No pictures today. Just linky links. Because I am terrible at the Internet.
Just can’t get enough of The New Gothic and “Dive In Me”?
Well, you are in luck. Stone Skin Press has a really fun blog with a series running called “Stone Skin on the Rocks.” Featuring guest posts from contributors of various anthologies, I did a post about drinking malt liquor in the 90s, like you did. This little musing was tangentially related to the story I co-wrote with Jesse Bullington, “Dive In Me,” that appeared in Beth K. Lewis’ THE NEW GOTHIC. I taste-tasted 32s pool side and took weird Instagrams at 8 am in my backyard. Fun times. You can see the results here.
More on The New Gothic front, a few more reviews have come down the pipe. First, J. T. Glover, who was one of the three lucky winners of my Nirvana Giveaway last April, was kind enough to give the anthology a thorough evaluation.
“Gothic” is one of those terms that has mutated to cover a range, from a polite pseudonym for “horror” to a descriptor for Otranto and kin. The New Gothic showcases these variegations nicely, and I’d say the stories here fall into three camps. First are those in the Shirley Jackson/Daphne Du Maurier mode–translating the brooding emotion of the original Gothics into our time. While I enjoyed the book wholesale, I think the strongest stories in the book tend to fall into this range. Second come the stories that seem to me to spring more clearly from Gothic tropes (ghosts, the Devil, brooding moors), setting them either in the present or very clearly in a particular time. Third come the stories that are set in no particular time, or, from another angle, are timeless. The Gothic was in dialogue with itself early on, and the stories you’ll read here are a good representation of all that is vigorous and flourishing that could reasonably be called “Gothic.”
It sounds like he pretty much dug the whole scene, and he had nice things to say about not only “Dive In Me,” but stories by Ed Martin, Laura Ellen Joyce, Fi Michelle, Dmetri Kakmi and Sean Logan.
“The landscape here is just as sinister and, I’d argue, as symbolic, as the Gothic castle or church. The tone is deeply authentic, modern, easy and near languid, and tinged with a nostalgia for the underground culture of the mid-1990s that never becomes saccharine.
“Instead of feeling pushed out of a space we might not know, we are invited in by adolescent vulnerability (in the guise, of course, of toughness), and speech that gives texture and characterizes without gimmick. In this way, the story has a great deal in common with the work of Flannery O’Connor, whose masterful use of dialect gave what she aptly termed realism, not grotesquerie, to her characters.”
Many thanks to JT, K L, and Innsmouth Free Press for taking a look and enjoying it.
Vintage Scenes #4 went up when Mungbeing, Issue #57: Organic went live earlier this month. The theme was organic and I wrote about a septuagenarian trying to navigate the vast world of wine labels in pursuit of “that organic wine he’d heard so much about.” This may be my last Vintage Scene for the rest of the year mainly because I got a new day job, and the end of the year has a lot of hefty deadlines. We’ll see, but I sure have enjoyed writing what I have so far.
I wrote a capsule review for The Big Click on Alan M. Clark’s stark The Door That Faced West (Lazy Fascist Press) that recounts the horrors of the Harpe brothers as witnessed by one of their wives.
I will be a guest Anomalycon in Denver, CO next March, and am so excited that I will pause here to do more deets later.
Last, but not least, The Steampunk Bible has been nominated for an Ignostus award. Congrats to everyone who was nominated, and thanks to those who liked the book and for nominating it.