Just a Kiss Away

Very early '90s sex-ay vampire stuff, post Rice, never read any, dig the covers, kinda cool.

Horror & High Jinks

Who's Afraid of Virginia Woolf

Tasks of Unspeakable Horror

Cat Sound!

Another cover lovely from the untouchable George Ziel (born on this date in 1914). Cat sound indeed.

The House on the Borderland by William Hope Hodgson (1908): Into That Great Void My Soul'd Be Hurled

An unassailable classic of supernatural horror and science-fantasy, The House on the Borderland is a cosmic hallucination, a phantasmagoria of time dilation and psychedelic imagery, a monster mash of mind-expanding terror and loneliness across multiple dimensions and numberless aeons. William Hope Hodgson (1877-1918) reached for the stars and beyond and gave us a novel that would deeply affect and influence H.P. Lovecraft (and of course many other genre writers); indeed HPL never hid the fact that he was indebted to Hodgson's visionary delirium [update: not as much as I'd previously thought; see comments]. It is the well from which so much weird fiction has sprung. But is that well still worth visiting today?

...perched almost at the extreme end of a huge spur of rock that jutted out some fifty or sixty feet over the  abyss. In fact, the jagged mass of ruin was literally suspended in mid-air. 

That's the house itself, as described by the two men who are tramping through the "dismal and and sombre" wilds of west Ireland. They come upon a striking landscape, a rushing waterfall and an enormous rocky cavern. Across it stands this house on the borderland, its crumbled remains high above the abyss. One of the men finds a crumpled old notebook in the debris; before the men can make their way back to their camp, an eerie wailing rises from the woods. Filled with "haunting dread," they hightail it out of there and read the manuscript later. Said manuscript is a nameless narrator's account of his life before this house fell...

Arkham House, 1946, cover by Hannes Bok

A widower who lives with his spinster sister and dog Pepper, the narrator relates how he'd moved into the garden-surrounded house 10 years before, that locals had said the devil built it, and that as years passed he became "aware of something unseen, yet unmistakably present, in the empty rooms and corridors." I'll say. Soon he's exploring the lightless depths of that chasm--"the Pit," he calls it--and battling with loathsome swine-monsters who swarm over the house! And that's not all.

One evening, the narrator is sitting in his chair and finds everything about him has become an insubstantial mist, and begins the first of several bodiless travels through the space/time continuum. It's the kind of thing would put the climax of 2001 to shame; eventually he's zipping along the cosmos, watching the Sun die, the earth freeze, stars born, collapse, and reborn. At one point he sees his own lifeless body still sitting in a chair and all covered in dust, sees his own home on a vast Plain in some other reality, crawling with creatures as in his own reality. Cosmic horror, complete with its incomprehensible deities and endless vistas, begins here.

Far to my right, away up among inaccessible peaks, loomed the enormous bulk of the great Ass-god. Higher, I saw the hideous form of the dread goddess, rising up through the red gloom, thousands of fathoms above me. To the left, I made out the monstrous Eyeless-Thing, grey and inscrutable. Further off, reclining on its lofty ledge, the livid ghoul-Shape showed--a splash of sinister colour, among the dark mountains. 

Hodgson was a badass athlete/author and died in battle in WWI

The ending itself you've read a million times before, but in the early 20th century I doubt it had been done much before then. Lovecraft popularized it but it quickly became a hokey cliché and I think you'll agree. And after the whirlwind of interstellar visions I think you'll find the climax a bit underwhelming. But. If you reorient your imagination by jettisoning from your memory the fiction it inspired, then House works like nothing before it. Even Hodgson's old-fashioned and comma-riddled prose can't impede on the power of some of the more hypnotic, disorienting passages.

Ace Books, 1962, cover by Ed Emshwiller, accurate depiction of events within!

House is almost two books in one, and my reaction to it was in places mixed. I enjoyed the adventure/horror of the narrator's battle with the Swine-people in the first part of the narrative but later found the seemingly endless pages of space-travel tedious. There seemed to be no anchor to the flights of fancy; just more and more riffing on the bizarre nature of traveling through the space-time flux, colored globes floating about, the sun speeding across the sky and changing colors, the world spinning faster and faster into the void--much like Lovecraft's fantasy tales, which were never my favorite of his. But Lovecraft shares with Hodgson a fascination, an obsession really, with the unexplored deeps beneath homes, beneath the earth, of places where other realities can slip through into ours, of an indifferent malevolence threaded through the very warp and woof of our universe.

Lots of good paperback editions have been released over the years, as you can see. My copy is the red one at top, Carroll & Graf, 1983 with cover by Richard Courtney; it and this one from Sphere, 1980 with cover by Terry Oakes, play down the cosmic angle in favor of the hulking, drooling, terrifying swine-people--and you'll note how prominently Lovecraft's name is featured on most covers (the quote is from his famed and essential Supernatural Horror in Literature).

The midnight-blues of this edition from Freeway Press, 1974 evoke the emptiness of outer space and the utter solitude the narrator feels when he's hurtling through it.

Manor Books, 1977. I'm struggling to recall if an ear of corn played any role in the story; that looks like a farmhouse on drought-struck land; pretty sure this cover was meant for a different novel entirely; E. Salter is the artist.

Panther Books, 1972. The ever-stunning Ian Miller's jacket art is delectably creepy and awesome; it well captures the wonkiness of Hodgson's visions.  

So in whichever edition you may read House on the Borderland, it'll be easy to see how it achieved its hallowed place in the pantheon of classic horror fiction. It's not always scary but it is always weird. He wrote other highly-regarded fantasy novels, like The Night-Land (1912) and The Boats of the "Glen Carrig" (1907) but it's upon this House which Hodgson's reputation is built.

Snakes... Why'd It Have to Be Snakes?

 

 

 

 

 

 

This is Rabies

Robert W. Chambers Born Today 1865

Born and bred in Brooklyn, USA, artist and author Robert W. Chambers left a legacy of horror lauded by Lovecraft (although with some reservations) and other lovers of supernatural fiction. Me? I read and kinda liked okay "The Repairer of Reputations" a gajillion years ago, in Hartwell's The Dark Descent (1987), and now a copy of the 1982 Ace paperback (boring cover at bottom) of his major work, The King in Yellow (1895), sits unread upon my shelf. That's cool at least.

Mr. Chambers, how do?

Fangs, Rattlers, Death Bites, and More: Love You Like a Reptile

Hook-toothed serpents and leathery alligators seek the greatest prey of all - humans! Nothing like some vintage horror cover art featuring animals gone amok. Although man-eating creepy creatures, whether mutated or in just their natural state of deadliness, have always been one of the horror genre's mainstays, after the success of Jaws (1974) you could barely escape them. Today I present a fearsome collection of herpetophobic paperback horror. First is Fangs (Signet 1980) which features an added taste of exploitation, the ever-popular naked lady.

Now I remember furtively reading a copy of Gila! (Signet 1981) in the public library when I was 11 or 12, marveling over, of course, the conflation of sex and violence and its overall tawdriness. Les Simons is the pen name of Kathryn Ptacek, wife of the late Charles L. Grant and prolific author in her own right.

One rattlesnake is plenty scary, but a nest, a swarm, a rhumba of them? Rattlers (Signet 1979) might be Indiana Jones's purest nightmare.

This 1977 Dell paperback of the prosaically-titled Alligator (what, no exclamation point?) is excellently done; how can you not love those forest green scales? And something about mysterious underwater action - seen much more often post Jaws, duh - coupled with above-water scenes has always fascinated me: this back cover is an undeniably glorious work of horror/thriller paperback art.

...and it makes The Snake (Berkley 1979) seems tame by comparison!

Oooo, Death Bite (Ace 1980)! Actually Brent Monahan went on to write more horror fiction alone, including one title that I see on almost all my used-bookstore jaunts, The Book of Common Dread from '93. This falls just outside my (self-imposed) vintage-era limit, so...

The Vampire: His Kith and Kin in Paperback Covers

This cover for Dracula Began, a 1976 novel by Gail Kimberly, is stunning: you got Vincent Price from Tomb of Ligeia with misplaced eyes, big black bats, a Gothic castle, village people on the hunt, and a totally incongruous lady's head on a platter. Amazing. Artist George Ziel is a master of the vintage horror paperback cover!

A repulsive old-man vampire adorns Karl Alexander's Curse of the Vampire from 1984. That certainly wouldn't work today, since we all know vampires now have perfect pouts and six-pack abs.
Ahh, I love this one! Le Fanu's 1872 classic Carmilla was reprinted in 1970 with this fantastic cover. Love the font, the woodwork, the frightened hippie chick cowering. Excellent!

I've got a couple of the vampire novels by Les Daniels featuring the Spanish vampire Don Sebastian de Villanueva, but I haven't read them yet. The Black Castle from 1978 is simple and to the point.

Traditional opera-cape-and-tux-clad Drac here, part of Fred Saberhagen's long-running Dracula novels. The Holmes-Dracula File, from 1982, is labeled "science fiction," which I find odd, since neither of those dudes fits in the genre.

The first sequel to her Sunglasses After Dark, Nancy Collins's 1992 In the Blood continues the adventures of Sonja Blue, as well as again featuring the art of Mel Odom.

Gothic romance from 1970, with exotic "vampyre" spelling. Ooh!

By-the-numbers rendering of Lugosi for a 1968 reprint of Bram Stoker's lesser-known works.

Groovy vintage Drac and his lady-fiend on the US cover of The Hand of Dracula! from 1977. I especially love the UK edition. Author Robert Lory put out a whole series of these modern Dracula adventures.

1977's Hounds of Dracula. Dracula's dog. I mean really people.

Peter Tremayne also wrote another Dracula novel, called Bloodright, and returned in 1978 with The Revenge of Dracula. Pretty standard, traditional image on this. Not sure about the blow-dried 'do, though.

A murder of crows, a quiver of cobras, a streak of tigers... and A Clutch of Vampires (1974). Nice. I think that's an Edward Gorey illustration, don't you? Raymond T. McNally was the vampire expert of the '70s.

Montague Summers was an eccentric English clergyman-scholar who wrote several books on the occult - from the suspect point of view of a true believer - and his most famous was The Vampire: His Kith and Kin (1928). This is the 2011 edition.