- Apex Publications Acquires Shock Totem Book Line
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 8
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 7
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 6
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 5
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 4
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 3
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 2
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 1
- Splatterpunk #7
Like what you've read here or in the magazine? Please consider donating.
Tag Archives: Ray Garton
The Horror Zine’s latest short story anthology, Shrieks and Shivers from the Horror Zine, edited by Jeani Rector and printed by Post Mortem Press, is allegedly also their final one. Listed as “the scariest book that [they have] ever produced” on the Zine’s website, there are some big-name authors to be found here, including Elizabeth Massie, P.D. Cacek, Tom Piccirilli, Ray Garton, and Joe McKinney, alongside many other, newer and lesser-known authors.
There were stories in this anthology that particularly stood out. Martin Rose’s opener, “Tapeworm,” had me squirming with its subdued, suggested-but-not-seen horrors. Eric J. Guignard’s “One Last Tweet” was a delightfully disorienting second-person story-cum-postmodern social commentary about our Internet age. Elizabeth Massie’s “Squatters” was a solid, old-fashioned tale of a vile man getting his just desserts. P.D. Cacek’s “Somniphobia” was a fun, hallucinatory ride through night (and day) terrors. At first glance, Nathan Robinson’s “Old Haunts” was a typically gory zombie apocalypse tale, until it cleverly asks the reader to wonder just who is narrating the story. And let’s just say that Ray Garton’s “Parasites” is NOT a story to be read in the bathroom.
I have to admit that going into this anthology I was fairly stoked, but ultimately, I was a bit disappointed. A number of the stories just didn’t groove with me, often suffering from the common storytelling problem of “too much tell, not enough show.” Others were too heavy-handed with their horror delivery. Now, every multiple-author story anthology runs the risk of having some stories that don’t work for every reader; it’s a given evil in any art field. In this case, however, the sheer number of weaker stories hurt my overall opinion of the anthology.
Bentley Little’s introduction, in which he all but literally admits that he’s only included for cosmetic purposes, didn’t help. “I haven’t read any of the stories in this anthology,” he states in his opening paragraph. “I don’t even know the names of the authors contributing to this volume.” His admission left me desiring a more dedicated introduction, be it by Little or someone else. His lack of enthusiasm didn’t help my overall opinion of the stories and my feelings of their quality.
Furthermore, the book’s early inclusion of an essay by John Russo, co-scribe of George A. Romero’s Night of the Living Dead (1968), was another touch that didn’t quite work. Russo rambles about zombies, and how they’ve changed over the years, yet not once does he mention the following stories, nor Jeani Rector, nor anything else to do with this anthology. Beyond being another big name, its inclusion is not clearly justified.
For all of its content (over 30 stories in all), Shrieks and Shivers from the Horror Zine felt like it was assembled with quantity in mind, rather than a strong sense of overall quality. Here’s to hoping that it isn’t truly The Horror Zine’s final anthology, if nothing else than for the hopes of a more proper send-off.
I’m a huge fan of anthologies and collections. They’re great for those short attention span periods when you want to read but can’t commit to anything lengthy. They’re awesome for lunch breaks and in the bathroom. (Don’t give me that grimace, you know you read in there!) The problem with them is they are most times an uneven offering of material. Several great stories sprinkled in amongst a majority of meh or even terrible tales. Once in a while you get one that knocks the cover off the ball…but that’s rarer than a four-leafed clover.
Cutting Block Press has been putting out the Horror Library series for a few years now, but this is the first I’ve gotten the chance to dig into. Thirty stories rear their ugly heads here, the majority by authors I have not read before, but a few by those I have. Let’s get into the particulars, shall we?
We open with Pat MacEwen’s “Blown,” a gritty almost noir-ish tale of death and forensics. We go then into Ian Withrow’s wonderfully bizarre story of a lonely boy and his calling, entitled “Jerrod Steihl Goes Home.” John F.D. Taff’s “The Immolation Scene” is a grisly expose on arson and treachery. “A Body At Rest,” by Lorne Dixon, one of my favorites, is a darkly sad tale of loss and grief, drenched in terror and the surreal. This is followed by J.S. Reinhardt’s “By the Time I Get To Five,” in which we meet a man trapped in his own hell.
Next up is a fantastically eerie sliver by one of my favorite authors, Bentley Little, entitled “Notes for An Article on Bainbridge Farm.” Just chilling. Sanford Allen’s “Noise” is about a concert that is not intended for everyone’s ears. Shane McKenzie’s “Open Mind Night at the Ritz” is a weird story about flesh bending and performance. I was blessed to witness him read this at KillerCon a few years ago. Shane can always be counted upon to bring the “What the fuck?” With “Almost Home,” Kevin Lucia hands us a bleak and symbolic story of loss. Michael A. Arnzen’s “Pillars Of Light” explores faith and the powerful grip it can have.
“Footprints Fading In the Desert,” by Eric J. Guingard, is a story with an almost urban legend vibe. “The Vulture’s Art,” by Benjamin Kane Ethridge, is heavy in its symbolism and grisly with its message. “Activate,” by Boyd E. Harris, left me slightly confused but seemed to carry a sinister tone. Adam Howe’s “Snow Globe” is an old fashioned tale of the repercussions of dark deeds. “Intruders,” by Taylor Grant, delivers a somber premise as to what imaginary voices are really about. And Steve McQuiggan gives us an off-kilter, slightly bizarro haunted house story with “The Boathouse.”
While not the most even anthology out there, Horror Library Vol. 5 has its fair share of solid fiction. It is a good companion for waiting rooms, bathroom breaks, and the lunch table, and is available through Cutting Block Press.
The blurb on the cover from Wrath James White says it all: “It makes me nostalgic.”
Splatterpunk is a blast from the past, seriously 80s fanzine past, as in folded and stapled papery goodness. When Ken said he was sending it to me, I was sort of expecting something else but was quite happy to be disappointed.
The brainchild of editor Jack Bantry, each issue of Splatterpunk features a handful of stories—hardcore and guaranteed to make you squirm—and the usual zine fodder: reviews, columns, and interviews.
The interview in this second issue is with the genre legend Ray Garton. The stories feature an illustration for each, beautifully rendered in stark black and white.
Four tales make up the fiction in this issue, which opens with “Fair Trade,” by Jeff Strand. This unsettling tale chronicles a hapless man called out on his infidelity by his wife. She gives him an ultimatum that becomes heavier than initially thought, and then Strand smacks us in the face with a twist ending. He’s good at this, a master.
The second tale is by Shane McKenzie, a young man I can say I’ve been watching since the beginning. He turns in “Fat Slob,” the grossest of the four stories. In it, our morbidly obese hero embarks on a weight loss journey. It features no smoothies or treadmills, no squat thrusts or carb reduction. Just a flab-hungry demonic creature, gruesome and downright icky. Shane does not disappoint when it comes to inducing the cringe.
Barry Hoffman delivers the third tale, “Room for One,” which is quite different in tone than the others. Almost dreamily surreal, but stark and raw in its emotional punch. This short tale of revenge and urban decay is superb and not easily forgotten.
Closing us out is Ronald Malfi and his tale, “The Jumping Sharks of Dyer Island.” A stunning parable about vacations and fraud and things not being what you expect them to be. To say anymore would be a disservice.
Splatterpunk is the real deal. A bare bones gooey love letter to extreme horror. I hope to see it around for a long time.