The back cover consists of Sam Dawson's full drawing, thus.
Estimated post-out, end of September.
|Unused (sadly) Egyptian horror illo|
|'Fancy a nibble?' |
|Sort of Lovecraftian Sphinx(?)|
|'The Black Cat' - a personal favourite, cover for ST#8|
|Selection of small drawings|
|'Bloody Heston Blumenthal, getting us all a bad name'|
We are delighted to have been nominated for this years World Fantasy Awards. Raymond Russell and Rosalie Parker are shortlisted in the "Special Award: Non-Professional" category, as is Mark Valentine for Wormwood. Reggie Oliver's Mrs Midnight is shortlisted in the Best Collection category. We have blogged about the Awards here.
Now this is rather odd. I agree that the de la Mare and Hawthorne links make sense, but the M.R. James is way off beam. For those who don't know about the issue at hand, here come the spoilers...A possible literary model is Walter de la Mare's novel The Return (1910), which Lovecraft read in mid-1926. He describes it in his essay "Supernatural Horror in Literature" as a tale in which "we see the soul of a dead man reach out of its grave of two centuries and fasten itself on the flesh of the living".The theme of a descendant who closely resembles a distant ancestor may come from Nathaniel Hawthorne's The House of the Seven Gables, which Lovecraft called "New England's greatest contribution to weird literature" in "Supernatural Horror in Literature".Another proposed literary source is M. R. James' short story "Count Magnus", also praised in "Supernatural Horror in Literature", which suggests the resurrection of a sinister 17th century figure.
I enjoy them all in their different ways. I don’t think I could have spent so long doing the shows if I didn’t love the material. Most terrifying? At different times they’ve all elicited the right kind of reaction – which is a mixture of amusement and fear. Perhaps the most satisfying was when a friend of mine came along to a show out of politeness, and expecting I think to be rather bored, seemed genuinely disturbed by ‘Lost Hearts’ when I met him in the pub afterwards.
"People are interested in crime fiction when they're quite distanced from crime," she said. "People in Darfur are not reading murder mysteries.
"I think people are afraid of crime if they're quite safe. People rehearse being afraid. It is about distance and experiencing those primeval emotional responses in a safe environment."
Roger Corman's place in the history of cinema is assured by his prodigious output of low-budget genre films. He jumped on the horror ban...