Tag Archives: Paul Tremblay

Shock Totem #10—Available Now!

It’s been a long time coming, but we are happy to announce that the tenth issue of Shock Totem magazine is available for purchase!


Cover art by Mikio Murakami.

Here is the official Table of Contents:

* Notes from The Editor’s Desk
* Rumor and Shadow: The Haunting of the Everett Mansion, by Barry Lee Dejasu (Article)
* The Henson Curse, by Paul A. Hamilton
* Blue John, by D.K. Wayrd
* Post-Modern Pea Soup: A Conversation with Paul Tremblay, by Catherine Grant
* Three Years Ago This May, by Trace Conger
* Malediction, by Margaret Killjoy
* Sweet William, by Mary Pletsch
* Deerborn, by Leslie J. Anderson (Poetry)
* Strange Goods and Other Oddities (Reviews)
* There’s a Tongue in the Drain, by Roger Lovelace
* Wasps, by Thana Niveau
* Standing Behind the Curtains: A Conversation with T.E.D. Klein, by Barry Lee Dejasu
* The Tall Man, by Eric J. Guignard
* Winter Fever, by Samuel Marzioli
* Bloodstains & Blue Suede Shoes, Part 8, by John Boden and Barry Lee Dejasu (Article)
* The Eavesdropper, by Sarah L. Johnson
* The Last Treehouse, by David G. Blake
* Howling Through the Keyhole (Author Notes)

The print edition can be purchased at our webstore or Amazon.com and other retailers. The Kindle edition can be found here. E-mail us directly for ePub editions.

If you have any questions, please ask. Thanks for your patience and support!

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Letters to Lovecraft

There are currently about nine-hundred and thirty-two Lovecraft-themed anthologies out in the wild, with maybe another seventy in the works. It’s a popular concept. I like Lovecraftian fiction but quite similar to the way over-saturation made me cringe at the word “Zombie,” I’m starting to wince when I hear the “L” word.

When I was asked to review this book, I hesitated until I saw the authors involved. It includes some of my current darlings: Cameron Pierce, Stephen Graham Jones, Jeffrey Ford, and others. The idea of this anthology is refreshing, instead of asking authors to channel their inner Lovecraft they were told to read his famous essay, “Supernatural Horror in Literature,” and then turn in a tale inspired by quotes from it.

So it ain’t all tentacles and fishy mutants. But don’t be all that sad, those things are in here too.

The volume opens with “Past Reno,” by Brian Evenson, in which a man runs both from and toward his past, wanting to claim and also deny his inheritance. Paul Tremblay delivered a short strange tale called “_______” in which a family grows closer in a subtle and unsettling way. Stephen Graham Jones’s hands in “Doc’s Story,” a fantastic story of a family and their curse. Like everything else that the man has written, it’s brilliant.

Cameron Pierce’s “Help Me” is a bizarre and heady tale about a man and his otherworldly catch. Tim Lebbon‘s “The Lonley Wood” is a dark voice in an echoey chamber. Closing out the collection is “The Semi-finished Basement,” by Nick Mamatas, a darkly wry tale of a local group who meet and discuss world demise over cookies and drink…this one has teeth and a great winning smile.

There numerous other tales as well, featuring rituals and sacrifice, evil fairies and demonic beings, monsters and misdeeds. All are pretty good.

Overall this is a satisfying anthology. Editor Jesse Bullington has done a good job of putting together a sharp product, unique in its premise and put together well. The stories are strong and while some are a bit, I’ll say, dry, most go down easy and quick. The number of new writers (defined as names I was not familiar with) is pretty high and I wasn’t disappointed by any of them. If you’re a fan of all things Lovecratian, then make a spot on the shelf for this one.

Available through Stone Skin Press.

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The Children of Old Leech: A Tribute to the Carnivorous Cosmos of Laird Barron

I approach most multiple-author anthologies skeptically, because more often than not, they turn out to be a mixed bag. This doesn’t necessarily mean they turn out to be bags full of crap—only that some of the stories may be good (or even great), and others—not so much. Co-edited by anthology wizard Ross E. Lockhart and Justin Steele (who conceived of this anthology), The Children of Old Leech is unfortunately no exception to the mixed-bag phenomenon, but it’s an unusual one in that all of its stories are set in (or are otherwise inspired by) the terrifying worlds penned by the author Laird Barron.

If you don’t know the works of Barron, I highly recommend you change that right now, and not just for the sake of this review. He’s an amazing writer, perfectly fluent in the language of nightmare, as well as of English. The world he sees and describes is, as the subtitle to this anthology suggests, a “carnivorous” one, wherein malignant forces aren’t merely waiting to creep into our collective consciousness and bring darkness over us all—such forces are already here, gleefully watching humankind blithely walk about in this illusion of light, sanity, and safety, just waiting for us to stumble into the dark that’s always all around us. When you read Barron, you discover that holes in trees and basement doors left ajar are doorways into the howling, bloody voids. Dark forces seem drawn to the Broadsword Hotel, set in Barron’s hometown-cum-playground of the Pacific Northwest. Copies of a mysterious book, Moderor de Caliginis, “Black Guide,” a sort of unholy travel guide to these dark places, frequently pop up in his tales. And just how well, a character in one of his stories may ask you, do you really know that friend of yours, or even your loved one? Does that scar on their neck almost appear like a seam in a flesh-mask? Ah, but perhaps it is, and perhaps they are in fact a Child of the Old Leech themselves—but don’t worry, for they love you…

So what of the seventeen authors’ respective tales in The Children of Old Leech, then? What else of Barron’s nightmarish world could be explored? Could there possibly be anybody but Mr. Barron himself whom could properly observe and tell tales of his “Pacific Northwest Mythos?” The answer, judging from this collection, is in fact largely a yes—and sometimes, a no.

First of all, there are a bunch of solidly written stories that rightfully belong here, even if they aren’t immediately obvious in their inclusion. For instance, the opening tale, “The Harrow,” by Gemma Files, is a fine tale of building madness as a woman starts digging up strange artifacts from her backyard. Orrin Grey’s “Walpurgisnacht,” while reminiscent of the works of Klein, Brite, and even good ol’ Lovecraft in narrative, felt like a tale that would make Barron proud. And “Pale Apostle,” by J.T. Glover and Jesse Bullington, is a pulpy tale set in a Chinatown gift shop, with the “Barron-ian” vibes hovering just outside its closed windows.

Then there are many stories that are far more obvious in their complements, and although not all of them worked (T.E. Grau’s “Love Songs From the Hydrogen Jukebox” was a little overlong in its buildup, and Michael Griffin’s “Firedancing” kind of lost its steam toward the end), some of them really nailed their tribute to Barron and neatly earn their places in this book.

There were also a number of tales that made spins on traditional narrative. The mercurial prose of Jeffrey Thomas’s “Snake Wine” and Stephen Graham Jones’ “Brushdogs” made for reads that were every bit as hypnotic as they were eerie. Two tales even took a straight-up epistolary approach: “Good Lord, Show Me the Way,” by Molly Tanzer, which neatly wove a three-person e-mail conversation regarding a grad student’s questionable dissertation (and its mysterious aspects thereof), and Paul Tremblay’s “Notes For ‘The Barn In the Wild,’” a series of notes (and footnotes!) written by an ambitious explorer looking to make a new account of his excursions into nature, and the strange discovery he makes in the woods. Both of these tales were as psychologically engaging as they were creepy, and were among my favorites out of the whole collection.

The story by Cody Goodfellow, “Of a Thousand Cuts,” is also of particular note, for the sheer fact that it is a spin on Barron’s often-overlooked short novel, The Light Is the Darkness. If you haven’t read that novel, I’d highly recommend you do so before jumping into this punchy tale.

And then there was John Langan’s “Ymir.” The only thing I could say after I finished reading that one was “Wow.” The amount of locations and even subgenres that it dexterously navigated was almost dizzying—and it was a short story, for crying out loud! And like the other tales I most enjoyed here, while I seriously didn’t quite understand what I experienced in its hallucinatory whorls of mesmerizing prose, I got enough out of it to know it was one hell of a cool ride. (Points also to one of its key characters being named Barry.)

Ultimately, these seventeen tales were mere candles held up in the middle of yawning, pitch-black caverns, catching mere outlines and glimpses of that “Beautiful Thing That Awaits Us All.” Laird Barron will return with a new, definitive tale (or collection of tales) of madness soon enough, I’m sure—but in the meantime, this is a nice appetizer from fans and for fans of the master navigator of our blackened world.

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The New Black

The New Black is a collection of twenty neo-noir stories. That is the promise from the back cover of this new anthology put out by the fine folks at Dark House Press and edited by Richard Thomas. No, not the guy who played John Boy on The Waltons. This cat is cooler. Way cooler.

Now, full disclosure: I have no idea what neo-noir means. I don’t much give a flying fig about genres and sub-genres and their sub-genres. I like good stories, interesting stories. I love strange stories, especially. And I loved this anthology. Loved!

After a forward by Laird Barron, we get to the stories. Opening with a tragic and deeply troubling tale by Stephen Graham Jones, “Father Son, Holy Rabbit,” which stuck in my head for days! This is followed by Paul Tremblay’s “It’s Against the Law to Feed the Ducks.” Another gut-puncher of a story about loss and regret and fear…and love. I almost jumped ship after this one, as I was not sure I could troop through another eighteen tales of this caliber of heartbreak. But I soldiered on.

Lindsay Hunter’s “That Baby” is a sideshow freakazoid parental nightmare. “The Truth and All It’s Ugly,” by Kyle Minor, is a disorienting re-tooling of Pinocchio or Blade Runner. Kind of. Craig Clevenger’s “Act of Contrition” gives faith fangs and something sharper and deadlier. With “The Familiars,” author Micaela Morrissette delivers what is my favorite of the bunch, a stunningly beautiful and terrifying tale of a child and his imaginary friend. Really, this one will knock you out.

“Dial Tone,” by Benjamin Percy, is a tale of loneliness and loss of one’s self. Roxane Gay’s “How” is a unique and wonderfully odd little story told in short instructional blocks. Roy Kesy’s “Instituto” is about vanity and its ultimate price. Craig Davidson’s “Rust and Bone” concerns a boxer and revenge. “Blue Hawaii,” by Rebecca Jones-Howe, is a scathing diorama of a deeply flawed pair and their demons. Joe Meno’s “Children Are the Only Ones Who Blush,” is a stunning and strange drama about an ostracized and pained young man and his struggles with getting on in his world.

“Christopher Hitchens,” by Vanessa Veselka, tackles faith and loss and stars grief and dolphins. “Dollhouse,” by Craig Wallwork, is an effective haunted house story, and that’s a very simplified synopsis. Trust me. “His Footsteps Are Made of Soot,” by Nik Korpon, is a haunting tale of home surgery, resentment, and mortality. Tara Laskowski’s “The Etiquette of Homicide” is a how-to guide to being a killer for hire. This story has one of the best last lines EVER!

“Dredge,” by Matt Bell, shows us a twisted glimpse into the lonely and odd circumstances of a sad man and the dead girl he finds. Antonia Crane turns in the metaphorically titled “Sunshine for Adrienne,” wherein we wallow in the tragic misery of a very broken girl. Richard Lange’s “Fuzzyland” is a brutal excursion into denial and running from yourself. And then we hit the final story, Brian Evenson’s “Windeye,” a delirious nightmare about a house with an extra window.

The New Black is a great collection of incredibly unique fiction. I honestly liked every story in here, and I usually don’t say that about an anthology. It was also nice to encounter so many authors with whom I was unfamiliar. A strong compilation of talent. Very strong.

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