Intensive Scares: The Paperback Cover Art of J.K. Potter

Vintage horror fiction fans are well aware of American artist J.K. Potter, born Jeffrey Knight Potter in California on this date in 1956. His macabre photorealistic imagery decorated the covers of dozens of small-press hardcovers, various magazines, and plenty of paperbacks throughout the Eighties and beyond, most often for such genre heavyweights as Stephen King, Ray Bradbury, Ramsey Campbell, Dennis Etchison, Charles L. Grant, and Karl Edward Wagner, along with many other writers in the fantasy and science fiction fields as well. 

With its surrealistic blending of collage and contrasting elements along with ghostly hues and piercing eyes, Potter's art probably unsettled and attracted as many readers as it repelled! Here is a  sampling of his paperback work:

The Year's Best Horror Stories XVI, ed. by Karl Edward Wagner (1988): Savage Amusement

Sorry to say that nothing quite as terrifying as J.K. Potter's cover illustration appears inside this 16th installment of The Year's Best Horror Stories (DAW Books, October 1988). Which is not to say this anthology isn't worthy of a place on your horror bookshelf; indeed, any self-respecting vintage horror fiction fan probably has at least a few of these, published from 1974 to 1994. It is to say that the stories collected here by Karl Edward Wagner are generally on the more mature end of horror, stories written with flair, intelligence, and only a little gratuitous grue—though there are several worthy exceptions to this observation. As book designs go, I dig this one a lot: the bold red, the gargoyles bordering the bizarre image, as well as something not seen: a tacky blurb noting the presence of a new Stephen King story! Most paperbacks then would've blasted that info from here to kingdom come.

 

This new King story, first printed in the J.N. Williamson anthology Masques II, "Popsy," wouldn't appear in an King book till 1993, in his third short-story collection, Nightmares and Dreamscapes. Wagner puts it first, although its vibe doesn't really give you much of a feel for what comes after. It's a mean little story, with pulpy crime fiction elements, probably King was reading a lot Jim Thompson, Ed McBain, and Andrew Vachss at the time. Dude owes lots of money from gambling debts, a mysterious criminal boss wants little kids, so dude's gotta step up, doesn't wanna know what'll happen to either himself or the kids if he doesn't. But he kidnaps a child who has more to protect him than simply human parents. Wish I'd read this one back in the day, with a terrific climax, oh that delicious King snap: and his breath was like flyblown meat.

Children's and young adult author Jane Yolen (above) brings us her "Wolf/Child," a fine little tale of colonial exploitation, native superstition, and comeuppance. As one character says, "There are many odd things out here in the jungle... It just takes an observant eye, my boy." The title is perfectly literal, the payoff perfectly delivered. In David Campton's "Repossession" a middling accountant becomes fascinated by a light burning in the window of a derelict factory building. Soon he's having visions in which he imagines himself inside the factory, seeing a man in a black Victorian frock-coat, which you know isn't good.

 

Well-known genre practitioners appear: quiet horror maestro Charles L. Grant's "Everything to Live For" is a thoughtful exploration of teen life, one of my least favorite topics, and encroaching death. A sadness at the core makes for chilly reading. Pure Grant goodness. Ramsey Campbell wrote "Merry May" for his 1987 collection of "sex and terror" stories, Scared Stiff (heh). Campbell mixes his brand of urban decay with some folk horror, and the result is truly unsettling: a creep drives a few towns over for some illicit vacation satisfaction promise from a magazine ad and  gets a fine how-do-you-do from the villagers celebrating May Day in their own special way.

 

Wagner reaching across Ramsey Campbell, 1980s

 

"The Scar," Dennis Etchison's entry, is one of his oblique and metaphoric works of psychic anomie, and in his intro Wagner notes its "mood of paranoid urgency," but this one truly left me scratching my head, alas. Guy has a violent freakout in a diner, woman with a disfigured face... Wagner also mentions Etchison "is planning a new anthology, Double Edge, to follow his tremendously successful Cutting Edge." A sequel to Cutting Edge, the terrific 1986 anthology?! It never came to be, alas, although Etchison did publish a Dell novel with that title in 1997.

Noted film historian Leslie Halliwell (below) provides some great suspense and claustrophobia in "La Nuit des Chiens," bringing to life a  rich European paradise. A group of old friends make their way through a small town celebrating a local festival, looking for an upscale restaurant, but find themselves on darkened unfamiliar streets, an increasingly large number of dogs following them... and in imagination he felt the savage amusement of beasts at the group's clumsy, hesitant progress. The unexpected appearance of the n-word surprised me, although I got it—British Halliwell is referencing the British-only title of the world's bestselling mystery novel, but I wish maybe Wagner had simply bleeped it out. But story trades on its twist which isn't truly worthy of the careful buildup before it. Have you noticed that when people who aren't horror writers try to write horror they think it's only about that twist ending? And cannibalism? 

 

The man behind the endless psychic vampire Necroscope saga, Brian Lumley, presents "The Thin People." It elicits some absurdist shivers with the literalization of its title—but it only made me think of this classic "Simpsons" bit, sorry. R. Chetwynd-Hayes is in top form, in his witty yet still scarily effective "Moving Day." This title is euphemism, to the horror of the man who's gone to live with his great-aunts, surely always a poor idea. "Give your Auntie Edith a nice kiss, dear!"

My appreciation of horror poetry begins and ends with Baudelaire, so I'm not sure what to make of t. Winter-Damon's "Martyr without Canon" other than it's a jumble of nonsense, like those liner notes a Beat-besotted Bob Dylan used to write for his albums back in the Sixties. It appeared first in Grue magazine, which I don't think I'd heard of before this, a semi-pro zine that ran from 1985 to 1999. Winter-Damon, whose poetry appeared in many small-press horror publications, died in 2008. Another small-press poet, Wayne Allen Sallee, provides "The Touch," a non-supernatural bit of gritty, everyday violence, always Sallee's stock-in-trade.

 

British periodical that ran 1979-2001, first appearance of "Echoes from the Abbey"

 

Fans of more old-fashioned frights, like prior to the 20th century, shouldn't miss "The Bellfounder's Wife" by A. F. Kidd and "Echoes from the Abbey" by Sheila Hodgson. These two women, neither of whom I was familiar with till now, are at ease evoking subtle terrors in the manner of M.R. James: My last impression was of a series of gaping mouths set in folds of dirty linen. These are as far from typical "Eighties horror" as it is possible to get, and Kidd's ice and fire ghost is one of this antho's most arresting entities... 

She was almost close enough to touch, now, and I saw with a sort of fascinated revulsion that the whole of her side and her arm were boiling, like milk on a stove, bubbles rising to the surface and bursting. The flesh hissed and simmered, and I felt the heat which radiated from it. Her ruined face drew close to mine, and then she smiled.

 

Wagner finishes on a high note with Michael Shea's "Fat Face," originally published as a chapbook by Axolotl Press. Patti is a prostitute working in a Los Angeles massage parlor in a cheap hotel; across the street in an office building a man sits at his office window and looks down on the activity below. Despite the mockery of her colleagues, Patti feels kindly toward him as he runs an animal shelter there, and one day decides to visit. While I found it over-written and overlong, the payoff is a wonderfully disgusting bit of Lovecraftian grue, body horror so gooey and grotesque it would've been a perfect Stuart Gordon vehicle. 

 

Nightmare ought not to be so simply there before her, so dizzyingly adjacent to reality. That the shapes should be such seething plasms, such cunning , titan maggots as she had dreamed of, this was just half the horror...

I haven't mentioned all the stories, however they're fine if lacking a bit of real bite. Wagner's brief introductions provide biographical background on each contributor, which is great because I knew virtually nothing about a handful of them (many included were more SF&F writers, which may be why). He also states "these stories are chosen without regard to theme or method, style or approach," and that well-known writers appear along with the not-known. That's certainly how I myself learned my way in and around the genre back in the Eighties, buying and devouring anthologies filled with names I only dimly was aware of, and then sought out more work by the authors who had the most effect on me—I'm sure you've done the same.

While I enjoyed this volume as I read it, impressed by the high-caliber, professional-grade prose and imaginative flair on display, I began to feel there was little potency, little that reached down deep to disturb, to linger. Not to say this title isn't full of good horror moments; it is, with lots of the authors working at the top of their respective games. But I often wonder, when reading a vintage horror for the first time, if I would have enjoyed it had it on its original publication. That's why I chose this Volume XVI: it came out in late 1988, when I was starting my senior year in high school and really ramping up my horror intake. Would I have been impressed by the stories herein? Not sure, as nothing here is as inventively ground-breaking as what Clive Barker or Joe Lansdale or Michael Blumlein or Poppy Z. Brite were doing back then. Still, anything with Wagner's name attached is a must-have for your horror paperback library, and I look forward to collecting every volume—only three left to go for me!—of Year's Best Horror.

The Year's Best Horror Stories: Series VII, ed. by Gerald W. Page (1979): Seven and Seven Is

Don't worry, TMHF readers, that you've missed my reviews of previous entries in the long-running anthology series The Year's Best Horror Stories; this one, Series VII (DAW Books, July 1979), is the first one I've read in its entirety. I own only about half of the entire run, dipping into them here and there but never committing to a full volume. Till now, and I couldn't even tell you why this one, exactly. Sure, the cover featuring a ghoulish repast by the esteemed Michael Whelan is striking to the eye...

During this era, many paperback anthologies still included "dark fantasy" under the rubric of horror (DAW Books was a science fiction/fantasy publisher). "Dark fantasy" means to me fantasy, of course, but with major elements of the macabre and grotesque, with a fair amount of violence, usually with a medieval or mythic atmosphere and setting. The language too is often archaic, formal, stilted even. There may be sword 'n' sorcery going on as well. A few years later, Charles L. Grant used that term "dark fantasy" to describe his own stories and novels of subtle modern unease, but I prefer "quiet horror" for his brand of fiction. I say all this to simply state I'm not a fan of this kind of dark fantasy, and feel I don't quite have the critical acumen to judge dark fantasy. I tend to skim stories in that vein.

In Series VII, four stories fit this subgenre: "Amma" by Charles Saunders (above), "The Secret" by Jack Vance, "Divers Hands" by Darrell Schweitzer, and "Nemesis Place" by David Drake. I was unfamiliar with Saunders but liked well enough his West African griot's tale of a woman's unlikely secret identity; its comfortable switch-up ending evokes fables we first heard in childhood. Vance's story of Pacific islanders who know, unconsciously, that to leave their home is to encounter a strange wide world the knowledge of which may not be welcome. Again, something like a child's tale.

Schweitzer (above), well-known as a critic and editor of genre fiction, contributes a longish work never before published. Knights, horses, swords, chainmail, maidens... no thanks. But Schweitzer writes strong prose, knows his way around violence and creeping dread, so I think "Divers Hands" will appeal greatly to those whose appreciation of such works is greater than mine. Drake's "Nemesis Place" contains the phrase "trader in spices" and that pretty much was quits for me, though I read the last paragraph and it seemed pretty bloody, so cool I guess.

Anyway, on to the real horrors.

An early work from one of the 1980s greats, Dennis Etchison, "The Pitch" is a pitch-black bit of unexpected vengeance by a kitchen cutlery salesman. Ouch. Etchison is a master of the modern convenience and its impact on our lives. "The Night of the Tiger" is a very minor work from Stephen King; it appeared in neither of his classic collections Night Shift and Skeleton Crew. King's authorial voice is strong, and the circus setting is convincing, but the final twist is rote. I however enjoyed the relaxed charms of Manly Wade Wellman's tale of a lovely vampire lady, "Chastel."

Autumnal sadness/grief/heartbreak/terror of Charles L. Grant's "Hear Me Now, Sweet Abbey Rose" is bittersweet. A sensitive family man protects his daughters against some drunken louts but the final horror is almost mean-spirited. One of Grant's finest. Another familiar name in any late '70s/1980s horror anthology is Ramsey Campbell, and his offering "Heading Home" may elicit a groan thanks to its pun, but it works as horror and as comedy. TMHF favorite Lisa Tuttle's "In the Arcade" has a woman lost in a lonely nightmare, looking back over a shameful racial history. It didn't appear in her amazing collection A Nest of Nightmares; not sure why, maybe it's the slight SF twist.

Ah, I forgot that the fine "Sleeping Tiger" from Tanith Lee (above) is also dark fantasy: a Brave Prince named Sky Tiger happens upon two lovelies in the forest named Orchid Moon and Lotus Moon. They bring him to a tower and perhaps promise paradise; Venerable Priest appears and puts the kibosh on that. That final twist is impolitic. "Intimately, with Rain" is Janet Fox's modern fable of ancient guilt. Love the ending for this one, even if I've read and seen it elsewhere.

The two final tales are, I feel, the best of the lot: superb in style and sensibility, "Collaborating" by Michael Bishop and "Marriage" by Robert Aickman (above) offer the very best in genre fiction. The former is a kind of Cronenbergian medical horror story written with taste and steely-eyed insight (We gave them stereophonic sweet nothings and the nightmares they couldn't have by themselves); I don't want to spoil it for first-time readers. The latter is another of Aickman's precisely-penned tales of daily English life and the traps it holds in store for those who attempt to go against it (He glared brazenly at the universe). Fantastic works, and two of the best short stories I've read this year.

Editor Gerald W. Page was involved with Year's Best Horror Stories for several years. In his intro he rightly states "You  never know where a good imaginative story will take you, whether it's science fiction, fantasy or horror..." and notes that good writing is just good writing. That's true, certainly, but good writing isn't my only criteria; I find I prefer my horror to be generally modern. But that's between me and me, and I think many other readers will find Series VII a worthwhile addition to their shelves of horror fiction...

On the Eve of Dusk

It's a Garden and a Death of Soul

A Sort of Human Picnic

I don't think the cover artist had a real good grasp of just what a zombie was.

The Year's Best Horror Stories Series: The 1970s

The Year's Best Horror Stories series ran for over two decades, from 1971 till 1994, collecting what one hoped actually were the year's best horror stories. Before Karl Edward Wagner picked up the mantle as editor in 1980 with volume eight, the series had two other editors: Richard Davis and then Gerald W. Page. But it's just the cover art I'm interested in for this post, not the stories within. Artist Hans Arnold's cover for the 1975 reprint (at least I think it's the reprint; I've found conflicting info on publication years) of the first in the series, seen above, evokes a nice balance of horror, dark fantasy, romance, and fairy tale. In other words (I think), "A witch's brew of sf grue"! First few times I looked at this cover I didn't even notice the rotting crone behind the crimson-eyed Victorian girl weeping blood... Karel Thole's surreal yet rather tame cover for the original 1972 paperback doesn't have nearly the same impact - but the names Matheson and Bloch and, uh, Tubb beckon. I wonder how many science fiction fans, the people who would normally buy books from the DAW line, were interested? Arnold returns for Series II (1974) and wham-bam, gives us an impressive double image of Mssrs. Jekyll and Hyde. Pretty cool. And an intro from Sir Chris? That's class. But the word "series" I find confusing; "volume" would be more accurate, no? With the third book in the series, the famous Michael Whelan brought his talents to the party; Series III (1975) seems more science fictiony to me than horror fictiony, and rather prefigures the cover of King's Night Shift. But this is apparently the "chill-of-the-year book" so who am I to say? Author Gerald W. Page's tenure as editor began with Series IV (1976), and Whelan contributed another cover, still with SF elements - I mean, behind that guy's head, that's no moon. There are some bats, though, I'll give it that. Okay, Whelan's cover for Series V (1977) is fucking metal as fuck. I mean, FUCK YEAH. You just know Steve Harris was grooving on this artwork after a few puffs while plonking away on his bass. Yee-haaawwwgggghhh... cowboy corpse comin' for ya! Series VI is from '78, and King gets the cover, of course (anybody else remember the short-lived horror/western mashup called "cowpunk"?). And finally a truly horrific cover for Series VII (1979), Whelan once more, this time not shying away from gut-wrenching (literally!) horror whatsoever. Thank the infernal gods below! Oh, before I go, anybody got a spare $300 lying about? You say you do? Then check this out.

Brian Lumley: The Lovecraftian Titus Crow Paperback Covers

On this day in the year 1937 the stars were right and born of man and woman was Brian Lumley, a British human whose tales of Lovecraftian and vampiric mayhem and mystery have been part of our beloved horror fiction for decades now. In addition to his ever-popular epic Necroscope series (many moons ago I got about 100 pages into the first volume and was overwhelmed by what I recall as ESP sensitives and Cold War espionage - topics which make me deliriously bored), Lumley added deeply and uniquely to the Cthulhu Mythos. Unlike the usual whey-faced antiquarian professor or amateur genaeologist that populate the Providence Gentleman's tales, Lumley's characters - particularly one Titus Crow - face the octopoid and batrachian obscenities with courage and high good humor, neither of which Lovecraft supplied in any real capacity.

Honestly I've not read any of these vintage-looking science-fiction horror paperbacks; I have however seen recent trade paperback editions that collect these and other Titus Crow stories. Guess which I prefer?

The Burrowers Beneath (at top, Daw 1974, art Tim Kirk) is a perfectly conceived landscape of Lovecraftiana; next, The Transition of Titus Crow (Daw 1975, art Michael Whelan). Also see a UK paperback of Burrowers, from Grafton with art by Alan Hood.

Third: A Clock of Dreams (Jove 1978), which looks more like a contemporary fantasy, particularly with note of the legendary Philip K. Dick and the mighty Harlan Ellison, definitely two writers of genre the who'd carved their own niches in that speculative field. Dude's beard gives a real hearty '70s sensitive masculinity vibe too. I'm safely guessing this novel takes place in Lovecraft's Dreamland of Kadath, Celephaïs, Sarnath and who can forget the Plateau of Leng? Good times for all, I'm sure.

Spawn of the Winds (Jove 1978), is apparently more of a Robert E. Howard-style men's adventure, even in prose style, despite the in the terrifying tradition of H.P. Lovecraft tag. With its cover art by Vallelejo - a polar bear? dude - how could it not be? Lumley apparently deepened the Mythos in a way few other writers did, even though it sounds like he deepened it in a direction I have no interest in, both by adding derring-do fisticuffs and fantastical alien fairie princesses and more insight into otherdimensional deities. I like my Mythos dank and sepulchral and maddening, thank you! The title font makes it look like a historical romance.

Same goes for In the Moons of Borea (Jove 1979): this is not the kind of Lovecraft-inspired fiction that I crave, seems like Edgar Rice Burroughs got in there somehow. And we all know old HPL would want nobody bare-assin' it on the cover of one of his books! Fine for some readers, not so much me. Ah well. I like those early DAW covers, as this UK paperback of the final volume in the Titus Crow series, Elysia: The Coming of Cthulhu (1989/Grafton 1993 with George Underwood art) recalls.


Cthlulhoid tentacles crawling, all evil, upon a coffin which contains... what? Humanity? Our world? The universe? Don't even bother telling me if I'm wrong. And finally, a '90s Tor paperback for Lumley's many short stories through the decades, the awesomely-titled Fruiting Bodies and other Fungi. That's a missed opportunity title for an aged Arkham House edition if I ever heard one!

Brian Lumley