Sweet Halloween Swag!

And straight from the publisher! An editor from Penguin Books contacted me a couple weeks ago saying how much he enjoyed this blog and would I be interested in their new horror offerings for the Halloween season? Would I?! These three trade paperbacks—The Case Against Satan by Ray Russell, Perchance to Dream by Charles Beaumont, and Songs of a Dead Dreamer & Grimscribe by Thomas Ligotti— have each been given beautiful new covers that I believe accurately reflect the fictions therein. Thoughtful intros/afterwords are provided by folks like Ray Bradbury, Laird Barron, Jeff Vandermeer, and even William Shatner. These are welcome and affordable editions (the original Ligotti paperbacks from the 1990s are ridiculously expensive today) that will look terrific on your bookshelves. Get ready for some midnight reading...

Fiend Club

 

 

 

 

Book Sale Horror Haul

Every year the Wake County Libraries hold an enormous book sale at the North Carolina Fairgrounds. This is the third year I've gone and it is to die. These are all the books I bought yesterday... for $36. Most are in near-mint condition as they've been in storage for decades. I'm sure you can imagine my anticipation and excitement as I scoured the packed tables, and the sense of satisfaction I felt when I found a perfect copy of The Howling Man, the long out-of-print Tor collection of Charles Beaumont, a mint first-edition The Cellar (for archival purposes of course), the rest of the Shadows series which I needed, The Best of Masques, a slim volume packed with awesome writers, and a handful of Year's Best Horror from the '70s thru' the '90s. Not to mention Tessier, Bloch, Campbell, King...

 

Like an airplane hangar filled with books

I really cleaned out the selection of horror fiction - which was, to my disappointment, mixed in with science fiction this year (which my girlfriend attributed to the fact that we bought practically the whole horror section last year). So now I've got to reorganize my entire horror library to fit in these great new titles... and don't even think to ask me the question of when I'm gonna find time to read 'em!

Charles Beaumont Born Today 1929

Born today in the barely conceivable year of 1929, Charles Beaumont is one of the forgotten figures in horror/science fiction/fantasy. Well, not at Too Much Horror Fiction! I originally featured Beaumont here. You can also watch his many episodes of "The Twilight Zone" on Netflix Instant. You ever find one of his vintage paperbacks in a used bookstore, buy it. I've got a few, but not these (Yonder, a collection from 1958, is especially desired):

1982 collection

Novel 1959 (Corman adapted the '62 movie, a Shatner film before "Star Trek")

1961. Grantland was a Beaumont pseudonym

Horror Anthologies of the 1960s

Such horrific delight. You don't get covers like these anymore. Enjoy.

Skeleton Crew by Stephen King (1985): Many Dead at Many Scenes

"I got to thinking about cannibalism one day - because that's the sort of thing guys like me sometimes think about - and my muse once more evacuated its magic bowels on my head. I know how gross that sounds, but it's the best metaphor I know, inelegant or not..."
King on his 1982 story "Survivor Type"

Does that sum up Stephen King or does that sum up Stephen King? I mean really. Gathering stories that he'd written from his earliest days as a writer until the mid-1980s, Skeleton Crew is King's second collection. You've probably read it, right? Right. If you're like me you pored over it, trying to figure out the inner mechanics of King's seemingly effortless storytelling and characters so real you could almost smell the Black Label on their breath. I was 15 or 16 when I read Skeleton Crew for the first time, which is about the perfect age for stories featuring such an assortment of giant primordial bugs and psychos masquerading as regular folks.

Without a doubt, the opening novella "The Mist" is one of King's best and simply one of my favorite stories in all the English language. It first appeared in the 1980 anthology Dark Forces; in Skeleton Crew it appears mildly rewritten, most noticeably in the final sentences, but that doesn't change much. I can lose myself in that story again and again and again; at this point I think it's fused with my DNA. "The Mist" is deliriously fantastic and fatalistic, ridiculous and sublime, all at once. Who can ever forget those two Cyclopean legs going up and up into the mist like living towers...? Not me, friends and neighbors, not me.

"Mrs. Todd's Shortcut" is another favorite, an old-timer's tale of a uniquely desirable woman whose search for the quickest route around town leads her through a landscape not on any earthly map. Dig what the narrator says about "the Todd woman": "I like a woman who will laugh when you don't have to point her right at the joke, you know." While King is aware of the "wonky science" in "The Jaunt," it remains an icily unsettling SF tale of the "history" of teleportation, related by a father to his family as they prepare to "jaunt" to Mars. Enter one portal, get disintegrated, and come out the other, whether it's across the room or across the galaxy. The climax is one of King's most notorious; a fondly remembered shock of sheer madness.

Other fondly remembered shocks for lots of fans are "The Raft" and the above-mentioned "Survivor Type," stories that are inimitably King but also hark back to the blackly-humored grotesqueries of EC horror comics, although "The Raft" also has a strangely elegiacal tone, especially in its strange and doomed refrain of "Do you love?" What else would you expect from a story about a ravenous bit of oily muck in an inviting lake? He referred to "Survivor Type" in Danse Macabre as an example of a story he didn't think he'd ever be able to publish, but it was, finally, in a Charles L. Grant anthology. A surgeon/drug smuggler/junkie ends up a castaway on a little spit of land with little hope of rescue. His supplies? His medical kit, some heroin, and a near-superhuman will to survive...

King's influences come hard and fast in Skeleton Crew: "Gramma" and of course "The Mist" have the merest whisper of Lovecraft. The echo of Shirley Jackson is loud and clear in "Here There Be Tygers," and Charles Beaumont gets a sort of retake in the jazz-based "The Wedding Gig," which reminded me of Beaumont's classic "Black Country." "Nona" is pure James M. Cain or Cornell Woolrich noir, complete with a drifter, his sordid and alienated past, and the mysterious femme fatale he meets on the road. Even Peter Straub's Chowder Society seems to appear in "The Man Who Would Not Shake Hands." And do you hear an echo of Harlan Ellison's jaunty modern fantasy in the title "The Ballad of the Flexible Bullet" too? Despite their familiarity, these stories are captivating and still purely King. When the young narrator of "Nona" beats the unholy shit out of a road-scarred trucker in a diner parking lot, you can practically taste the gravel and blood in your teeth.

Scream Press limited edition, 1985, art by JK Potter

The source for the cover art by Don Brautigam, a long-forgotten child's toy wreaks its horror in "The Monkey," terrifying an adult man who thought it forever gone. What would that toy say if it had a chance? Stephen King knows:

Thought you got rid of me, didn't you? But I'm not that easy to get rid of, Hal... We were made for each other, just a boy and his pet monkey, a couple of good old buddies... I came to you, Hal, I worked my way along the country roads at night and the moonlight shone off my teeth at three in the morning and I left many people Dead at many Scenes. I came to you, Hal, I'm your Christmas present, so wind me up, who's dead...?

"The Reach" is mainstream King, a heartfelt story of real places and real people and ghosts that haunt not houses but the human heart; it ends this collection on a high note. As for the poems "Paranoid: A Chant" and "For Owen," I really can't say much whatsoever. A handful of stories here date from the late 1960s, such as "Cain Rose Up" and "The Reaper's Image," milder works that still point toward his bestselling future.

Still I'm not blind to King's weaknesses as a writer: he can be corny and overly familiar in the middle of a tale of creeping dread, using dull down-home humor in asides that almost seem like self-mockery. His acknowledged tendency to overwriting, to bloat and stuffing, can deflate the delicate suspension of disbelief one needs for horror fiction and render a story inert. He can be shallow and perhaps glib, showing his pulp roots. And sometimes his characters talk too damn much, or he gets mired in their italicized thought processes. And perhaps I'm simply not quite as enamored of drunken Maine rednecks and their fatal shenanigans as I once was.

I can't finish up without mentioning that I really enjoy King's intro (PS: There really was more beer in the fridge, and I drank it myself after you were gone that day) and end notes. When I was a young aspiring fiction writer, I looked to King because he gave a sort of behind-the-scenes glimpse of the writing life in these pieces, which I often got more out of than his stories (much the same is true for me with the mighty Harlan Ellison). Personable and folksy, he lets you in on his writing process, how his brain spits up (or shits out) ideas, how he submits his stories and how many times they were rejected. He's well aware of his weaknesses and foibles but also knows he's got an unparalleled imagination that is often more powerful and demanding than he knows what to do with. Skeleton Crew might not - might not - reach the rarefied heights of Night Shift, but it's still an essential read for horror fiction fans. As if you could be one and not already have read it...

"I guess Faulkner never would have written anything like this, huh? Oh, well."

Perchance to Dream: The Short Fiction of Charles Beaumont

Another writer sadly lost to time, Charles Beaumont (1929-1967) helped cement one of the most distinctive pop-culture totems of the 20th century, TV's The Twilight Zone, bringing speculative fiction, whether horror, fantasy, or science fiction, to the mainstream. He wrote around two dozen of that show's episodes, third only to Richard Matheson and creator Rod Serling himself. He also wrote screenplays for Roger Corman, The Masque of the Red Death and The Haunted Palace, Poe and Lovecraft adaptations, respectively.

Beaumont's one of those "writer's writers" who are so fondly recalled as a major influence by the likes of Matheson, Stephen King, Ray Bradbury, Harlan Ellison, Dan Simmons, Dean Koontz, John Shirley, et. al., but little-read among genre fans today. He died tragically young and there are no widely-available, mass-produced editions of any of his works readily available.

I found these editions of Night Ride (1960) and The Hunger (1959) on eBay recently, and was fortunate enough to get them cheap, maybe $5 apiece and in very good shape for paperbacks five decades old. Haven't read nearly all the stories contained as there are three dozen between the two collections; many were originally published in Playboy or Esquire and some Beaumont adapted himself for Twilight Zone episodes, classics like "Perchance to Dream," "Shadow Play," and "The Howling Man." The last story is one of his most famous; the Tor collection The Howling Man from 1992 is very highly sought after these days... would that I had picked it up when I used to see it on used bookstore shelves in the mid 1990s.

His technical skill and humanity, conciseness and clever imagination shine forth in the handful I have read, reminding me a bit of Bradbury's works from the same era. But Beaumont has a cool sophistication too; not for nothing did many of his tales appear in Playboy - particularly the stunning story of love and jazz "The Black Country," as well as "The Crooked Man," a positive depiction of homosexuality - in the '50s. Beaumont's influence on the horror genre is undeniable; although the tales might not quite be the "violent entertainments" that The Hunger promises - a charming conceit back then, now rather tame today - and they might not really appeal to many modern horror fiction readers, their concerns and conflicts, and of course twist climaxes, are still effective and surprising. Charles Beaumont is simply a must-read writer for the true horror fiction fan.