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="413" data-original-width="266" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNvp0hcZPMq9uz7GXwFbc5ERsq1w2guMOc4tH2uVr-nXDChjJ0V56QX0sLtAJmhc619tnxeBY3kD1nQcsEZcZRVXeeCYi2m5PTBdA52JJOSWQP6KCE5x1AzA1fM6qi0PaAZm_fsu_zbIg/w129-h200/reb2.jpg" width="129" /></a></div>Rob often made the trek from his home to downtown Vancouver, where he enjoyed playing two of his lifelong passions: pool and backgammon. I'd always try to meet up with him for a coffee and a chat whenever possible, and we kept in touch by phone and email after I moved away in 1998. The last time I saw Rob was when I travelled to Vancouver in 2005, and in the 15 years since we would occasionally chat about his writing projects and books that he had been working on--and, of course, the new stuff he had added to his collection! He was member of the Transylvanian Society of Dracula, The Horror Writers Association, and the Canadian Academy of Independent Scholars--and often wrote essays and delivered lectures about his favourite subjects: Bram Stoker's <i>Dracula</i>, and the vampire myth in literature and popular culture.<p></p><p>Rob was also the one who set me on the road to being a published author. In 2009, he put me in touch with J Gordon Melton, who was working on the third edition of his very popular bloodsucker tome, <i>The Vampire Book: The Encyclopedia of the Undead </i>(2011). I was tasked with re-writing the television section, and after I mentioned to Rob that I had uncovered much more in my research than what could be added to Melton's book, he suggested (nay, demanded!) I continue researching and write my own! So I did, and this led to <i>Un-Dead TV: The Ultimate Guide to Vampire Television </i>(2012/2016). His encouragement has led to other opportunities over the years, and I likely never thanked him enough for everything he had done.</p><p>My condolences to his wife, Matilda, and his other surviving family members. Rob continually amazed me with his vast knowledge and passion for vampire literature and popular culture, and when we last spoke he had been looking for a buyer for his extensive collection--ideally a university. I truly hope his horror library ends up somewhere where future students and scholars can access it while studying this valuable and worthwhile subject. That would be a great legacy for him. We also have his exceptional body of work, the most recent of which is a new annotated edition of <i>Dracula </i>set to be published sometime in 2021. </p><p>Thank you, Rob, for your lifelong scholarship and the support you gave me over the years. I'm sorry we never had the chance to catch up over the past year. And to those reading this, if there's someone in your life with whom you've fallen out of contact, be sure to get in touch with them sooner rather than later--because that opportunity may end up being lost.</p><p>Here's a snapshot of Rob's books; his website is <a href="https://roberteighteen.com">https://roberteighteen.com</a>/.</p><ul style="text-align: left;"><li><i>Dracula: The Rare Text of 1901 </i>(1994) - editor</li><li><i>Dracula: A Century of Editions, Adaptations, and Translations </i>(1998) - with Elizabeth Miller</li><li><i>Bram Stoker's Notes for Dracula: A Facsimile Edition </i>(2008) - with Elizabeth Miller</li><li><i>Vampire Stories by Arthur Conan Doyle </i>(2009) - contributor</li><li><i>Vintage Vampire Stories </i>(2011)</li><li><i>Dracula in Visual Media: Film, Television, Comic Book and Electronic Game Appearances, 1921-2010 </i>(2011) - contributor </li><li><i>Drafts of Dracula </i>(2019)</li><li><i>Annotated Dracula </i>(2021)</li></ul><p>Rest in peace, Robert Eighteen-Bisang (1947-2020). You will never be forgotten. </p><p><br /></p><p><br /></p>Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-5225347415443147802020-10-04T14:31:00.003-04:002020-10-04T14:32:41.453-04:00CFP: Monsters and the Monstrous, April 2021<p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMWeooOngWxIaUlywsbIx1ciwllaxCTX37yGH0fG16egMprYpHFG3aKHew3NZ1-heXzHJQkPui68JJOGqK1dWAJ5FhSAiBAzE3T5it4auEoksI6lSJhprZ3frCmHAqRpwpLi5ywsmDcpY/s1280/will-there-be-a-hannibal-season-4-bryan-fuller-and-cast-resp_sk82.h720.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="113" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMWeooOngWxIaUlywsbIx1ciwllaxCTX37yGH0fG16egMprYpHFG3aKHew3NZ1-heXzHJQkPui68JJOGqK1dWAJ5FhSAiBAzE3T5it4auEoksI6lSJhprZ3frCmHAqRpwpLi5ywsmDcpY/w200-h113/will-there-be-a-hannibal-season-4-bryan-fuller-and-cast-resp_sk82.h720.jpg" width="200" /></a></div>"I'm hated, execrated, those I meet are repelled by me. They want me crucified, and maybe their feelings are all too justified," sang the American band The Bastard Fairies in their 2010 title track "Man-Made Monster." The lyrics of the song oscillate between cackling threats of murder and cannibalism, and the lament, "It didn't have to be this way, I'm a man-made monster led astray." Such is the paradox of the monster and its appeal: simultaneously a true threat, and the object of sympathy. <span><a name='more'></a></span><p></p><p style="text-align: left;"> <b>Monsters and the Monstrous<br /> 2nd Global Inclusive Interdisciplinary Conference<br /> <br /> Friday 16th April 2021 - Saturday 17th April 2021<br /> Vienna, Austria</b><br /><span face=""Calibri",sans-serif" style="font-size: 11pt; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;"></span><br /> Monsters have been used for millennia to frighten and control - from children's stories that threaten them with monsters if they don't listen to their parents, to propaganda that instills a fear of a monstrous 'Other' to encourage citizens to go to war. But history is also replete with misunderstood monsters, creatures who are misjudged, and perhaps even become monstrous because of the judgement they experience. In the nineteenth and twentieth centuries, misunderstood monsters may even have outnumbered sincerely scary ones.<br /> <br /> This conference is an interdisciplinary exploration of the variety of monsters, from gooey spider-legged creatures under the bed, to serial killers safely locked in jail and historical memory. Why do cultures create such abundances of monsters, both in fiction and in our tellings of reality? What are their functions, their roles in society, their cultural impacts? And at the same time, what draws so many people to the monstrous? Are we driven by some primal urge to touch evil, or is there a redemptive impulse in the desire to save a misunderstood creature or person?<br /> <br /> This project will take a broad definition of "monsters" and "the monstrous," including creatures, people, actions, and events with a view to forming a series of innovative interdisciplinary publications and future collaborations among other project plans.<br /> <br /> Consistent with its interdisciplinary ethos, the event proposes to step outside the traditional conference setting and offer opportunities for artists, practitioners, theorists, independent scholars, performers, writers, and others to intermingle, providing platforms for interdisciplinary interactions. The organisers welcome proposals for presentations, displays, round-tables, panels, interactive workshops and other activities to stimulate engagement and discussion on any aspect of the interplay between monsters, monstrosities and the monstrous.<br /> <br /> Key topics, themes and issues for discussion may include, but are definitely not limited to:</p><ul style="text-align: left;"><li> Monsters as instruments of control (Krampus, "the bogeyman will get you")</li><li> Representations of monstrosity</li><li> Sympathetic monsters (intentional and unintentional)</li><li> The "monstrous" body in history and medicine</li><li> The monstrous feminine, monsters as gendered beings</li><li> Reclaiming monsters, monsters as empowerment</li><li> Monsters of our childhood/children and monsters</li><li> Global monsters, monsters from global folklore</li><li> Funny monsters/making fun of monsters</li><li> Real-life monsters: serial killers, sex criminals, "sociopaths"</li><li> Political monsters and monsters as instruments of propaganda</li><li> Monstrous technologies</li><li> Monsters in literature, film, theatre, etc</li><li> What makes someone recognizable as a monster?</li><li> Religion and monsters – devils, demons, fantastic beasts</li><li> The monster as a metaphor</li><li> Monsters and fear, the psychology of the monstrous</li></ul><p> Presentations will also be accepted which deal solely with specific monsters.<br /> <br /><b> What To Send</b><br /> The aim of this interdisciplinary conference and collaborative networking event is to bring people together and encourage creative conversations in the context of a variety of formats: papers, seminars, workshops, storytelling, performances, poster presentations, panels, q and a's, round-tables etc.<br /> <br /> 300 word proposals, presentations, abstracts and other forms of contribution and participation should be submitted by Friday 25th September 2020. Other forms of participation should be discussed in advance with the Organising Chair.<br /> <br /> All submissions will be minimally double reviewed, under anonymous (blind) conditions, by a global panel drawn from members of the Project Development Team and the Advisory Board. In practice our procedures usually entail that by the time a proposal is accepted, it will have been triple and quadruple reviewed.<br /> <br /> You will be notified of the panel's decision by Friday 9th October 2020.<br /> <br /> If your submission is accepted for the conference, a full draft of your contribution should be submitted by Friday 12th February 2021.<br /> <br /> Abstracts and proposals may be in Word, PDF, RTF or Notepad formats with the following information and in this order:<br /> a) author(s), b) affiliation as you would like it to appear in the programme, c) email address, d) title of proposal, e) body of proposal, f) up to 10 keywords.<br /> <br /><b> E-mails should be entitled: Monsters Submission</b><br /> <br /><b> Where To Send</b><br /> Abstracts should be submitted simultaneously to the Organising Chair and the Project Administrator:<br /> <br /> Lorraine Rumson: <a href="mailto:lorraine@progressiveconnexions.net">lorraine@progressiveconnexions.net</a><br /> Project Administrator: <a href="mailto:viennamonsters@progressiveconnexions.net">viennamonsters@progressiveconnexions.net</a></p><p><b>Monsters and the Monstrous<br /> 2nd Global Inclusive Interdisciplinary Conference<br /> <br /> Friday 16th April 2021 - Saturday 17th April 2021<br /> Vienna, Austria</b></p><p><b> </b></p><span><!--more--></span>Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-83859259410312416832020-09-10T13:53:00.000-04:002020-10-04T14:05:01.450-04:00CFP: Supernatural Connections, March 2021<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2EBolrSZ6gGMPMV12B36LTMNOajsj8l9kWvIibHCwD3I1rei_bnmfTNtbtLvhGhflsZwk_KXkHI5FPC7AipEmGrdu8wCnsw3Nrd5CM9gDAB-NWdn_Ngi-ANFMXrqLxRZh3EeAaH00lOc/s450/925207a0b9b6463b22da9116ab894d4b_featured.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="300" data-original-width="450" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2EBolrSZ6gGMPMV12B36LTMNOajsj8l9kWvIibHCwD3I1rei_bnmfTNtbtLvhGhflsZwk_KXkHI5FPC7AipEmGrdu8wCnsw3Nrd5CM9gDAB-NWdn_Ngi-ANFMXrqLxRZh3EeAaH00lOc/w200-h133/925207a0b9b6463b22da9116ab894d4b_featured.jpg" width="200" /></a></div>Due to the postponement of this event in light of the Covid pandemic, we are delighted to be able to unexpectedly reopen the Call for Submissions for the newly rescheduled dates. As a constant and chilling presence in individual lives and the popular imagination, the supernatural, as a cultural phenomenon, is prone to repeated revivals and resurrections. Like some uncanny revenant, the supernatural re-emerges at crucial historical moments, often transforming to reflect the concerns of its epoch. <span><a name='more'></a></span> <b> </b><p></p><p><b>Supernatural Connections: An Inclusive Interdisciplinary Conference<br /> Friday 12th March 2021 - Saturday 13th March 2021<br /> Lisbon, Portugal</b><br /> </p><p>Recent times have seen a sharp rise in occult practice amongst millennials, many of whom have rejected more traditional spiritual systems in favour of Wicca, witchcraft and astrology. The past two decades have also witnessed a proliferation of supernatural fiction, encompassing everything from populist works like Supernatural (2005 – present), Twilight (2008-2012), The Chilling Adventures of Sabrina (2018 – present) and Siempre Bruja (2019) to critically-acclaimed texts like The Babadook (2014), The Witch (2015) Under the Shadow (2016) and Suspiria (2018). The reawakening of interest in the supernatural poses a wealth of questions about why the occult has once again seized hold of the popular imagination, while, at the same time, gesturing backwards to earlier eruptions of supernaturalism (witch trials, outbreaks of demonic possession, the nineteenth-century vogue for Spiritualism, the New-Age occultism of the 1960s and '70s).<br /> <br /> But what does the current preoccupation with the supernatural say about contemporary societies, particularly in relation to issues of gender, sexuality and identity, socio-political anxieties, historical and personal trauma? Why does the supernatural provide such a potent vehicle for grappling with those issues? Why are some expressions of the supernatural more culturally acceptable than others? To what extent does the supernatural play a positive role in society, and to what extent does it provide a convenient scapegoat for the real-world dark impulses of human beings?<br /> <br /> The Supernatural Connections conference seeks to provide a platform for exploring these questions from inclusive interdisciplinary perspectives by opening up new avenues of research and new conversations about the supernatural through papers, performances and panels focusing on any aspect of this complex, multifaceted topic with a view to forming an innovative interdisciplinary publication to engender further research and collaboration. The conference organisers are particularly interested in incorporating papers/ presentations from a diverse range of disciplines, including, but not limited to, literary and cultural studies, film studies, theology, psychology, the social and natural sciences, history, philosophy, sociology, education and anthropology. We also enthusiastically welcome submissions from practitioners, artists, writers, curators and others.<br /> <br /><b> Key Topics</b><br /> Potential topics may address any of the following topics; however, we are open to any submission that investigates the supernatural:<br /> <br /></p><ul style="text-align: left;"><li> Critiques and defences of the supernatural and related belief systems</li><li> Comparisons between contemporary and historical understandings of the supernatural</li><li> How creative practice shapes our perception of the supernatural (e.g. film, television, videogames, music, theatre, literature, art, etc.)</li><li> Impact of cultural, national, regional identity on perceptions of the supernatural</li><li> Ideological implications of the supernatural: how the supernatural reflects and informs political anxieties and general attitudes about the human body, race, gender, sexuality, class and nationality</li><li> Interface between science, technology and the supernatural</li><li> Commodifying the supernatural (dark tourism, spiritualists/fortune-tellers, etc.)</li><li> Supernaturalism and Indigenous cultures</li><li> Physiological/neurological perspectives on the supernatural</li><li> Impact of beliefs in the supernatural on everyday practices, and the implications of these practices</li><li> Interface between education and belief in the supernatural</li><li> Health, wellness and supernatural beliefs</li><li> Analyses of case studies of supernatural occurrences</li></ul><p> <br /><b> What To Send</b><br /> The aim of this inclusive interdisciplinary conference and collaborative networking event is to bring people together and encourage creative conversations in the context of a variety of formats: papers, seminars, workshops, storytelling, performances, poster presentations, panels, q and a's, round-tables etc. Creative responses to the subject, such as poetry/prose, short film screenings/original drama, installations and alternative presentation styles that engage the audience and foster debate are particularly encouraged. Please feel free to put forward proposals that you think will get the message across, in whatever form.<br /> <br /> At the end of the conference we will be exploring ways in which we can develop the discussions and dialogues in new and sustainable inclusive interdisciplinary directions, including research, workshops and publications which will help us make sense of the topics discussed during the meeting.<br /> <br /> 300 word proposals, presentations, abstracts and other forms of contribution and participation should be submitted by Friday 4th September 2020. Other forms of participation should be discussed in advance with the Organising Chairs.<br /> <br /> All submissions will be at least double reviewed, under anonymous (blind) conditions, by a global panel drawn from members of the Project Team, The Development Team and the Advisory Board. In practice our procedures usually entail that by the time a proposal is accepted, it will have been triple and quadruple reviewed.<br /> <br /> You will be notified of the panel's decision by Friday 18th September 2020.<br /> <br /> If your submission is accepted for the conference, a full draft of your contribution should be submitted by Friday 15th January 2021.<br /> <br /> Abstracts and proposals may be in Word, RTF or Notepad formats with the following information and in this order:<br /> a) author(s), b) affiliation as you would like it to appear in the programme, c) email address, d) title of proposal, e) type of proposal e.g. paper presentation, workshop, panel, film, performance, etc, f) body of proposal, g) up to 10 keywords.<br /> <br /><b> E-mails should be entitled: Supernatural Connections Submission</b><br /> <br /><b> Where To Send</b><br /> Abstracts should be submitted simultaneously to the Organising Chair and the Project Administrator:<br /> <br /> Miranda Corcoran: <a href="mailto:miranda@progressiveconnexions.net">miranda@progressiveconnexions.net</a><br /> Len Capuli (Project Administrator): <a href="mailto:lisbonsupernatural@progressiveconnexions.net">lisbonsupernatural@progressiveconnexions.net</a></p><p><b>Supernatural Connections: An Inclusive Interdisciplinary Conference<br /> Friday 12th March 2021 - Saturday 13th March 2021<br /> Lisbon, Portugal</b></p><p> <span></span></p>Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-11869506373075505402020-09-02T13:55:00.001-04:002020-10-04T14:04:03.762-04:00CFP: Global Horror: Local Perspectives, March 2021<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijmXHzRdq3elEtqHpycMXpK22IgXMlDuaEWjuLod4M75239X2WFfCTkae1LS0JXixt50eS0kwREtUciw72d5a8LbML158OoaXFo0Nz-HvnC4RZolgDTNcZiYK32dHxz_SZ7zErBlffBd0/s1024/0ICAYLINktkB3s7Cw.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijmXHzRdq3elEtqHpycMXpK22IgXMlDuaEWjuLod4M75239X2WFfCTkae1LS0JXixt50eS0kwREtUciw72d5a8LbML158OoaXFo0Nz-HvnC4RZolgDTNcZiYK32dHxz_SZ7zErBlffBd0/w200-h200/0ICAYLINktkB3s7Cw.jpg" width="200" /></a></div>Due to the postponement of this event in relation to Covid, we are delighted to be able to unexpectedly reopen the Call for Submission for the newly rescheduled dates. Horror pervades human experience. It affects us both as individuals and as members of social communities, it is recurrent in pop culture and arguably present in all fields of human knowledge and realms of storytelling, from Cronus eating his own children, to Freddy Krueger's sadistic murders in <i>A Nightmare on Elm Street</i> to media coverage of war. As a fundamentally paradoxical concept, horror simultaneously repels and fascinates us: we naturally dread it, yet we are drawn to it. <span><a name='more'></a></span><p></p><p> <b>Global Horror: Local Perspectives<br /> An Inclusive Interdisciplinary Conference</b></p><p><b>Sunday 14th March 2021 - Monday 15th March 2021<br /> Lisbon, Portugal</b><br /> <span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-CA;">
</span></p><p style="text-align: left;">We are taught to avoid that which is horrifying, but the appeal of horror, whether in the form of fiction or sensational news, is irresistible. Indeed, we simultaneously narrate, describe, imagine, consume, dread and crave horror in all of its dimensions, and with the most varied goals. Horror taps into primal emotions of fear and disgust that are universal to the human condition, and finds expression across cultures and historical periods. Yet the texts that shape the ways in which horror is broadly understood historically reflect predominantly Anglo-European and American cultural, social, historical and geographical contexts.<br /> <br /> Growing awareness and appreciation of the rich horror traditions of other countries around the world, including Japan, Korean, India, Brazil and Ecuador, has highlighted the importance of considering horror in a global context. Accordingly, the Global Horror: Local Perspectives Project provides a platform for exploring the ways in which horror motifs and themes are expressed through the 'local perspectives' that inform the creative practices and daily life of particular nations and cultures.<br /> <br /> It is not the intent of the Project to exclude Anglo-European and American perspectives from the conversation of global horror but rather to centre other horror traditions which have frequently been de-centred or completely overlooked in the past. The scope of the Project therefore includes work that explores marginalised local perspectives within Anglo-European and American horror, and work that examines Anglo-European and American horror from a global perspective with a view to forming an innovative interdisciplinary publication to engender further research and collaboration.<br /> <br /><b> Key Topics</b><br /> Horror manifests itself in myriad ways, with ramifications that transcend the lines that demarcate disciplines, subjects and professions. It is only through interdisciplinary engagement that we can develop a more complete understanding of the mechanisms that nations and cultures around the world use to express, process, and cope with horror. The conference therefore offers a springboard for participants from diverse professions, practices and walks of life to engage in interdisciplinary dialogues on topics that include:</p><ul style="text-align: left;"><li> Case studies of un(der)-represented horror traditions in nations and cultures</li><li> How the history, religion, cultural norms of a nation/culture influence local perceptions and representations of horror in literature, film, television, music, art and videogames</li><li> Impact of digital technology on creating and disseminating local perspectives on horror</li><li> How globalisation as a cultural and economic force influences 'local perspectives' on horror</li><li> Creative practitioners whose work shapes local perspectives on horror</li><li> Dark humour and making fun of global horror</li><li> Connections between horror in everyday life and fictional horror</li><li> Impact of real or fictional global horrors on individuals (mental illness, trauma, nightmares, other physiological symptoms)</li><li> Horror in religious/spiritual systems (martyrdom, grotesque/monstrous deities, rituals, etc.)</li><li> Social practices associated to horror: cannibalism, (self-)mutilation, abusive rites of passage, suicide, heresies</li><li> Horror in nation-building (slavery, war, genocide, etc.)</li><li> Medical/clinical perspectives: interfaces of horror and medicine; dealing with patients struggling to cope with horrifying experiences</li><li> Educational perspectives: how the curriculum shapes perceptions of horror, its uses and its impacts; horror in children's stories/horror as pedagogical tool, etc.</li><li> Commodifying horror: dark tourism, etc.</li><li> Technology as agent of horror (weapons, dissemination of fear, etc.)</li><li> How national and international law facilitate and mitigate horror</li><li> Activism as response to horror</li><li> Horror and the media: news coverage, sensationalism</li><li> Horror and space: streets, cities, towns, buildings, deserted areas</li><li> The design of horror: images, branding, advertisement, commercial campaigns involving horror</li><li> Urban legends and local horrors</li><li> Best practice for researching and studying global horror</li><li> Interdisciplinarity as a tool to overcome the indescribability of horror<br /></li></ul><p><b> What To Send</b><br /> <br /> The aim of this inclusive interdisciplinary conference and collaborative networking event is to bring people together and encourage creative conversations in the context of a variety of formats: papers, seminars, workshops, storytelling, performances, poster presentations, panels, q and a's, round-tables etc. Creative responses to the subject, such as poetry/prose, short film screenings/original drama, installations and alternative presentation styles that engage the audience and foster debate are particularly encouraged. Please feel free to put forward proposals that you think will get the message across, in whatever form.<br /> <br /> At the end of the conference we will be exploring ways in which we can develop the discussions and dialogues in new and sustainable inclusive interdisciplinary directions, including research, workshops and publications which will help us make sense of the topics discussed during the meeting.<br /> <br /> 300 word proposals, presentations, abstracts and other forms of contribution and participation should be submitted by Friday 4th September 2020. Other forms of participation should be discussed in advance with the Organising Chairs.<br /> <br /> All submissions will be at least double reviewed, under anonymous (blind) conditions, by a global panel drawn from members of the Project Team, The Development Team and the Advisory Board. In practice our procedures usually entail that by the time a proposal is accepted, it will have been triple and quadruple reviewed.<br /> <br /> You will be notified of the panel's decision by Friday 18th September 2020.<br /> <br /> If your submission is accepted for the conference, a full draft of your contribution should be submitted by Friday 15th January 2021.<br /> <br /> Abstracts and proposals may be in Word, RTF or Notepad formats with the following information and in this order:<br /> a) author(s), b) affiliation as you would like it to appear in the programme, c) email address, d) title of proposal, e) type of proposal e.g. paper presentation, workshop, panel, film, performance, etc, f) body of proposal, g) up to 10 keywords.<br /> <br /><b> E-mails should be entitled: Global Horror Submission</b><br /> <br /><b> Where To Send</b><br /> <br /> Abstracts should be submitted simultaneously to the Organising Chair and the Project Administrator:<br /> <br /> Claudio Zanini: <a href="mailto:haunted32@yahoo.com.br">haunted32@yahoo.com.br</a><br /> Len Capuli (Project Administrator): <a href="mailto:lisbonhorror@progressiveconnexions.net">lisbonhorror@progressiveconnexions.net</a><br /> </p><p><b>Global Horror: Local Perspectives<br /> An Inclusive Interdisciplinary Conference<br /> <br /> Sunday 14th March 2021 - Monday 15th March 2021<br /> Lisbon, Portugal</b></p><p><b> </b> </p>Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-69703361116573722982020-02-28T00:19:00.000-05:002020-02-28T00:19:23.342-05:00"The House Invisible" (1913) by Alan Sullivan (1868-1947) <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtc7Oh-4b6y8YD_9KHxCiNblF6wQNWK3-rvf0MljZNZ9o262eyA86G8EObC-z4TDaj15i5B_l2H_xm9qbzO0-D0LTuBee6JqKtLl8Hgl-uyNPkB1c2e6w6lwvh86fKq8wyg2X_nqwKqp8/s1600/b4e468f304fb66cab41dc585d4e4b9e1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="588" data-original-width="902" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtc7Oh-4b6y8YD_9KHxCiNblF6wQNWK3-rvf0MljZNZ9o262eyA86G8EObC-z4TDaj15i5B_l2H_xm9qbzO0-D0LTuBee6JqKtLl8Hgl-uyNPkB1c2e6w6lwvh86fKq8wyg2X_nqwKqp8/s320/b4e468f304fb66cab41dc585d4e4b9e1.jpg" width="320" /></a></div>
Poet and author Alan Sullivan, who also published work under the pseudonym Sinclair Murray, was born in Montreal and spent some of his formative years in Scotland. An engineer by trade, he spent several years in the Lake of the Woods district near Kenora, Ontario. His most famous work is perhaps <i>The Great Divide </i>(1935), a historical adventure novel about the building of the Canadian Pacific Railway. However he was also published extensively in Canadian and American periodicals, while a handful of his novels, such as <i>A Little Way Ahead </i>(1929), had elements of the paranormal.<br />
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While researching Sullivan for inclusion in <i>The Great Fright North</i>, I discovered his short story "The House Invisible," published in <i>The Passing of Oul-i-but and Other Stories </i>(1913). In this tale, which hints of the supernatural, a man wistfully reflects on his past accomplishments while out walking one day along the shoreline of his seaside mansion. To his surprise, he comes across a deep crevasse that seemingly appeared out of nowhere; there he discovers a mansion that mirrors his own, except it appears to have weathered a century of neglect.<br />
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<a name='more'></a>"Stone for stone, window for window, walk for walk, but devoid of sound and life and any breath of humanity, this strange place lay beneath me, and, gazing, I heard its call." Inside he finds a woman whom he can only describe as the "Presence"...<br />
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I was so impressed by this tale that I wanted to post it here so that others may enjoy it, as well. This work has fallen into obscurity, and is pubic domain. Keep in mind the period of when this was written, especially when it comes to the dialogue at the end of the story. Enjoy!<br />
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THE HOUSE INVISIBLE <br /><br /><i>Thus, smirking, spake one whom good fortune crowned; <br />"Behold my mansion, my memorial trees <br />That, like green rivers, circle it around; <br />My lambent gems from far-off nameless seas,<br />My canvases and ancient folios, bound <br />And wrought in virginal and sweet cloistered ease. <br />Gold, festal song, beauty and love and wine. <br />All of earth's tribute, all and all—are mine.</i><i><i>"</i></i><br />
<i><i> </i><br />Strange, that above his castle's granite tower <br />Should hang a phantom and deserted hall,<br />Where nothing stirred to life, and hour by hour <br />The dust of centuries settled on the wall. <br />Till painting, folio, and garden bower <br />Were sifted over with a breathless pale; <br />A gulf of silence, so remote and deep <br />That death seemed nigh forgotten in its sleep. </i><br />
<br />---<br /><br />The great plain stretched before me, vast and untenanted, splashed with odorous flower spaces, wrinkled and alive with the lift of morning winds. To all these I had escaped at the bidding of a new strange instinct, suggestive perhaps rather than dominant, but impellent enough to thrust its delicate pressure through the hardening crust of my own self-approving personality. It was not beauty that had brought me there. I sought nothing that dwelt on the gemmed sod or in the hollow caverns of the wind, nor was I conscious that I evaded anything. A sudden spiritual wander-lust was over me. <br /><br />Nor had forgetfulness aught to offer. I had borne my years bravely, and the world knew with what measure of success; something of honour had been earned, and riches came with it. I had not stooped to the unclean thing. I loved, and was beloved. But, for all of this, I had become, in a flash, conscious that there was that I knew not of, a deeper insight which I had never attained, but which might perchance stoop to me, and so I walked abroad in solitude, with every barrier of time and circumstance dismantled. <br /><br />I knew the plain, for it was my own. From the mansion windows its spherical undulations rippled out and lost themselves in the wideness of that world against which it was a fragrant barricade. In the midst of it the house reposed, and, whatever winds blew, only the breath of wild thyme and clover, of gorse and honeysuckle, traversed the sentinel ranks of my memorial trees. Southward lay the sea, to which the sweet land leaned, and that way I walked. <br /><br />But halfway between the mansion and the shore I stopped on the brink of a cleft ravine that stretched at my feet, and, most strangely, however well I knew my land, I knew not this ravine. Just as the mind stops, startled at undreamed depths of thought, suddenly discovered, so I halted at this rift that dipped sharply seaward. It was, perhaps, half a mile wide and a mile long. At the bottom was a tarn of still black water, ringed with a fringe of sand, and to this the hillsides descended smoothly with green encircling slopes. Opposite, within grey stone boundaries, an old house faced the lake, and at the sight I stared round-eyed, and turned till I caught, in the blue distance, the comforting mound of trees around my own mansion. For this old, and yet new, house was indeed the brother of my own in shape and size and proportion, and it looked also as my own would look should a hundred years of forgetfulness enshroud it. Stone for stone, window for window, walk for walk, but devoid of sound and life and any breath of humanity, this strange place lay beneath me, and, gazing, I heard its call. <br /><br />Approaching the great iron gates, again the replica of my own, I searched in vain for any late intimate or humanizing touch; and, forcing them, the rusty hinges creaked stiffly in the motionless air. At once I knew, in some subjective fashion, that I was no stranger here. Across the long, straight garden walk, tangled rose bushes enmeshed themselves into an interlacing network, and there was that in the rose bushes, in the long walk, in the great gates, and, lastly, in the dead walls facing me, that was eloquent of myself alone. There was, there could be, no asking of where or when. These things were endowed with their own dominant entity—a peculiar individuality which silenced the question before it found expression. The visual confounded the intellectual. I was not breathless or fearful, I seemed only to have turned into a remote by-way that spoke with almost audible emphasis to some long dormant brain-cell, just awakened, to revive its ancient memories. And, realizing this, there was nothing but to go on and break the silence of this mysterious estate. <br /><br />Ere I gained the door and reached for the corroded knocker I became conscious that my mind was operating with an extraordinarily rapid introspection. This that I was about to discover seemed more nearly, more purely personal, with all its uncertainty, than every intimate and personal relationship I had ever formed. So now, with an absolute abandonment to all that the time and place might yield, I knocked thrice. <br /><br />The dull clangour filled the house. I could hear it booming through the halls till its reverberations smoothed out into the hollow silences that brooded everywhere. Then, with an insistence that defied the unreality of its own conception, I knocked again and waited, my eyes fixed on that door I knew must open. <br /><br />There came presently a sound from within. I remember it as being not so much sound itself as a promise of sound, whispering from distances infinitely more remote than those compassed by the house walls. It was as if something were getting ready to begin to move, something that stretched and stirred in doubt ere its aged sinews were trusted to perform their office. <br /><br />Again, as the door yielded, I felt no fear. I was staring at a man old beyond understanding, so old that the whiteness of his brows curved down over the brilliancy of eyes that mocked at his own antiquity. His dress was a long tunic, half hidden by the winter of his beard; his shoulders were bent as from the weight of immemorial time, and the hand that trembled on the latch was waxen and shriveled. He seemed, indeed, the epitome of a senescent humanity, the cycle of whose years rivaled that of the stars in their courses. <br /><br />The bent figure inclined still further. "You are expected," he said; and, at the words, I could almost hear centuries slipping into indistinction. <br /><br />He turned into the long hall, and I followed. On the floor I could see his footmarks in the dust. To right and left stood armour, even as other armour I knew; but this was covered with dust; gorget, brassart, pauldron, and greave; defiled, neglected, and forgotten. Above there were pictures, once more the parallel; but these were lost in the film that had settled on them from the breathless atmosphere. I had been sleeping, sleeping for years, and now returned to my own, to find it mute and wellnigh obliterated, and barren of all attributes save only memories.<br /><br />Behind the shuffling feet I mounted the great stairway—all the ancient servitor pointed to a closed door, and there he left me. I was conscious, for a moment, of his uncertain footsteps, and when they ceased he had vanished into the void of that Nirvana from which he came. <br /><br />Then, from the invisible room, a woman's voice called; a voice unclouded by threat, unsoftened by supplication; and, at the sound of it, the latch yielded and I entered. <br /><br />There stood the Presence, and instantly my eyes were unsealed. She was not a Deity, but an embodiment of whatever of the Divine was harboured in myself. Each year of my life yielded its memories toward this recognition, and my understanding slowly built itself up to speak. <br /><br />No man shall describe the Presence. In dreams we may glimpse her. Sometimes, when we sound the depths or scale the heights, the momentary gleam of her robe appears to the vision that has been cleansed by suffering or joy. But always the vision is measured by our weakness. <br /><br />This knowledge came to me at that instant. <br /><br />"Your name?" I said with reverence. <br /><br />"I am nameless until I join that other self, whom I know not," came the reply. <br /><br />"And this house?" I ventured, breathless with mystery. <br /><br />"Is the house that he has builded for me."<br /><br />My mind flashed back to the mansion on the scented plain. <br /><br />"This dust?" I said, wonderingly. <br /><br />"Listen," she answered; and my consciousness went out to meet her beneath the lifting veil. "All the world over, men build houses for the body and the mind, but what man has guessed that then also is builded the house of the Spirit? Stone for stone, window for window, the one rises with the other. And when all is done, and the hearth fire gleams, then the Spirit takes her habitation."<br /><br />Her voice ceased. The blank deserted silence of the ghostly place closed in, till, through it, I heard my own utterance—small, thin, and seeming infinitely remote. "There is death here."<br /><br />"The house of the body speaks of that which is gained," replied the Presence, "but the home of the Spirit of that which is lost."<br /><br />Vainly I fought for words. Dust, dust! I could think of nothing but dust. <br /><br />"The armour is stained," went on the gentle voice, "and the roses have closed the paths where I would walk. My house is cold and desolate, and there is only one room left." <br /><br />"And that room?" I said fearfully. <br /><br />"It is the time that is left," she whispered. <br /><br />My soul turned to assail me. Blindly I groped for one ray of light in this darkness of my own creation, in this gloom in which my own impotent Spirit was enshrouded. It was only a little room that remained for her to inhabit. It was my own study. A few intimate things were there. I remembered choosing them because they were fraught with attributes of which I could never tire. <br /><br />"You know not this man?" I said, marvelling. <br /><br />"Only when my house is pure and fragrant shall I know him." She turned to the window: "Look!"<br /><br />Beneath it smiled my gardener's cottage, just as I had left it, on the edge of the moorland. It was alive with light, beautiful with love and care, bedded in roses and the songs of birds. As I looked it seemed that the old man himself passed down the trim walks, and the flowers nodded after him. <br /><br />"He builded better than he knew," I whispered. "Men call him a simpleton."<br /><br />"What man shall judge another? I would that his house were mine. His Spirit has never wandered from home, and dwells not in one room." Mystical and transcendent sounded the voice of the Presence. "Man has many habitations, but only one house invisible. Its dust is man's pride, its solitude is man's selfishness, and that which he sometimes counts as lost is its beauty. As he gives, so it is glorified; and when he is humble the house is filled with music."<br /><br />I gazed at the vision of the gardener, framed into the riot of his lovely blooms. Softly came the answer to the question that trembled on my lips. <br /><br />"The great ones of the earth can build spiritual hovels, but the labourer can rear a palace for his soul."<br /><br />The film that all my life had obscured my sight suddenly rolled back. All those garments of satisfaction and self-esteem that had for years enveloped me were clean stripped away. In one terrible instant I saw myself naked and utterly revealed. What man, seeing this, shall not tremble? <br /><br />I knelt, abased in supplication. I gazed, but my eyes faltered before the essence suddenly radiating from the transfigured Presence. The mortal in me recoiled from this embodiment of immortality. The glory and the dream had visited me. <br /><br />Thus, for a long time, sightless and silent, till a breath of fragrance reached me and a delicate wind kissed my trembling lids. <br /><br />In fear and wonderment I looked again and saw—the soft undulations of the flower-strewn plain, stretching to the sea. The long rift, the black tarn, that ancient house, the dust and desolation—all had vanished. <br /><br />Slowly, almost unconsciously, my steps were retraced, like those of a man "moving about in worlds half realized." I was still suspended somewhere between this solid intangible earth and one more tenuous, more elusive, and yet not less real; and it was the gardener who greeted me as he leaned lovingly over his roses. <br /><br />"They're wunnerful, maister, they're wunnerful," he said, with a pink bud lying like a fairy shell in the cup of his wrinkled hand. "An' ye know, maister, summat tells me they're even more than that."<br /><br />I caught the quiet sunshine of his mild blue eye, the eye of a Spirit that had never wandered far from home. "Yes," I muttered, staring at him with a sudden, strange, breathless interest, "I think they're more than that."<br />Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com1tag:blogger.com,1999:blog-2781153420480084553.post-30934449533479162652020-02-20T22:43:00.002-05:002020-02-20T23:48:34.912-05:00"Exorcism" (1972) by Eth Natas...or was it Stephen King?<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhPLSmcCtw3OfTg9A_mXEog3J1NEaXYsIsP3j55xK3vliG00Kno6EQjcQ7Nq-wE1C-PUPLhB5P7bz704FQN2BvzJbxhNZ0HUvRE3EdZYIHaYc485FWILsqCkRvznyW3yjwZGONhqtvHtY/s1600/EXORCISM-cover.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="973" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhPLSmcCtw3OfTg9A_mXEog3J1NEaXYsIsP3j55xK3vliG00Kno6EQjcQ7Nq-wE1C-PUPLhB5P7bz704FQN2BvzJbxhNZ0HUvRE3EdZYIHaYc485FWILsqCkRvznyW3yjwZGONhqtvHtY/s200/EXORCISM-cover.jpg" width="120" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Exorcism </i>(1972), Lexington House</td></tr>
</tbody></table>
I decided that 2020 would finally be the year that I make a concerted effort to reduce the 'unread' pile of vintage horror paperbacks that I've collected over the years. Granted, I have been reading a book here and there, but I add more to the pile than I take away. These are primarily thrift store finds that I couldn't pass up, based on cover art or back cover blurbs, and it's only after I get them home that I research the book and author--many of whom are new to me. Case in point: Eth Natas. This is a pseudonym--an anagram for "The Satan," no less--and as it turns out, some circles believe this book was in fact written by Stephen King.<br />
<br />
Note: there are many spoilers ahead for <i>Exorcism</i>, but since few will likely get the chance to read it--the book is pretty scarce, and online copies range anywhere from $20 to $100 (making my $2 find a bargain!)--you may as well read on.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieXOp8LZHY5mlyPd8AcEPmJqXFBjwS9CnuqxoUNo4JZjFO5thiLTEuQq7VpGxM9KjTX-N0UZH1mqRW2Ip7FZ0EMUpv4RGTrehtGaGJySmTtBsTxB9dQPPsydvRjVPQN4rj7iNmwiaSQfA/s1600/EXOR+bach.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1097" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieXOp8LZHY5mlyPd8AcEPmJqXFBjwS9CnuqxoUNo4JZjFO5thiLTEuQq7VpGxM9KjTX-N0UZH1mqRW2Ip7FZ0EMUpv4RGTrehtGaGJySmTtBsTxB9dQPPsydvRjVPQN4rj7iNmwiaSQfA/s200/EXOR+bach.jpg" width="135" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The fake Richard Bachman</td></tr>
</tbody></table>
First I should address the elephant in the room. Did Stephen King in fact write this book? Back in the mid-1980s, when King finally admitted that some of his work had been published as "Richard Bachman" (after repeatedly denying it), the push was on to uncover other pseudonyms that the prolific horror author may have used. That's when <i>Exorcism</i> (1972), by Eth Natas, first came to light. In his book <i>Stephen King as Richard Bachman </i>(1985), Michael R. Collings suggested that King admitted to a group of friends that he had written <i>Exorcism</i> one night during a drunken stupor as a means to cash in on the success of William Peter Blatty's <i>The Exorcist </i>(1971). This also helped pay the bills; by this point King had written a handful of novels that had gone unpublished, and it was still a couple of years before the success of <i>Carrie </i>(1974) sent him into the stratosphere. King has always denied publicly that this is his work, so the jury is still out. Myself, I have a hard time believing that <i>Exorcism</i> is a work by Stephen King--even an <i>inebriated</i> Stephen King--although to be fair it does read as though the author, whoever they may have been, was under the influence of something when they put pen to paper. The story is God-awful, and if Stephen King was responsible, there's good reason for him to deny it.<br />
<br />
My first edition copy has a plain black cover with the title in yellow, and features this enticing blurb: "Rosemary's Baby opened the door to the occult. You are now invited to witness: Exorcism." Strange indeed, considering this book has little to do with <i>Rosemary's Baby</i>, aside from an element of witchcraft and a hint of satanism. It's a far more blatant rip-off of <i>The Exorcist. Exorcism </i>follows the same basic plot, although with way less detail because you can only cram so many words into a 190-page story printed in large type! Written in first person, this sordid tale opens with Bentley Morton, a middle-aged estate lawyer in New York, who hints that this "journal" details his niece's intrusion into what had been a well-ordered life--telling us that "if you find yourself reading this chronology, I assure you I am quite, quite dead." [On a side note, Stephen King had a character with the surname Morton in <i>Carrie</i>, while characters named Ben appear in <i>'Salem's Lot</i> and <i>It</i>, among others--okay maybe I'm looking for connections where truly there are none...]<br />
<br />
Morton's niece, Melanie, has just arrived to live with him after being orphaned; her parents were recently killed in a freak accident in the Peruvian Andes. The last time he had seen her was over three years ago, since their families lived on opposite coasts. Therefore the young woman he sees before him is a bit of a surprise, or as he puts it:<br />
<br />
<blockquote class="tr_bq">
"A little girl stood there trying to smile at me, and all I could think of was to hold out my arms. While we were silently hugging each other I realized she was not quite so little, and several passers-by gave me knowing smiles...she had become quite a little lady indeed...very attractively assembled."</blockquote>
<br />
Morton's inappropriate comments about his niece, who is sixteen years his junior, get creepier as the story unfolds, such as when they are out sailing. He inadvertently brushes her rear end, noting its "firmness," and as she rests her head in the crook of his arm, wearing a skimpy bikini with her face just inches away from his, he can't help but notice her "young breasts" and after a few moments he's completely transformed "from a state approaching relaxation to one arousing all of my senses." Gross! And it gets worse, believe me.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4NFtaGJpC5tXI_SYPXqINr46yviAhKKEc4V9InnLSgJsncMkFns48h7nPomAGWG1rxPnJfARMUuKo5kvLs9gRvNjLKEn2uhPiPbnFUS7wVo3xzGoSJ2Pht70E54xyfRKaYYe77NYJFYE/s1600/EXOR+lex+book+alt.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1385" data-original-width="836" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4NFtaGJpC5tXI_SYPXqINr46yviAhKKEc4V9InnLSgJsncMkFns48h7nPomAGWG1rxPnJfARMUuKo5kvLs9gRvNjLKEn2uhPiPbnFUS7wVo3xzGoSJ2Pht70E54xyfRKaYYe77NYJFYE/s320/EXOR+lex+book+alt.jpg" width="192" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alternate cover of the 1972 edition</td></tr>
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Then we're introduced to Morton's (age-appropriate) fiancée Kay, whom he seems to love deeply although she's really just a plot device. One night, while they're making love, he spies Mel secretly watching them, her face contorted in rage (clearly this won't bode well for Kay). This discovery leads to one of Morton's most hilarious lines in the book: "My insides froze; my movements ceased abruptly; my penis quickly withered." Prior to that it was a pretty good erotic scene, although the mood was somewhat lessened by the use of the word "phallus."<br />
<br />
As Mel's condition deteriorates, she unceremoniously murders Kay so that she can have Morton all to herself. By this point she is full-on possessed by the spirit of a young girl named Lotte, who had been murdered by her father in Morton's house some forty years earlier, after she herself had killed his girlfriend (there's a hint of inappropriate relationships in that household, as well). For Kay, it's too bad, so sad. Rather than turn over his niece to the authorities so that she can get the help she truly needs, Morton immediately covers up the murder as best as possible, and thinks of ways he can keep Mel safe (including thoughts of running away with her to South America). To him, it seems, blood is thicker than water.<br />
<br />
Yet Morton is still on the fence with how to best deal with the situation, and confides in his elderly neighbour, Colonel Sinclair--who actually first discovered Kay had been murdered. Strangely enough, Sinclair agrees that Mel should remain hidden until they can figure out what's really going on. A very odd reaction, but there's a good reason why.<i> </i>Turns out he is secretly a Warlock (I kid you not), and believes something otherworldly is going on. He had once been part of a coven in England before being ousted for his
beliefs and relocating to the United States. Thankfully he's a student
of the occult and an expert in all things demonic. In fact, he will be
Mel's litmus test; if she truly is possessed by an evil spirit, she will have an adverse reaction to his presence because he is a witch (naturally). Later, once an exorcism looks like the only option, he offers to perform it himself although he's never done it before (but has been a witness to one). He suggests doing the ritual at his house, but needs some time to prepare. This leads to some filler scenes where Morton goes on a quest to uncover who might be possessing his niece--which surprisingly doesn't take that long and was a relatively simple process.<br />
<br />
By this point in the story, I guess the author thought it needed a bit more spicing up. A first attempt sees Morton having a nightmare in which he's sitting in a clearing and tied to a stake, with a roaring fire nearby. Mel is also there, begging for help, but the more he struggles, the more the ropes tighten. Surrounding them is a circle of men and women, all naked save for black hoods, and they're chanting something imperceptible. Then one of the men breaks from the pack and heads toward him--and he clearly has something naughty in mind! My words won't do this scene justice, so here it is verbatim from the book:<br />
<br />
<blockquote class="tr_bq">
"As he came closer I looked down and saw his penis hardening. I couldn't remove my eyes from it. When he was directly in front of me it was fully erect, swaying before me. Slowly, very slowly, he raised one arm and brought it down on my shoulder...I screamed..."</blockquote>
<br />
This "horrific threat" of gay sex (oh myyyy!) was subsequently followed by a scene that pushed the envelope a little further. Morton no longer finds himself able to address his niece by her real name, and now refers
to her as Lotte--and she, speaking in a childlike voice, now constantly calls him "Daddy" (yikes). Perhaps this disassociation of Mel makes things easier for him because yes, they do end up consummating their relationship (I warned you it got creepier!). This unfortunate coupling happens after he inadvertently takes LSD; in fact, this was the gateway drug
for Mel's possession in the first place. So say no to drugs,
kids, because this might happen to you!<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipwezxmecQDpwY8fiotaronPGqlk59JGeLFlpO1f9XxSkyLMKuvyeDGN6tQy-MFk86bTXGD_2vLsWgehZic0-7Us7angmWX_0Aww724SaWddlcJ1oV2kMPhXlLcsVsRuBR9eb6WiEcWvM/s1600/EXOR+manor+books.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="799" data-original-width="489" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipwezxmecQDpwY8fiotaronPGqlk59JGeLFlpO1f9XxSkyLMKuvyeDGN6tQy-MFk86bTXGD_2vLsWgehZic0-7Us7angmWX_0Aww724SaWddlcJ1oV2kMPhXlLcsVsRuBR9eb6WiEcWvM/s320/EXOR+manor+books.jpg" width="195" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Manor Books edition (1974)</td></tr>
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By now things are looking pretty dire for our hero, so it's time for <i>Colonel Deus ex Machina</i> to get going on that exorcism he promised. However, he's clearly in over his head; in
the same breath he tells Morton that whomever performs the ritual often
sees a violent end, but then says that he shouldn't worry because in most cases there's
no ill effect whatsoever--to anyone involved! (So you know this will end poorly...)<br />
<br />
They drug the girl, then tie her up at Sinclair's house. Before the ritual begins, Morton hides in an adjoining room that has a one-way mirror which allows him to see, but not hear, what's going on. The exorcism should be the most exciting scene in this story, but the writer got lazy (or should I say, lazier). Instead of putting readers front and centre with the action, we're stuck inside the other room with Morton. Since he cannot hear anything, all he does is give a boring play-by-play of visually what's happening.<br />
<br />
<br />
Mel/Lotte ultimately wins that battle and forces Sinclair to commit suicide, after which Morton--somehow managing to avoid her evil influence--shoots her in the head. Then he burns Sinclair's house to the ground, with both bodies inside. I guess that's fitting, story-wise, because Lotte had been burned alive..? Anyway, Morton returns home then spends a few days feverishly writing of these horrific events; there's no further mention of his fiancée's murder, nor the presumed investigation into the fire. By this point I didn't care, because I was elated by the fact that I had finally finished this dreck. By the way, Morton kills himself at the end. Good riddance, I say!<br />
<br />
I had mentioned that much of this story seems like a rip-off of <i>The Excorcist</i>. Here are a few examples:<br />
<br />
<ul>
<li>Both Regan and Mel are young females who become possessed in a home that is not their own</li>
<li>Initially their guardians believe the problem is the result of losing a parent </li>
<li>As their conditions worsen, strange, supernatural events begin to happen inside the house</li>
<li>Both undergo horrific changes, physically and mentally</li>
<li>After doctors find no clues as to why this is happening, their guardians seek help from a more esoteric source, who has been involved in, or witnessed, an exorcism in Africa</li>
<li>This expert ultimately dies during the exorcism, leaving someone else to finish the job--who then ends up dead, as well</li>
</ul>
I'm sure there are many more examples, however I have already spent far more time on this review than the book actually deserves. Mr. King, if you indeed wrote this sleazy train wreck, I completely understand why you chose to hide it.<br />
<br />
P.S. I'm keeping my copy just in case you do admit to writing it someday... ;-) <br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMn5_BJmyABGsP-g71r-cCCJL9QDVIKWkYP-nZyuQUAmBp9F2zImkjkCDcwOvyNTUooFq6nf-rW8wcN8ugxvkkFYnFkQ9pbMjSYq-7CUeNgyE1WcQ6E3jDrs8GK2LfmcWBekHtL9ZDXyk/s1600/EXORCISM-cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="973" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMn5_BJmyABGsP-g71r-cCCJL9QDVIKWkYP-nZyuQUAmBp9F2zImkjkCDcwOvyNTUooFq6nf-rW8wcN8ugxvkkFYnFkQ9pbMjSYq-7CUeNgyE1WcQ6E3jDrs8GK2LfmcWBekHtL9ZDXyk/s400/EXORCISM-cover.jpg" width="242" /></a></td><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKagNz5m404n1YD0DTDLWDnVgALz9h9hLqtuSSusu00c5WxvoX8s_kBu9HEMM8T5iy9MumXa1quXsXNLA2wZYzD2NiSr-3Yu1UC3voOm865tpm3Ehc0o81OhS1J7hpB6xEdFhyphenhyphen2Cza_4I/s1600/EXORCISM-back-cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="937" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKagNz5m404n1YD0DTDLWDnVgALz9h9hLqtuSSusu00c5WxvoX8s_kBu9HEMM8T5iy9MumXa1quXsXNLA2wZYzD2NiSr-3Yu1UC3voOm865tpm3Ehc0o81OhS1J7hpB6xEdFhyphenhyphen2Cza_4I/s400/EXORCISM-back-cover.jpg" width="233" /></a></td></tr>
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<br />Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-39816852676882800112019-12-04T12:11:00.000-05:002019-12-04T12:11:28.992-05:00New Book Alert: Drafts of Dracula<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht0p0jPxM8eHGJ3NAkTHHGeQhG6IyXfWIacFkij2mQOePlgGPGgi3G8wGArkkjIll6uL7X6g16UalCHRwIy3v9ZQFjoUub0Zxo-7ggxzndnl0PK2PPloJG7T4tL-jjLKi4-j-cOzDtN_c/s1600/draftsofdracula.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="667" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht0p0jPxM8eHGJ3NAkTHHGeQhG6IyXfWIacFkij2mQOePlgGPGgi3G8wGArkkjIll6uL7X6g16UalCHRwIy3v9ZQFjoUub0Zxo-7ggxzndnl0PK2PPloJG7T4tL-jjLKi4-j-cOzDtN_c/s200/draftsofdracula.jpg" width="133" /></a></div>
Here's a new book for fans of <i>Dracula </i>that has just been released digitally on Kindle, and will be published in both paperback and hardcover in time for Christmas. <i>Drafts of Dracula,</i> edited and annotated by Robert Eighteen-Bisang and Elizabeth Miller, builds upon their groundbreaking work in <i>Bram Stoker's Notes for Dracula </i>(McFarland, 2008). This new book updates their previous work while adding new insights and research.<br />
<br />
Eighteen-Bisang is an authority on vampires and <i>Dracula</i>, and owns the world's largest collection of vampire literature. Miller, too, is a renowned <i>Dracula </i>scholar, and both have contributed several works to this field of study.<br />
<br />
<a name='more'></a>As Dacre Stoker notes in his foreword: Robert Eighteen-Bisang and Elizabeth Miller have done it again! In 2008, they presented a groundbreaking transcription of Bram Stoker’s working notes for <i>Dracula </i>to delighted scholars and fans all over the world. <i>Drafts of Dracula </i>renders their research as a gift that keeps on giving. A decade’s worth of scholarship combined with recent discoveries by the Stoker estate and the London Library have allowed Eighteen-Bisang and Miller to continue their efforts to outline “the birth of Dracula in the mind of Bram Stoker” (as Raymond T. McNally and Radu Florescu put it).<br />
<br />
The Kindle version can be purchased here: <a href="https://www.amazon.com/Drafts-Dracula-Bram-Stoker-ebook/dp/B0829BS292/" target="_blank"><i>Drafts of Dracula </i>Kindle Edition</a><br />
<br />
<b>Table of Contents:</b><br />
<ul>
<li>Bram Stoker’s Original Foundation Notes & Data for His “Dracula”</li>
</ul>
<ul>
<li>I. Handwritten Notes on the Plot</li>
<ul>
<li>Draft 1: <i>Vampire</i></li>
<li>Draft 2: Early Cast of Characters</li>
<li>Letters</li>
<li>Draft 3: <i>Historiae Personae</i></li>
<li>Centuries 2—19</li>
<li>Vampires’ Powers</li>
<li>Draft 4: Books I—IV</li>
<li>Draft 5: Books I—III</li>
<li>Draft 6: Revised Cast of Characters</li>
<li>Draft 7: Book I: Chapters 1—27</li>
<li>Chapters 17—27</li>
<li>October 1—3</li>
<li>Draft 8: Books III—Chapters 27</li>
<li>Train Schedules</li>
<li>Draft 9: Calendar of Events</li>
<li>Memo Drac.</li>
<li><i>Dracula</i>: Chapter 26</li>
<li>Chapter 27</li>
</ul>
</ul>
<ul>
<li>II. Handwritten Research Notes</li>
<ul>
<li>Transylvanian Superstitions</li>
<li>The <i>Dimetry</i></li>
<li>Details of Wrecks at Whitby</li>
<li><i>A Glossary of Words Used in the Neighbourhood of Whitby </i>by F. K. Robinson</li>
<li>Memo: Three Old Fishermen</li>
<li>Whitby 11/8/90</li>
<li>Grey Day</li>
<li>Whitby Cliff 9 p.m.</li>
<li>Memo: 15/10/90</li>
<li><i>The Book of Were-Wolves </i>by S. Baring-Gould</li>
<li>Miscellaneous References</li>
<li>Necromancy by Sir T. Browne</li>
<li>Vampires in New England</li>
<li>Memo by Sir William Thornley Stoker (13-10-90)</li>
</ul>
</ul>
<ul>
<li>III. Typed Research Notes</li>
<ul>
<li>Magyarland</li>
<li>The Golden Chersonese</li>
<li>Round About the Carpathians</li>
<li>On the Track of the Crescent</li>
<li>Theory of Dreams</li>
<li>Transylvania</li>
<li>Wallachia and Moldavia</li>
<li>Tombstones: Whitby Churchyard on Cliff</li>
<li>Draft 10: “Dracula’s Guest”</li>
<li>Draft 11: <i>The Un-Dead </i>(Typescript)</li>
<li>Draft 12: <i>Dracula: or The Un-Dead </i>(Play)</li>
<li>Conclusion: The Myth of Dracula</li>
</ul>
</ul>
<ul>
<li>IV. Appendices</li>
<ul>
<li>1. A Bram Stoker Timeline</li>
<li>2. The Lost Journal of Bram Stoker</li>
<li>3. Rosenbach Page Numbers</li>
<li>4. The London Library</li>
<li>5. <i>The Argosy’s Dracula</i></li>
<li>6. <i>Dracula</i>: The Novel We Could Have Read</li>
<li>7. Early Swedish and Icelandic Adaptations of Dracula</li>
<li>8: Is There No End?</li>
</ul>
</ul>
<ul>
<li>Index: Bram Stoker</li>
</ul>
<ul>
<li>Works Cited</li>
</ul>
<br />
Amazing stuff! Looking forward to delving into this book. Be sure to treat yourself, or any vampires you know, to this amazing new work by Robert Eighteen-Bisang and Elizabeth Miller!<br />
<br />
<br />Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-35672566506998432102019-10-04T14:44:00.000-04:002019-10-04T14:44:04.707-04:00Global Horror: Local Perspectives Conference, Apr 2020<br />
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Horror pervades human experience. It affects us both as individuals and
as members of social communities, it is recurrent in pop culture and
arguably present in all fields of human knowledge and realms of
storytelling, from Cronus eating his own children, to Freddy Krueger’s
sadistic murders in <i>A Nightmare on Elm Street</i> to media coverage
of war. As a fundamentally paradoxical concept, horror simultaneously
repels and fascinates us: we naturally dread it, yet we are drawn to it. We are taught to avoid that which is horrifying, but the appeal of horror, whether in the form of fiction or sensational news, is irresistible.<br />
<br />
<a name='more'></a>Horror taps into primal emotions of fear and disgust that are universal to the human condition, and finds expression across cultures and historical periods. Yet the texts that shape the ways in which horror is broadly understood historically reflect predominantly Anglo-European and American cultural, social, historical and geographical contexts.<br /><br />Growing awareness and appreciation of the rich horror traditions of other countries around the world, including Japan, Korean, India, Brazil and Ecuador, has highlighted the importance of considering horror in a global context. Accordingly, the Global Horror: Local Perspectives Project provides a platform for exploring the ways in which horror motifs and themes are expressed through the ‘local perspectives’ that inform the creative practices and daily life of particular nations and cultures.<br /><br />It is not the intent of the Project to exclude Anglo-European and American perspectives from the conversation of global horror but rather to centre other horror traditions which have frequently been de-centred or completely overlooked in the past. The conference therefore offers a springboard for participants from diverse professions, practices and walks of life to engage in interdisciplinary dialogues on topics that include:<br /><br /><br />
<ul>
<li>Case studies of un(der)-represented horror traditions in nations and cultures</li>
<li>How the history, religion, cultural norms of a nation/culture influence local perceptions and representations of horror in literature, film, television, music, art and videogames</li>
<li>Impact of digital technology on creating and disseminating local perspectives on horror</li>
<li>How globalisation as a cultural and economic force influences ‘local perspectives’ on horror</li>
<li>Creative practitioners whose work shapes local perspectives on horror</li>
<li>Dark humour and making fun of global horror</li>
<li>Connections between horror in everyday life and fictional horror</li>
<li>Impact of real or fictional global horrors on individuals (mental illness, trauma, nightmares, other physiological symptoms)</li>
<li>Horror in religious/spiritual systems (martyrdom, grotesque/monstrous deities, rituals, etc.)</li>
<li>Social practices associated to horror: cannibalism, (self-)mutilation, abusive rites of passage, suicide, heresies</li>
<li>Horror in nation-building (slavery, war, genocide, etc.)</li>
<li>Medical/clinical perspectives: interfaces of horror and medicine; dealing with patients struggling to cope with horrifying experiences</li>
<li>Educational perspectives: how the curriculum shapes perceptions of horror, its uses and its impacts; horror in children’s stories/horror as pedagogical tool, etc.</li>
<li>Commodifying horror: dark tourism, etc.</li>
<li>Technology as agent of horror (weapons, dissemination of fear, etc.)</li>
<li>How national and international law facilitate and mitigate horror</li>
<li>Activism as response to horror</li>
<li>Horror and the media: news coverage, sensationalism</li>
<li>Horror and space: streets, cities, towns, buildings, deserted areas</li>
<li>The design of horror: images, branding, advertisement, commercial campaigns involving horror</li>
<li>Urban legends and local horrors</li>
<li>Best practice for researching and studying global horror</li>
<li>Inter-disciplinarity as a tool to overcome the indescribability of horror</li>
</ul>
<br />The aim of this inclusive interdisciplinary conference and collaborative networking event is to bring people together and encourage creative conversations in the context of a variety of formats: papers, seminars, workshops, storytelling, performances, poster presentations, panels, q&a’s, round-tables etc. Creative responses to the subject, such as poetry/prose, short film screenings/original drama, installations and alternative presentation styles that engage the audience and foster debate are particularly encouraged.<br />
<br />
Please feel free to put forward proposals that you think will get the message across, in whatever form. At the end of the conference we will be exploring ways in which we can develop the discussions and dialogues in new and sustainable inclusive interdisciplinary directions, including research, workshops and publications which will help us make sense of the topics discussed during the meeting.<br /><br />300 word proposals, presentations, abstracts and other forms of contribution and participation should be submitted by Friday 8th November 2019. E-mails should be entitled: <i>Global Horror Submission</i>. Abstracts should be submitted simultaneously to the Organising Chair and the Project Administrator:<br /><br />Claudio Zanini: <a href="mailto:haunted32@yahoo.com.br">haunted32@yahoo.com.br</a><br />Len Capuli (Project Administrator): <a href="mailto:lisbonhorror@progressiveconnexions.net">lisbonhorror@progressiveconnexions.net</a><br /><br />For further details, visit:<br /><a href="http://www.progressiveconnexions.net/interdisciplinary-projects/evil/global-horror/conferences/" target="_blank">http://www.progressiveconnexions.net/interdisciplinary-projects/evil/global-horror/conferences/</a><br /><br /><span style="font-size: large;"> </span><br />
<span style="font-size: large;">Global Horror: Local Perspectives<br />An Inclusive Interdisciplinary Conference</span><br /><br />Saturday 4th April 2020 – Sunday 5th April 2020<br />Lisbon, PortugalBrad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-73191101587452650262019-09-18T10:47:00.000-04:002019-09-18T10:47:58.962-04:00CFP - Vampires: Consuming Monsters and Monstrous Consumption<div class="separator" style="clear: both; text-align: center;">
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REVENANT: CRITICAL AND CREATIVE STUDIES OF THE SUPERNATURAL is a peer-reviewed, online journal looking at the supernatural, the uncanny, and the weird. <i>Revenant </i>is now accepting articles, creative writing pieces and book, film, game, event, or art reviews for a themed issue on ‘Vampires: Consuming Monsters and Monstrous Consumption’ (due 18 January 2020), guest edited by Dr Brooke Cameron and Suyin Olguin.<br />
<a name='more'></a><br />Everyone knows that vampires suck. They suck blood, and they suck the life out of you. Still, we cannot help but feel drawn to these mysterious creatures—through feelings of repulsion and/or desire—because they manifest such deviant appetites. This special issue of Revenant celebrates our continued fascination with the blood-sucking nosferatu. We wish to explore the idea of the vampire as a monster defined by theories of consumption, from bodily appetites and ravenous hunger to dissident desires and cannibalism. Looking at the Victorian period and beyond, we are also interested in modern adaptations or rereadings of vampire narratives.<br /><br />Since its first appearance in modern culture, the vampire has been defined by acts of deviant consumption. Even if not engaged in drinking human blood, this monstrous creature has always been written as a parasite sucking the life out of his human counterparts. Nick Groom, in his touchstone study, The Vampire (2017), talks about early folk narratives of reanimated corpses revisiting and predating upon family and friends (e.g., the Arnold Paole case [c. 1726]). Later, literature of the nineteenth-century wrote this parasitic creature into popular imagination as a body of unruly desire. Bram Stoker’s iconic <i>Dracula </i>(1897) gives us the perverse vampire whose consumption of blood resembles both a sexual act and a corruption of the religious sacrament of communion. However, other early narratives avoid graphic accounts of bloodlust and instead focus on the terror of parasitic relationships (Polidori’s "The Vampire" [1819] & Byron’s "Giaour" [1813] are early examples of this approach). Similarly, Le Fanu’s "Carmilla" (1872) explores the idea of dissident consumption and lesbian desire, while Marryat’s <i>The Blood of the Vampire </i>(1897) traces a relationship between colonial exploitation and the parasitic monster.<br /><br />More recent narratives have had fun with the theme of consumption in representations of the undead nosferatu. There is the vegetarian vampire in Meyer’s <i>Twilight </i>saga (2005–8), and those that are tied to questions of capitalist consumption in <i>Dracula 2000 </i>(2000). In a reversal of the power dichotomy, we also have humans marketing and drinking vampire blood in Harris’s <i>Southern Vampire Mysteries</i> (2001– 13). This is not to mention the abundance of fan fiction on, and film adaptions of, vampire stories signaling our own ravenous cultural appetites for representations of this libidinal Other. Furthermore, the consumer-friendly vampires in twentieth- and twenty-first century works present us with a very new or ‘post-Victorian’ vampire who can be, as Nina Auerbach suggests, ‘everything we are’ because of his relationship to food (<i>Our Vampires, Ourselves </i>[1995] 130). Matt Haig’s <i>The Radleys </i>(2010), as well as Kevin Williamson’s and Julie Plec’s television adaptions of L. J. Smith’s literary series, <i>The Vampire Diaries </i>(2009–17), are even more avant-garde (or ‘post-Victorian’) in their representation of contemporary vampires who enjoy partaking in ‘human’ acts of eating and drinking. In every case, the vampire is defined as ‘Other’ because of appetites that challenge or draw attention to human rules of consumption.<br /><br />We invite abstracts that discuss the vampire as a body of consumption in literature, film, television, art, or any other cultural narrative. Suggested topics include, but are not limited to:<br /><br />
<ul>
<li>Vampires and food</li>
<li>Vampire diets (vegetarian or carnivore)</li>
<li>Bodies of sexual desire in vampire fiction</li>
<li>Gendered appetites in vampire fiction</li>
<li>Appetite and the vampire child</li>
<li>Deviant desires and the vampire body</li>
<li>Consumptive bodies and vampirism</li>
<li>Vampiric appetites in transnational and postcolonial vampires</li>
<li>Consuming the Other</li>
<li>Curbing vampiric appetites</li>
<li>Consuming vampires in popular literature</li>
<li>Neo-Victorian vampires</li>
</ul>
For articles and creative pieces (such as poetry, short stories, flash fiction, videos, artwork, and music): please send a 300–500 word abstract and a short biography by 18 January 2020. If your abstract is accepted, the full article (maximum 7000 words, including Harvard referencing) and the full creative piece (maximum 5000 words) will be due 1 June 2020.<br /><br />Additionally, we are seeking reviews of books, films, games, events, and art that engage with vampires (800–1,000 words in length). Please send a short biography and full details of the book you would like to review as soon as possible.<br /><br />Further information, including Submission Guidelines, is available at the journal site: <a href="http://www.revenantjournal.com/" target="_blank">www.revenantjournal.com</a>.<br />Please e-mail submissions to <a href="mailto:brooke.cameron@queensu.ca">brooke.cameron@queensu.ca</a>. If emailing the journal directly at <a href="mailto:revenant@falmouth.ac.uk">revenant@falmouth.ac.uk</a> please quote ‘vampire issue’ in the subject box.<br />
<br />Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-1276218728738175892019-09-03T11:22:00.000-04:002019-09-03T11:22:51.295-04:00CFP: "Women’s Writing" Special Issue on Ghost Stories<div class="separator" style="clear: both; text-align: center;">
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Ghosts and the supernatural continue to attract the attention of feminist scholars, though the relationship between gender, genre and haunting has not been fully explored.<br />
<br />
In the evolution of the ghost story, women writers of the long nineteenth century have sometimes been overshadowed, their contributions to the genre undervalued or their stories seen as inferior to their novels and poetry.<br />
<br />
<a name='more'></a>In this special issue of <i>Women’s Writing </i>on women’s ghost stories, edited by Zoe Brennan, Emma Liggins and Gina Wisker, we seek to address some of the following questions:<br />
<br />
<ul>
<li>What are the links between women’s ghost stories and understandings of Female Gothic or the uncanny? </li>
<li>How did the explained/unexplained supernatural differ in stories published in the early nineteenth century, the mid-Victorian period, at the fin de siècle or in the early twentieth century? </li>
<li>Why did women publish collections of uncanny stories and how were they received? </li>
<li>How was haunting linked to space and place? </li>
<li>How have new theoretical approaches transformed our interpretations of women’s ghost stories?</li>
</ul>
We invite submissions of papers on any aspect of women’s ghost stories published between around 1800 and 1925 but particularly those by lesser-known writers. Topics might include but are not limited to:<br />
<br />
<ul>
<li>The ghost story and the uncanny</li>
<li>Haunting, memory and trauma</li>
<li>The ghost story and empire</li>
<li>Women’s colonial and international ghost stories</li>
<li>The ghost story and class</li>
<li>The ghost story and age</li>
<li>Weird children</li>
<li>Space and place in the ghost story</li>
<li>The ghost story as Female Gothic</li>
<li>The explained/unexplained supernatural</li>
<li>The ghost story and sensation</li>
<li>The ghost story in the periodical press</li>
<li>The ghost story and war</li>
<li>The ghost story, spiritualism and scepticism</li>
<li>Tourism and the haunted house</li>
</ul>
Please submit for consideration abstracts of at least 250 words to Zoe Brennan (<a href="mailto:Zoe.Brennan@uwe.ac.uk">Zoe.Brennan@uwe.ac.uk</a>), Emma Liggins (<a href="mailto:e.liggins@mmu.ac.uk">e.liggins@mmu.ac.uk</a>) and Gina Wisker (<a href="mailto:G.Wisker@brighton.ac.uk">G.Wisker@brighton.ac.uk</a>) by 1 December 2019. Finished articles of between 4,000-7000 words must be received by 1 August 2020.<br />
<br />
Contributors should follow the journal's house style details of which are to be found on the Women's Writing web site <a href="http://www.tandfonline.com/rwow" target="_blank">http://www.tandfonline.com/rwow</a>. This is the new MLA. Do note that instead of footnotes, we use endnotes with NO bibliography. All bibliographical information is included in the endnotes. For example, we require place of publication, publisher and date of publication in brackets after a book is cited for the first time.<br />
<br />
Call for Papers: Special Issue of <i>Women’s Writing </i>on Women’s Ghost Stories.<br />
Edited by Zoe Brennan, Emma Liggins and Gina WiskerBrad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-26086601981179217312019-08-27T23:27:00.000-04:002019-08-27T23:27:04.917-04:00CFP: 9th SLAYAGE Conference in Montreal, July 2020<div class="separator" style="clear: both; text-align: center;">
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<i>Slayage: The Journal of Whedon Studies</i>, the Whedon Studies Association, and conveners Lorna Jowett, Cynthia Burkhead, and Kristopher Woofter solicit proposals for the ninth biennial <i>Slayage</i> Conference on the Whedonverses (SCW9). This conference dedicated to the imaginative universe(s) of Joss Whedon and his primary collaborators (e.g., Marti Noxon, Tim Minear, David Greenwalt, Jane Espenson, Maurissa Tancharoen, Jed Whedon, etc.) will be held on the downtown campus of Dawson College, Montréal, Québec, Canada, from 9-12 July 2020. Kristopher Woofter of Dawson College will serve as local arrangements chair. <br />
<a name='more'></a><br />
We welcome proposals of 200-300 words (or an abstract of a completed paper) on any aspect of the following topics.<br /><br />Whedon's Work: <br />
<ul>
<li>Whedon’s television and web texts (<i>Buffy the Vampire Slayer</i>, <i>Angel</i>, <i>Firefly</i>, <i>Dr. Horrible’s Sing-Along Blog</i>, <i>Dollhouse</i>, <i>Marvel’s Agents of S.H.I.E.L.D., </i>and [who knows?] <i>The Nevers</i>, and the "reboot" of <i>Buffy the Vampire Slayer</i>, produced by Monica Owusu-Breen);</li>
<li>His films (<i>Serenity</i>, <i>The Cabin in the Woods</i>, <i>Marvel’s The Avengers</i>, <i>Much Ado About Nothing</i>, <i>Avengers: Age of Ultron</i>);</li>
<li>Comics (e.g. <i>Fray</i>, <i>Astonishing X-Men</i>, <i>Runaways</i>, <i>Sugarshock!, Buffy the Vampire Slayer</i>, <i>Angel: After the Fall</i>, <i>Angel & Faith</i>, and the <i>Buffy </i>and <i>Angel </i>comics from Boom! Studios); or any element of the work of Whedon and his collaborators.</li>
</ul>
<u>The Post-Whedon TV Landscape</u>: With the idea that ‘Whedon studies’ might include a range of creative work by Whedon collaborators and others influenced by his work, exclusive of Whedon’s involvement, proposals may address<br />
<ul>
<li>Series like <i>Veronica Mars </i>(Rob Thomas), <i>Grimm </i>(David Greenwalt), <i>iZombie </i>(Rob Thomas, Diane Ruggiero), <i>Chilling Adventures of Sabrina </i>(Roberto Aguirre-Sacasa), <i>Lucifer </i>(Tom Kapinos), <i>Stranger Things </i>(Ross and Matt Duffer), and others;</li>
<li>Paratexts, fandoms, or Whedon’s extracurricular—political and activist—activities, such as his involvement with Equality Now.</li>
</ul>
Presentations may come from any disciplinary perspective: literature, history, communications, film and television studies, women’s and gender studies, queer and trans studies, religion, linguistics, music, cultural studies, genre studies, and others. In other words, multidisciplinary discussions of the text, the social context, the audience, the producers, the production, and more are all appropriate. A proposal/abstract should demonstrate familiarity with already-published scholarship in the field, which includes dozens of books, hundreds of articles, and nearly twenty years of the blind peer-reviewed journal, <i>Slayage</i>.<br /><br />An individual paper is strictly limited to a reading time of 18-20 minutes, and we encourage, though do not require, self-organized panels of three presenters. Proposals for workshops, roundtables, or other types of sessions are also welcome. Submissions by both graduate and undergraduate students are invited; undergraduates should provide the name, email, and phone number of a faculty member willing to consult with them (the faculty member does not need to attend). Proposals should be submitted online through this SCW9 webpage (see below) and will be reviewed by program chairs Rhonda V. Wilcox and Cynthia Burkhead, and local arrangements chair, Kristopher Woofter. <br /><br />Proposal Format: Proposals of 250-300 words for individual papers should include a title, projected thesis, identification of the corpus, and sense of the theoretical approach. Proposals for workshops, roundtables, or other types of sessions should include a title, a description of the session's organizing theme, and a list of the names, affiliations, and contact info of potential presenters; proposals for the papers that comprise the session would be sent individually by potential presenters, indicating their presentation as part of a proposed session.<br /><br />Submit proposals to<br />
<a href="https://www.scw9.ca/cfp--submit.html" target="_blank">https://www.scw9.ca/cfp--submit.html</a>.<br /><br />Submissions must be received by Monday, 13 January 2020. Decisions will be made by Monday, 2 March 2020.<br /><br />Questions regarding proposals can be directed to Slayage editor Rhonda V. Wilcox at the conference email address: <a href="mailto:slayage.conference@gmail.com">slayage.conference@gmail.com</a>.<br />
<br />
CFP: 9th SLAYAGE Conference on the Whedonverses -- Montreal, Quebec<br />
Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-45057771746350019582019-04-04T10:04:00.000-04:002019-04-04T10:04:29.576-04:00CFP - Evil Women: Women and Evil - December 2019<div class="separator" style="clear: both; text-align: center;">
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The second meeting of the global inclusive interdisciplinary <i>Evil Women: Women and Evil </i>project will explore and examine all aspects of the conjunctions between women, the feminine and evil with a view to forming a selective publication to engender further collaboration, research and discussion. What does all of this mean for women, the world they live in and the
ways in which ‘evil' can be understood and applied? We invite
participants to explore evil women, women and evil from the full range
of disciplinary, professional, practitioner, vocational, voluntary
sector, NGO and other contexts and perspectives. The aim is to generate
an inclusive dialogue which begin to illuminate the cases of individuals
whose lives have been impacted by feminine ‘evil'.<br />
<br />
<a name='more'></a>On the one hand we will scrutinise what happens when women themselves behave in ways that are considered evil - when they rob, murder, manipulate, groom, abuse, beguile, embezzle. Women are not expected to behave in aberrant or illegal ways and we will consider the structural and systemic reasons for the heightened interest, repulsion, condemnation - and even hatred - that feminine transgression generates. Women are condemned not only for what they do but also for what they fail to do; those who harbour, lie for and couple with nefarious men are seen to have failed in their duty as gatekeepers of male morality. Where women themselves are accused of evil they are typically judged more harshly than their male counterparts.<br />
<br />
On the other hand we will also consider what happens when women speak out, act up and reject the beliefs, institutions and cultural practices that have traditionally defined and confined them, and explore the deeper meanings behind social, cultural and political responses to women who seize or challenge power. Women are perpetually circumscribed - defined, limited and controlled. Women who transgress the limitations placed upon them have faced discrimination or abuse, with sanctions ranging from minor disagreements to social isolation, physical violence and death. A recent campaign to feature Jane Austin on a UK bank note lead to its organiser receiving rape and death threats in such quantities that, in just one weekend, police collected enough individual threats to fill 300 A4 pages.<br />
<br />
Topics for discussion include, but are not restricted to:<br />
<br />
<ul>
<li>Evil, Femininity, Women</li>
<li>When women do wrong; when women go wrong</li>
<li>Women, crime and punishment</li>
<li>Women, justice and the law</li>
<li>Women and madness</li>
<li>Women, art, music and creativity</li>
<li>Mothers, motherhood, matricide, infanticide</li>
<li>Wicked stepmothers, evil queens</li>
<li>Female myths and icons: Delilah, Lilith, Medea, Medusa, the Muse(s), Clytemnestra, Sirens, the Harpies, the Femme Fatale, the Bitch, the Temptress, the Seductress</li>
<li>Female iconoclasms; mythical iconoclasts; LBGTQI iconoclasms</li>
<li>Intersectional feminism, radical and otherwise</li>
<li>Civil Rights and social justice</li>
<li>Campaigners: Black Lives Matter, #timesup, #metoo, Mothers Against Murder, climate defenders, etc.</li>
<li>Women in literature, film, television, music</li>
<li>Social media: trolling, rape threats, death threats, pro-ana</li>
<li>Rape culture</li>
<li>True crime - the celebrification of misogynistic murderers, hybristophilia</li>
<li>Transnational/international attitudes to women and power</li>
<li>Victims and abusers</li>
<li>LBGTQI iconoclasms</li>
<li>Women in business: the glass ceiling / leaky pipeline</li>
<li>Cultural and structural sexism in the police, healthcare, academia, politics, etc.</li>
<li>Bodies - FGM, cosmetic surgery, fat/skinny shaming, eating disorders</li>
<li>Sex and sexuality</li>
<li>Fashion</li>
<li>Women's suffrage</li>
<li>Grooming - sex rings, terrorism, male/female agency</li>
<li>Case studies</li>
</ul>
We particularly welcome creative responses to the subject, such as poetry/prose, short film screenings/original drama, installations, and alternative presentation styles that engage the audience and foster debate.<br />
<br />
<b>What to Send</b><br />
The aim of this inclusive interdisciplinary conference and collaborative networking event is to bring people together and encourage creative conversations in the context of a variety of formats: papers, seminars, workshops, storytelling, performances, poster presentations, panels, q&a's, round-tables etc. Please feel free to put forward proposals that you think will get the message across, in whatever form.<br />
<br />
300 word proposals for participation should be submitted by Friday 31st May 2019. Other forms of participation should be discussed in advance with the Organising Chair.<br />
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All submissions will be minimally double reviewed, under anonymous (blind) conditions, by a global panel drawn from members of the Project Development Team and the Advisory Board. In practice our procedures usually entail that by the time a proposal is accepted, it will have been triple and quadruple reviewed.<br />
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You will be notified of the panel's decision by Friday 14th June 2019.<br />
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If your submission is accepted for the conference, a full draft of your contribution should be submitted by Friday 13th September 2019.<br />
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Abstracts and proposals may be in Word, PDF, RTF or Notepad formats with the following information and in this order: a) author(s), b) affiliation as you would like it to appear in the programme, c) email address, d) title of proposal, e) body of proposal, f) up to 10 keywords.<br />
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E-mails should be entitled: <b>Evil Women Submission</b>.<br />
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<b>Where to Send</b><br />
Abstracts should be submitted simultaneously to the Organising Chair and the Project Administrator:<br />
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Dr Abby Bentham: <a href="mailto:abby@progressiveconnexions.net">abby@progressiveconnexions.net</a><br />
Project Administrator: <a href="mailto:pragueevilwomen@progressiveconnexions.net">pragueevilwomen@progressiveconnexions.net</a><br />
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<b>Evil Women: Women and Evil - 2nd Global Inclusive Interdisciplinary Conference<br />Sunday 1st December 2019 - Monday 2nd December 2019<br />Prague, Czech Republic</b><br />
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Location: Hotel Angelo<br />
Radlická 3216/1G, Andel, 150 00 <br />
Praha-Smíchov, Czechia<br />
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More info:<br />
<a href="http://www.progressiveconnexions.net/interdisciplinary-projects/evil/evil-women/" target="_blank">http://www.progressiveconnexions.net/interdisciplinary-projects/evil/evil-women/</a><br />
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Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0Radlická 3216/1G, Anděl, 150 00 Praha-Smíchov, Czechia50.070488100000013 14.40160070000001724.548453600000013 -26.906993299999982 75.592522600000009 55.710194700000017tag:blogger.com,1999:blog-2781153420480084553.post-10632204488001932952019-03-26T12:29:00.000-04:002019-03-26T12:29:25.491-04:00Blood on Black Wax: Horror Movie Soundtracks<div class="separator" style="clear: both; text-align: center;">
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Rue Morgue and 1984 Publishing are proud to announce the release of BLOOD ON BLACK WAX, a book-length look at the unique history and artwork of horror movie soundtracks.<br />
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Are you obsessed with John Carpenter's iconic music for the <i>Halloween</i> series? Do you thrill to the unforgettable stabs of the <i>Psycho </i>score, or the pounding synth of Goblin's soundtrack to <i>Suspiria</i>? Do you find yourself being pulled into the hair-raising modern scores for the likes of <i>Get Out</i>, <i>Hereditary</i>, and <i>The Witch</i>? You're not alone. <br />
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<a name='more'></a>BLOOD ON BLACK WAX is a full-colour, 204 page hardbound tome penned by RM Music Editor
Aaron Lupton and contributor Jeff Szpirglas. This defining horror soundtrack volume spotlights iconic franchises such as <i>A Nightmare on Elm Street</i>, <i>Friday the 13th</i>, <i>Jaws</i>, <i>The Exorcist</i>, and George A. Romero's <i>Dead </i>films,
highlighting both the music and the amazing, often rare artwork that
graces the record sleeves. It also tells the stories behind the music, from the mouths of the musicians who made them, including
John Carpenter, Fabio Frizzi, Christopher Young, Harry Manfredini,
Charles Bernstein, Pino Donaggio, John Harrison, and more. <br />
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On April 13 (Record Store Day), the book will debut as a limited signed edition featuring a 7-inch single of several rare and unreleased tracks from 1981’s <i>Prom Night</i>, composed and performed by Paul Zaza (<i>My Bloody Valentine</i>) and Carl Zittrer (<i>Black Christmas</i>). This release also features artwork by Ghoulish Gary Pullin and will be limited to 1000 copies.<br />
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On May 13 there will be a wider release, featuring a 12-inch vinyl pressing of the classic <i>Prom Night</i> soundtrack cut at 45rpm. Collectors can choose from variants of "Bloody Disco Ball" (red splatter on metallic silver) and "Disco Acid Flashback" (tri-coloured royal blue/hot pink/blood red swirl). All versions will contain a gatefold sleeve and a "tuxedo black" branded Prom Night condom!<br />
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BLOOD ON BLACK WAX also features a foreword by director Mick Garris (<i>The Stand</i>)
and Afterword by composer Christopher Young (<i>Hellraiser</i>). <br />
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Further details:<br />
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<a href="http://www.1984publishing.com/" target="_blank">http://www.1984publishing.com/</a><br />
<a href="http://rue-morgue.com/" target="_blank">http://rue-morgue.com</a><br />
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<a href="http://www.amazon.ca/dp/1948221101" target="_blank">http://www.amazon.ca/dp/1948221101</a></div>
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<a href="http://www.amazon.com/dp/1948221101" target="_blank">http://www.amazon.com/dp/1948221101 </a><br />
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<br />Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-83325629996267420402019-03-20T13:24:00.000-04:002019-03-20T13:24:36.478-04:00British Library Tales of the Weird<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD9QiIIrT63tGhqKS_3YA6D1HiZOupYgF2Oy0LpCOfxFmgrOVHnI9gNHXoFtMU45xu6L1M7a0k4X9cYP29plfy4_SKytblzUPmjtNvTsRKxURb8QjqRo2mZp7iK9TkasraKPZKqeRoBgo/s1600/9780712352369_From_Depths.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="600" data-original-width="409" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD9QiIIrT63tGhqKS_3YA6D1HiZOupYgF2Oy0LpCOfxFmgrOVHnI9gNHXoFtMU45xu6L1M7a0k4X9cYP29plfy4_SKytblzUPmjtNvTsRKxURb8QjqRo2mZp7iK9TkasraKPZKqeRoBgo/s200/9780712352369_From_Depths.jpg" width="135" /></a></div>
In late 2018, the British Library kicked off their "Tales of the Weird" book series with <i>From the Depths and Other Strange Tales of the Sea</i>, edited by Mike Ashley. Spanning thirteen books in total, the first eight are now available, with five more set for release later this year. I've just received the first set of books, courtesy of the British Library, and cannot wait to start reading. But where to begin?<br />
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Check out the fantastic covers by illustrator <a href="https://mauribook.com/" target="_blank">Mauricio Villamayor</a>! So much
weird goodness here. Each published title is linked to its corresponding
information page at the British Library. These books may also be
purchased via other online sellers like Amazon.<br />
<a name='more'></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD9QiIIrT63tGhqKS_3YA6D1HiZOupYgF2Oy0LpCOfxFmgrOVHnI9gNHXoFtMU45xu6L1M7a0k4X9cYP29plfy4_SKytblzUPmjtNvTsRKxURb8QjqRo2mZp7iK9TkasraKPZKqeRoBgo/s1600/9780712352369_From_Depths.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="409" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD9QiIIrT63tGhqKS_3YA6D1HiZOupYgF2Oy0LpCOfxFmgrOVHnI9gNHXoFtMU45xu6L1M7a0k4X9cYP29plfy4_SKytblzUPmjtNvTsRKxURb8QjqRo2mZp7iK9TkasraKPZKqeRoBgo/s320/9780712352369_From_Depths.jpg" width="217" /></a></div>
<a href="https://www.bl.uk/shop/from-the-depths-and-other-strange-tales-of-the-sea/p-2332" target="_blank"><b>From the Depths and Other Strange Tales of the Sea</b></a><br />
Edited by Mike Ashley<br />
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This title opens the series <i>Tales of the Weird</i>. From atop the choppy waves to the choking darkness of the abyss, the seas are full of mystery and rife with tales of inexplicable events and encounters with the unknown. In this anthology we see a thrilling spread of narratives; sailors are pitched against a nightmare from the depths, invisible to the naked eye; a German U-boat commander is tormented by an impossible transmission via Morse Code; a ship ensnares itself in the kelp of the Sargasso Sea and dooms a crew of mutineers, seemingly out of revenge for her lost captain...The supernatural is set alongside the grim affairs of sailors scorned in these salt-soaked tales, recovered from obscurity for the 21st century.<br />
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<span style="font-size: x-small;">(Paperback £8.99 / ISBN 978 0 7123 5236 9 / 320 pages, 190 x 130 mm)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHHaNX4kTHugtovcGAaAnRKgjkNwMD-79muWg_EGo8dPJ-iPiKrGJMAjizR-a9nPiCvX3K7v4wLjhgubLDRs-IeLm57p5yVBbC0hIToOIKt2sfsTXrcMIHyeeE0v-0rn4Pz7EOgL43zi4/s1600/9780712352512_Haunted_Houses.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="409" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHHaNX4kTHugtovcGAaAnRKgjkNwMD-79muWg_EGo8dPJ-iPiKrGJMAjizR-a9nPiCvX3K7v4wLjhgubLDRs-IeLm57p5yVBbC0hIToOIKt2sfsTXrcMIHyeeE0v-0rn4Pz7EOgL43zi4/s320/9780712352512_Haunted_Houses.jpg" width="218" /></a></div>
<a href="https://www.bl.uk/shop/haunted-houses-two-novels-by-charlotte-riddell/p-2479" target="_blank"><b>Haunted Houses: Two Novels by Charlotte Riddell</b></a><br />
Edited by Andrew Smith<br />
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From the once-popular yet unfairly neglected Victorian writer Charlotte Riddell comes a pair of novels which cleverly upholster the familiar furniture of the 'haunted house' story. In "An Uninhabited House", the hauntings are seen through the perspective of the solicitors who hold the deed of the property. Here we find a shrewd comedic skewering of this host of scriveners and clerks, and a realist approach to the consequences of a 'haunted house' -- how does one let such a property? Slowly the safer world of commerce and law gives way as the encounter with the supernatural entity becomes more and more unavoidable… In "Fairy Water", Riddell again subverts the expectations of the reader, suggesting a complex moral character for her haunting spirit. Once again, her writing style is succinct and witty, rendering the story a spirited and approachable read despite its age.<br />
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<span style="font-size: x-small;">(Paperback £8.99 / ISBN 978 0 7123 5251 2 / 354 pages, 190 x 130 mm)</span></div>
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<a href="https://www.bl.uk/shop/glimpses-of-the-unknown-lost-ghost-stories/p-2619" target="_blank"><b>Glimpses of the Unknown: Lost Ghost Stories</b></a><br />
Edited by Mike Ashley<br />
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A figure emerges from a painting to pursue a bitter vengeance; a faithful butler continues to serve his master despite being shot dead days ago; the last words of a dying man haunt the airwaves, only to return via telegram to reveal his murderer.<br />
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From the vaults of the British Library comes a new anthology celebrating the best works of forgotten, never since republished, supernatural fiction from the early 20th century. Waiting within are malevolent spirits eager to possess the living and mysterious spectral guardians -- a diverse host of phantoms exhumed from the rare pages of literary magazines and newspaper serials to thrill once more.<br />
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<span style="font-size: x-small;">(Paperback £8.99 / ISBN 978 0 7123 5266 6 / 288 pages, 190 x 130 mm)</span></div>
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<a href="https://www.bl.uk/shop/mortal-echoes-encounters-with-the-end/p-2618" target="_blank"><b>Mortal Echoes: Encounters with the End</b></a><br />
Edited by Greg Buzwell<br />
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A strange figure foretells tragedy on the railway tracks. A plague threatens to encroach upon an isolated castle. A game of scrabble between a husband and wife escalates to murderous intentions.<br />
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Spanning 1839-2006, the stories in this anthology depict the haunting moment when characters come face-to-face with their own mortality. Featuring some of the finest writers in the English language -- from Edgar Allan Poe to Daphne du Maurier -- this collection explores humanity’s transient existence, and what it means to be alive.<br />
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<span style="font-size: x-small;">(Paperback £8.99 / ISBN 978 0 7123 5281 9 / 288 pages, 190 x 130 mm)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrTiRvTLqR8Wm_mdTDQDZVB1TIfs2qjMW0n9z8kDc8VU-LJ9RlV5oThIVPEgtzsZp9OUomPppU3kn_IADr0p5O5GbcpZA18BgTfeyvQKTlpBJ0ao9HIuJ7N8Pu7c9BpipsNgxG2mVSmwc/s1600/9780712352529+Christmas+Hauntings.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="545" data-original-width="384" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrTiRvTLqR8Wm_mdTDQDZVB1TIfs2qjMW0n9z8kDc8VU-LJ9RlV5oThIVPEgtzsZp9OUomPppU3kn_IADr0p5O5GbcpZA18BgTfeyvQKTlpBJ0ao9HIuJ7N8Pu7c9BpipsNgxG2mVSmwc/s320/9780712352529+Christmas+Hauntings.jpg" width="225" /></a></div>
<a href="https://www.bl.uk/shop/spirits-of-the-season-christmas-hauntings/p-2626" target="_blank"><b>Spirits of the Season: Christmas Hauntings</b></a><br />
Edited by Tanya Kirk<br />
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Festive cheer turns to maddening fear in this new collection of seasonal hauntings, presenting the best Christmas ghost stories from the 1850s to the 1960s.<br />
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The traditional trappings of the holiday are turned upside down as restless spirits disrupt the merry games of the living, Christmas trees teem with spiteful pagan presences and the Devil himself treads the boards at the village pantomime. As the cold night of winter closes in and the glow of the hearth begins to flicker and fade, the uninvited visitors gather in the dark in this distinctive assortment of haunting tales.<br />
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<div style="text-align: right;">
<span style="font-size: x-small;">(Paperback £8.99 / ISBN 978 0 7123 5252 9 / 288 pages, 190 x 130 mm)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwjCwpexu6rGW59miNDHvaKfIXBT34PQ17CjC_14cMTJ8mzhFfwQVhtUgEftKCOd6CprpAp-uyxgUNcCiL3tcHAcei3S2Nfm7xS7ROgm5G-AJFomxO_CgvlhNCtgsHfleM3a6Gi6bDExY/s1600/9780712352031+The+Platform+Edge.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="410" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwjCwpexu6rGW59miNDHvaKfIXBT34PQ17CjC_14cMTJ8mzhFfwQVhtUgEftKCOd6CprpAp-uyxgUNcCiL3tcHAcei3S2Nfm7xS7ROgm5G-AJFomxO_CgvlhNCtgsHfleM3a6Gi6bDExY/s320/9780712352031+The+Platform+Edge.jpg" width="218" /></a></div>
<a href="https://www.bl.uk/shop/the-platform-edge-uncanny-tales-of-the-railways/p-3047" target="_blank"><b>The Platform Edge: Uncanny Tales of the Railways</b></a><br />
Edited by Mike Ashley<br />
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Howling down the tunnels comes a new collection showcasing the greatest stories of strange happenings on the tracks, many of which are republished here for the first time since their original departure.<br />
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Waiting beyond the barrier are ghostly travelling companions bent on possessing the living just for the earthly pleasure of a cigarette, a subway car disappearing into a different dimension without a trace, and a man’s greatest fears realized on the ghost train of a carnival. An express ticket to perplexing and unforgettable journeys into the supernatural, from the railways of Europe to the pressing dark of the tube.<br />
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<div style="text-align: right;">
<span style="font-size: x-small;">(Paperback £8.99 / ISBN 978 0 7123 5203 1 / 288 pages, 190 x 130 mm)</span></div>
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<a href="https://www.bl.uk/shop/the-face-in-the-glass/p-3062" target="_blank"><b>The Face in the Glass: The Gothic Tales of Mary Elizabeth Braddon</b></a><br />
Edited by Greg Buzwell<br />
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A young girl whose love for her fiancé continues even after her death; a sinister old lady with claw-like hands who cares little for the qualities of her companions provided they are young and full of life; and a haunted mirror that foretells of approaching death for those who gaze into its depths. These are just some of the haunting tales gathered in this classic collection of macabre short stories. Reissued in the Tales of the Weird series and introduced by British Library curator Greg Buzwell, The Face in the Glass is the first selection of Mary Elizabeth Braddon’s supernatural short stories to be widely available in more than 100 years. By turns curious, sinister, haunting and terrifying, each tale explores the dark shadows that exist beyond the rational world.<br />
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<div style="text-align: right;">
<span style="font-size: x-small;">(Paperback £8.99 / ISBN 978 0 7123 5208 6 / 272 pages, 190 x 130 mm)</span></div>
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<a href="https://www.bl.uk/shop/the-weird-tales-of-william-hope-hodgson/p-3077" target="_blank"><b>The Weird Tales of William Hope Hodgson</b></a><br />
Edited by Xavier Aldana Reyes<br />
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The splash from something enormous resounds through the seafog. In the stillness of a dark room, some unspeakable evil is making its approach...Abandon the safety of the familiar with ten nerve-wracking episodes of horror penned by master of atmosphere and suspense, William Hope Hodgson.<br />
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From encounters with abominations at sea to fireside tales of otherworldly forces recounted by occult detective Carnacki, this new selection offers the most unsettling of Hodgson’s weird stories, guaranteed to terrorise the steeliest of constitutions.<br />
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<span style="font-size: x-small;">(Paperback £8.99 / ISBN 978 0 7123 5233 8 / 256 pages, 190 x 130 mm)</span></div>
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<span style="font-size: large;">Coming soon:</span><br />
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<b>Evil Roots: Killer Tales of the Botanical Gothic</b><br />
Edited by Daisy Butcher<br />
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Strangling vines and meat-hungry flora fill this unruly garden of strange stories, selected for their significance as the seeds of the ‘killer plant’ trope in fiction, film and video games. Before the Demogorgon of Stranger Things and the appearance of Mario’s iconic foe the Piranha Plant, writers of the nineteenth and early twentieth centuries were exploring the lethal potential of vegetable life, inspired by new carnivorous species discovered on expeditions into the deep jungles of the world and breakthroughs in the grafting and genetics disciplines of botany. Suddenly, the exotic orchid could become a curiously alluring, yet unsettlingly bloodthirsty menace; the beautifully sprawling wisteria of the stately home could become anything but civilised, and the experimentation of botanists weening new shoots on their own blood could become fuel for a new genre of horticultural nightmare. Every strain of vegetable threat (and one deadly fungus) can be found within this new collection, representing the very best tales from the u<span id="goog_460791840"></span><span id="goog_460791841"></span>ndergrowth.<br />
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<span style="font-size: x-small;">Paperback £8.99 / ISBN 978 0 7123 5229 1 / 256 pages, 190 x 130 mm. Publishing August 2019</span><br />
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<b>Promethean Horrors: Classic Stories of Mad Science</b><br />
Edited by Xavier Aldana Reyes<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqK_tA63wJnxwrZS_AxezGnmS6yLVGTLpd0LdhNbc-0KlNDTEQyf42WoejP-LS63ZmXSjZOKh8S7XnrY_pkTImgWcemoMMdDMr1muO29fxHNdKFF4XbOHXS5zek4dxjnDeemEr3elvRi8/s1600/prometheus.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="915" data-original-width="626" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqK_tA63wJnxwrZS_AxezGnmS6yLVGTLpd0LdhNbc-0KlNDTEQyf42WoejP-LS63ZmXSjZOKh8S7XnrY_pkTImgWcemoMMdDMr1muO29fxHNdKFF4XbOHXS5zek4dxjnDeemEr3elvRi8/s200/prometheus.jpg" width="136" /></a></div>
From the imaginations of Gothic short-story writers such as Edgar Allen Poe, Nathaniel Hawthorne, Mary Shelley, and such later weirdists as H P Lovecraft, came one of the most complex of villains – the mad scientist. Promethean Horrors presents some of the greatest mad scientists ever created, as each cautionary tale explores the consequences of pushing nature too far. These savants take many forms: there are malcontents who strive to create poisonous humans; technologists obsessed with genetic splicing; mesmerists interested in the way consciousness operates after death and inventors who believe in a hidden reality. United by an unhealthy obsession with wanting to reach beyond their circumstances, these mad scientists are marked by their incredible capacity to alter the present, a gift that always comes at a price...<br />
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<span style="font-size: x-small;">Paperback £8.99 / ISBN 978 0 7123 5284 0 / 240 pages, 190 x 130 mm. Publishing September 2019</span><br />
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<b>Roarings from Further Out: Four Weird Novellas by Algernon Blackwood</b><br />
Edited by Xavier Aldana Reyes<br />
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It is my firm opinion that …"The Willows" is the greatest weird tale<br />
ever written. - H P Lovecraft. From one of the most imaginative and prolific authors of twentieth century weird fiction come four of the very best strange stories ever told.<br />
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<li>"The Willows": Two men become stranded on an island in the Danube delta, only to find that they might be in the domain of some greater power from beyond the limits of human experience.</li>
<li>"The Wendigo": A hunting party in Ontario begin to fear that they are being stalked by an entity thought to be confined to legend.</li>
<li>"The Man Whom the Trees Loved" : A couple is driven apart as the husband is enthralled by the possessive and jealous spirits dwelling in the nearby forest.</li>
<li>"Ancient Sorceries" : In conversation with the occult detective and physician Dr John Silence, a traveller relates his nightmarish visit to a strange town in Northern France, and the maddening secret from his past revealed by its inhabitants.</li>
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<span style="font-size: x-small;">Paperback £8.99 / ISBN 978 0 7123 5305 2 / 320 pages, 190 x 130 mm. Publishing October 2019</span><br />
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<b>Doorway to Dilemma: Bewildering Tales of Dark Fantasy</b><br />
Edited by Mike Ashley<br />
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Between
horror and fantasy lies a world in which the inexplicable remains
unsolved and the rational mind is assailed by impossible questions.
Welcome to the realm of Dark Fantasy, where safe answers are beyond
reach and accounts of unanswerable dilemma find their home. Delving deep
into the sub-genre, fiction expert Mike Ashley has gathered an
unsettling mixture of twisted tales, encounters with logic-defying
creatures and nightmarish fables certain to perplex, beguile and of
course, entertain. <br />
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<span style="font-size: x-small;">Paperback £8.99 / ISBN 978 0 7123 5263 5 / 288 pages, 190 x 130 mm. Publishing October 2019</span><br />
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<b>Tales of the Tattooed: An Anthology of Ink</b><br />
Edited by John Miller<br />
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The excruciating beauty, exoticism and mystery of tattoos is laid bare in this new collection of 12 stories ranging from the 1880s to the 1940s. Uncovering the history of the tattoo in classic fiction for the first time, this original selection depicts the tattoo as a catalyst for scandal in society, as a symbol for an unknowable supernatural force, and as transcendent living art merging the spirits of a tattooer and his or her living canvas. Featuring previously hidden works from the pages of rare literary magazines such as ‘The Starfish Tattoo’ alongside such classics of the genre as Tanizaki’s ‘The Tattooer’ and Saki’s ‘The Background’, this exploration of the tattoo in fiction is guaranteed to leave an indelible impression.<br />
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<span style="font-size: x-small;">Paperback £8.99 / ISBN 978 0 7123 5330 4 / 288 pages, 190 x 130 mm. Publishing November 2019</span><br />
<br />Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-17692164601737602522019-02-27T12:56:00.000-05:002019-02-27T12:56:08.721-05:00Polidori Vampyre Symposium, April 2019<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHXAJLUi-BbZuOZTXXyBAnEQcCyGfcov8SFQicrWmeGGJtm8t1c0q3Xj8dYlj-PoAkjVBFRBZzkkd026zcHwrOnS_w3wGDjfY9_f1eHZNVUknR9YdUG8Zx4pgS6Su6k_ar8_Qu61-KKpA/s1600/john_william_polidori_by_f-g-_gainsford.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="John William Polidori by F.G. Gainsford" border="0" data-original-height="1600" data-original-width="1336" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHXAJLUi-BbZuOZTXXyBAnEQcCyGfcov8SFQicrWmeGGJtm8t1c0q3Xj8dYlj-PoAkjVBFRBZzkkd026zcHwrOnS_w3wGDjfY9_f1eHZNVUknR9YdUG8Zx4pgS6Su6k_ar8_Qu61-KKpA/s200/john_william_polidori_by_f-g-_gainsford.jpg" title="John William Polidori by F.G. Gainsford" width="166" /></a></div>
John Polidori published his tale <i>The Vampyre </i>in 1819. It is well known that his vampire emerged out of the same storytelling contest at the Villa Diodati in 1816 that gave birth to that other archetype of the Gothic heritage, <i>Frankenstein</i>’s monster. Present at this gathering were Polidori (who was Byron’s physician), Mary Godwin, Frankenstein’s author; Claire Clairmont, Percy Shelley, and (crucially) Lord Byron. <br /><br />Byron’s contribution to the contest was an inconclusive fragment about a mysterious man characterized by ‘a curious disquiet’. Polidori took this fragment and turned it into the tale of the vampire Lord Ruthven, preying on the vulnerable women of society. <br />
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<i>Source: <a href="http://www.opengravesopenminds.com/polidori-symposium-2019/" target="_blank">http://www.opengravesopenminds.com/polidori-symposium-2019/</a></i><br />
<br /><i>The Vampyre </i>was something of a sensation (partially owing to its misattribution to Byron) and spawned stage versions and imitations that were hugely popular. Sir Christopher Frayling declares <i>The Vampyre </i>to be ‘the first story successfully to fuse the disparate elements of vampirism into a coherent literary genre’. This could be qualified; if short political satires and ethnographical enquiries featuring the monster constitute genres, then these had already emerged out of folkloric accounts during the eighteenth century. But Polidori gave the creature the form that largely persists through subsequent vampire narratives, transforming it from the animalistic monster of the Slavic peasantry to something that can haunt the drawing rooms of Western society, undetected. Polidori’s Lord Ruthven, modelled on Lord Byron via Lady Caroline Lamb’s scandalous <i>Glenarvon </i>(1818), is aristocratic and sexualised and, though something of a blank canvas, even potentially sympathetic, providing a template for the ‘Byronic hero’ that features in Gothic romance down to the paranormal romances of the present day. Thus, the familiar vampires Count Dracula (1897), Anne Rice’s Lestat (1976), and the infamously sparkly Edward Cullen of <i>Twilight </i>(2005) can all claim to have been his heir. <br /><br />This symposium will trace Polidori’s bloodsucking progeny and his heritage of ‘curious disquiet’ in literature and other media. It is a return to the beginnings of the Open Graves, Open Minds Project, which began with <a href="http://www.opengravesopenminds.com/ogom-conference-2010/" target="_blank">a very successful conference on vampires</a> in 2010 followed by an edited collection, <a href="http://www.opengravesopenminds.com/publications/ogom-book/" target="_blank">Open Graves, Open Minds: Representations of Vampires and the Undead from the Enlightenment to the Present Day</a>, ed. by Sam George and Bill Hughes (Manchester: Manchester University Press, 2013) and the first <a href="http://www.opengravesopenminds.com/publications/gothic-studies-special-issue/" target="_blank">special issue of <i>Gothic Studies</i> devoted to vampires </a>(May 2013).<br /><br />Guest speakers have been invited to share their research into the many variations on monstrosity and deadly allure spawned by Polidori’s seminal textual reincarnation of Byronic glamour. The delegates have been selected for their expertise in the Byronic, the Gothic, and the vampiric. The speakers are: Sir Christopher Frayling, Prof. Catherine Spooner, Prof. William Hughes, Dr Stacey Abbott, Dr Sue Chaplin, Dr Xavier Aldana Reyes, Dr Sorcha Ní Fhlainn, Prof. Nick Groom, Prof. Gina Wisker, Dr Sam George, Dr Bill Hughes, Dr Ivan Phillips, writer Marcus Sedgwick, and OGOM ECRs and doctoral students Dr Kaja Franck, Daisy Butcher, and Dr Jillian Wingfield. <br /><br />The Symposium is being held at the beautiful <a href="https://www.cityoflondon.gov.uk/things-to-do/keats-house/Pages/default.aspx" target="_blank">Keats House, Hampstead </a>(where OGOM held a symposium for Bram Stoker’s centenary in 2012). Keats House is where the poet John Keats lived from 1818 to 1820, and is the setting that inspired some of Keats’s most memorable poetry. Here, Keats wrote ‘Ode to a Nightingale’, and fell in love with Fanny Brawne, the girl next door. It was from this house that he travelled to Rome, where he died of tuberculosis aged just 25. Keats created one incarnation of the vampire in his <i>Lamia </i>(1820).<br /><br />The event will include a tour of Keats House (who hold a first edition of <i>The Vampyre</i>) and a trip to <a href="https://highgatecemetery.org/" target="_blank">Highgate Cemetery</a>, home of the Highgate Vampire (a sensation of the 1970s), and where Karl Marx (who made good use of the vampire metaphor) and Lizzie Siddal lie. Lizzie wrote poetry and is known as the muse of Dante Gabriel Rossetti. He famously buried his poems with her when she died from laudanum poisoning in 1862. He later exhumed her grave and she was said to have not decomposed, that her beautiful auburn hair had not faded. This story has been linked to the description of the vampire Lucy in her coffin in Bram Stoker’s <i>Dracula </i>(1897). Tim Powers‘s 2012 novel <i>Hide Me Among the Graves </i>claims that Rossetti exhumed her not to recover his poems but to defeat a vampire, her husband’s uncle, John Polidori! Douglas Adams, Christina Rossetti, and other luminaries also lie in the cemetery, in peace (we hope).<br /><br />---------------------------------------------<br /><b>Polidori Vampyre Symposium 2019</b><br />'Some curious disquiet': Polidori, the Byronic vampire, and its progeny<br />A symposium for the bicentenary of The Vampyre 6-7 April 2019, Keats House, Hampstead<br />More info: <a href="http://www.opengravesopenminds.com/polidori-symposium-2019/" target="_blank">http://www.opengravesopenminds.com/polidori-symposium-2019/</a><br /><br /><i>In the Open Graves, Open Minds Project, we unearthed depictions of the vampire and the undead in literature, art, and other media, before embracing shapeshifters and other supernatural beings and their worlds. OGOM opens up questions concerning genre, gender, hybridity, cultural change, and other realms. The Project extends to all narratives of the fantastic, the folkloric, the fabulous, and the magical. </i><br />
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<i><a href="http://www.opengravesopenminds.com/" target="_blank">http://www.opengravesopenminds.com/</a></i><br />
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Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com0tag:blogger.com,1999:blog-2781153420480084553.post-90595346567129851002019-02-22T07:02:00.001-05:002019-02-22T07:15:00.416-05:00Review: Gallery of Horror (1967)<div class="separator" style="clear: both; text-align: center;">
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<i>Gallery of Horror </i>(1967) presents five horror tales based on stories written by Canadian Russ Jones, of <i>Creepy </i>and <i>Eerie </i>fame. Producer/Director David L. Hewitt was not a fan of horror movies, and this disinterest clearly had an impact on the film, which explains the lack of blood (and horror) one expects from, well, a horror film.<br />
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It's a good example of a really bad movie made on the cheap, utilizing an overabundance of stock footage (of varied quality) that was added to make it look like it cost more than $30K to make. It's the kind of movie where classic horror stars of the silver screen went to die, and in this case the poor souls are John Carradine and Lon Chaney Jr.
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Carradine introduces each story with lengthy, verbose passages that were not originally scripted but added because Hewitt ran out of money and was unable to film a sixth segment. Despite the horrible script, he and Chaney--being consummate professionals--still manage to infuse some life into the dialogue, although the obvious lack of direction clearly affected the performances of the other actors. Speaking of which, many of them had multiple roles in the film in order to save time and money.<br />
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Hewitt had originally wanted to make a movie tie-in to <i>Creepy </i>magazine, but was turned down by publisher Jim Warren--so he went to the source, Russ Jones, who created <i>Creepy </i>and <i>Eerie</i>. Aside from the last segment, all tales were penned by Jones. Before he was contracted by Hewitt, he had written a few stories and planned to sell them to producer Milton Subotsky, for an anthology film similar to his <i>Dr. Terror's House of Horrors</i> (1965). Too bad he went with Hewitt instead.<br />
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Each segment has a twist ending, and after a few minutes in you pretty much know what it will be.<br />
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<tr><td class="tr-caption" style="text-align: center;">"The Witches Clock", or, "Howdy, stranger, that's some fine cosplay"</td></tr>
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"The Witches Clock" - Yes, that is the actual spelling of the title. In this first segment, a young couple finds an antique Grandfather clock in the basement of their new home. They had just relocated to Salem, Massachusetts, and seemingly bought the mansion sight unseen since they had no idea a witch had been hanged on the grounds during the infamous trials of old. Oh, and there's basically a coven of dead witches buried in the crypt below. Anyway, they drag the clock up into the main room only to discover it isn't working, and the front is locked. Good thing the key still happens to be sitting on top of it! As soon as they get the clock working, an elderly man, Tristram Halbin (John Carradine), unexpectedly shows up at their door dressed in clothes that were fashionable two centuries ago...and it rapidly goes downhill from there.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbm74nC4dGitW_De7LIpS9vh_bjWQLVgMnGEbuJ9xI8dIvq7guDmDiXGafImYtmdLAbabnERbxDt9oL3NwlJUWuOs9N0X3YLH3wg120Q2wxRWrqehW-XyJwjMJRnyc89rLJaq1a74kT4w/s1600/GalleryOfHorror+13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="440" data-original-width="850" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbm74nC4dGitW_De7LIpS9vh_bjWQLVgMnGEbuJ9xI8dIvq7guDmDiXGafImYtmdLAbabnERbxDt9oL3NwlJUWuOs9N0X3YLH3wg120Q2wxRWrqehW-XyJwjMJRnyc89rLJaq1a74kT4w/s400/GalleryOfHorror+13.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"King Vampire", or, "I'm Russ Jones (R) and I can write, draw, AND act"</td></tr>
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"King Vampire" - A killer is running amok in the dank, dark streets of London, and Scotland Yard's finest are stumped. Each victim is found drained of blood, with bite marks on their neck, and the murderer--who apparently has a voracious appetite, since bodies are dropping everywhere--has been nicknamed "King Vampire." Why he's considered "The King" of them is anyone's guess. Toward the end of the story, one of the investigators gets reassigned to a new case because, I suppose, numerous poor people being slaughtered in the crappier parts of London no longer warranted the extra manpower. But I digress. As he's on his way out the door, he randomly suggests that maybe the culprit isn't a man, but a woman! Why? Because the killer is apparently "slight-figured" and therefore not a man--since all men back then were buff..? This story was originally about Jack the Ripper (or Jackie, in this case), but was changed by Hewitt. Russ Jones has a cameo as the unfortunate innocent bystander who is killed by an angry mob in a case of mistaken identity--right in front of police, who idly stand by as it unfolds. <i>Tant pis!</i> Mob justice FTW! <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6mRGxdA716N7q2t5eq8aH4Zil9L4nPe3JWkVJzEGmyHHYiSFRCEX60mvCtHFKuwy6Jt2o-38lwg41Vh3OgO_PRq_sPZfA_fkGCd1q7VI07IVZmQiPM7n3EJlaeGv4ZizGUUQodfiAaJM/s1600/GalleryOfHorror+23.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="495" data-original-width="850" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6mRGxdA716N7q2t5eq8aH4Zil9L4nPe3JWkVJzEGmyHHYiSFRCEX60mvCtHFKuwy6Jt2o-38lwg41Vh3OgO_PRq_sPZfA_fkGCd1q7VI07IVZmQiPM7n3EJlaeGv4ZizGUUQodfiAaJM/s400/GalleryOfHorror+23.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Monster Raid", or, "This title makes no sense"</td></tr>
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"Monster Raid" - This is the worst segment, and repeatedly uses stock footage while the main character drones on about his big plans for revenge, in voice-over segments that pretty much just repeat events that happened in the previous flashback scenes. The less I say about this one the better. Jones wrote this script on the studio lot basically as they were shooting it, and it shows. It was loosely based on his story "Return Trip!" from the pages of <i>Creepy </i>magazine. The scientist seeking revenge was played by Ron Doyle, although the zombie version of the character was performed by Russ Jones (who also designed the makeup). <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghM7o641d2Ts9h8ir8JKQdyCtMhzsObiQrkLbyKUZ6jHPQxmDICYAsJwhotomifZQM2eqSdXHf0sbEttjVNQw-Qh-xPB5ZUso2p6rijqhHapa_qhly1M9VsP9RRzUp_FtM_8TXxzI2hdY/s1600/GalleryOfHorror+35.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="463" data-original-width="850" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghM7o641d2Ts9h8ir8JKQdyCtMhzsObiQrkLbyKUZ6jHPQxmDICYAsJwhotomifZQM2eqSdXHf0sbEttjVNQw-Qh-xPB5ZUso2p6rijqhHapa_qhly1M9VsP9RRzUp_FtM_8TXxzI2hdY/s400/GalleryOfHorror+35.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Spark of Life", or, "That was the worst bender, ever!"</td></tr>
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"Spark of Life" - Doctor Mendell (Lon Chaney Jr.) is obsessed with continuing experiments based on the research of some forgotten colleague named Frankenstein, who dropped the ball after being exiled from the University and had his work torched by--one can only assume--angry townsfolk. Mendell is close to proving his theory of bringing the dead back to life, which seems to just involve jamming an electrode into the arm of a corpse then pumping it with electricity--and <i>voila! </i>This story has one of the better twist endings. But, my God, the acting and pacing is horrid. Chaney is great, of course, although apparently he was sweating so much during his scenes that he couldn't wear makeup, and went through many costume changes. The drinking was clearly taking its toll.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6kbyngqE4YS1IJY0CW__JgKWXh6TBjS42G8BGP8DLm_1028kiVYJ7a5w1W4vQd4ZwYoGExKXDDj-SOo0e3qj_MDxY1zb0i9d7Ay_D_4eJg_MH6S9LulrnWYk6G5-s8_wreXseqc0tknk/s1600/GalleryOfHorror+43.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="510" data-original-width="850" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6kbyngqE4YS1IJY0CW__JgKWXh6TBjS42G8BGP8DLm_1028kiVYJ7a5w1W4vQd4ZwYoGExKXDDj-SOo0e3qj_MDxY1zb0i9d7Ay_D_4eJg_MH6S9LulrnWYk6G5-s8_wreXseqc0tknk/s400/GalleryOfHorror+43.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Count Dracula", or, "Dracula can't see his reflection, nor his questionable facial hair"</td></tr>
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"Count Dracula" - Introduced by Carradine as "Count Alucard" because I guess they feared legal action while filming, then changed their mind upon release. It's basically the Coles Notes / Cliff Notes version of Bram Stoker's tale--albeit just the scenes of Harker at Castle Dracula, and a version of the vampire Lucy running about the graveyard preying on locals (all events take place in Transylvania). This segment has the best twist ending, although the Count (Mitch Evans) looks absolutely ridiculous. Hewitt should have had Carradine play the role. <br />
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All in, this is one of the worst anthology films I've had the displeasure to watch, and did so just because I'm researching writer Russ Jones, who demanded that he not be credited under his real name (he wanted to use a pseudonym). I doubt the problem was with his original stories. As he once said, "It was fun [to make], but I knew it wasn’t gonna look good on the resume!"<br />
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* OUT OF ****<br />
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Film stills are hard to come by. Here are a couple from the segment "Spark of Life".<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDaySz2Pmy24L6H_CGD88vRa1XpJmk79A7JE5vl9QM9uBVeBpW9Dnfu4UKO31sRK82dkTrKIAUaWOaV4dHKFPWGo4PPksWdxGoMvgnd3Bf_VQl6gsR1g80DCuc6U5o9JXjC7a9B6FYLzc/s1600/MV5BMmRhMDAwNjctNzQ1Mi00MGVjLWJjZjQtMjQxMTMzNGQ0MGJkXkEyXkFqcGdeQXVyMzAwOTU1MTk%2540._V1_SY1000_CR0%252C0%252C1294%252C1000_AL_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="832" data-original-width="1094" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDaySz2Pmy24L6H_CGD88vRa1XpJmk79A7JE5vl9QM9uBVeBpW9Dnfu4UKO31sRK82dkTrKIAUaWOaV4dHKFPWGo4PPksWdxGoMvgnd3Bf_VQl6gsR1g80DCuc6U5o9JXjC7a9B6FYLzc/s400/MV5BMmRhMDAwNjctNzQ1Mi00MGVjLWJjZjQtMjQxMTMzNGQ0MGJkXkEyXkFqcGdeQXVyMzAwOTU1MTk%2540._V1_SY1000_CR0%252C0%252C1294%252C1000_AL_.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Next time, I'll check the cause of death before reanimating..."</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_VsOjWajhbeTQHW9xX2lN97nNJyVx9AtMJ_A3GOBSYt4Pia5_4g0N8v-Soe97K80Om5FX1uymiopSu9OaaD03yJSaPNYmsaZfGOE1017bHXbMKXGeOrFBXMbgbzmNKBelg4U_Ay-ZM60/s1600/MV5BMDc3NGU5NTEtNmVkOC00MjVjLWIxNDktM2ZiYTMyNzUzOTZlXkEyXkFqcGdeQXVyMzAwOTU1MTk%2540._V1_SY1000_CR0%252C0%252C1294%252C1000_AL_.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="826" data-original-width="1136" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_VsOjWajhbeTQHW9xX2lN97nNJyVx9AtMJ_A3GOBSYt4Pia5_4g0N8v-Soe97K80Om5FX1uymiopSu9OaaD03yJSaPNYmsaZfGOE1017bHXbMKXGeOrFBXMbgbzmNKBelg4U_Ay-ZM60/s400/MV5BMDc3NGU5NTEtNmVkOC00MjVjLWIxNDktM2ZiYTMyNzUzOTZlXkEyXkFqcGdeQXVyMzAwOTU1MTk%2540._V1_SY1000_CR0%252C0%252C1294%252C1000_AL_.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Whatever you do, don't look behind you..."</td></tr>
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<a href="https://monstermoviemusic.blogspot.com/" target="_blank"><i>Images courtesy of The Dwrayger Dungeon. </i></a><br />
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<b>Suggested reading:</b><br />
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<i>Eye on Science Fiction: 20 Interviews with Classic SF and Horror Filmmakers </i><br />
by Tom Weaver. McFarland, 2007.<br />
(Includes an interview with Russ Jones about his experiences making this movie.)<br />
<br />Brad Middletonhttp://www.blogger.com/profile/13486181399140224114noreply@blogger.com1