Today we are honoured to have Shadow Booth editor Dan Coxon over for a fascinating article about his journey and reasons for bringing this anthology together. The hybrid, the alien, the ancient, all these are potential sources of the weird. It seemed natural to try and give them a home. I returned to Lovecraft, and found him weirder and more challenging than I remembered. The journal is crowdfunding on Kickstarter from Today with a view to publication in December 2017.
Thankfully I started to enjoy some limited success with these, and a number of magazines and journals published the better ones I remember Trevor Denyer, now of Midnight Street, being particularly supportive with his Roadworks magazine. Hirst, Sarah Read, Timothy J. On a personal level, feels like an odd kind of homecoming. Elegant, readable, blisteringly intelligent and full of vision. I kept my weirder impulses firmly in check, replacing them with everyday tragedies and a search for epiphanies, both literal and literary. He is the editor of , a collection of short stories about fatherhood that won Best Anthology at the Saboteur Awards 2016. If you'd like to help support Mark Fisher's wife and son, you can do so with a donation.
But I can't do justice to his definitions, they only come to light when we follow him through the examples he gives. This seemed to apply to most of the stories I enjoyed, even the supernatural ones. As a writer, and an editor, the last ten years of my life have been filled with confusion. I suspect that some of these writers I love have gone through their own identity crises. I seemed to exist between genres, neither one thing nor the other.
On Saturday, I sat down in the afternoon to start The Weird and the Eerie, but just before I did so I habitually checked Facebook, only to learn that his death had just been announced. It is typically shocking, even terrifying. I, by extension, was not. There was something different happening out there, in unmapped territory. I had recently bought several second-hand Pan Books of Horror at a book stall in London, and I wanted to use them as a touchstone: broad in their range, encouraging new writers as well as established authors, and yet extremely readable and accessible. Featuring stories by Paul Tremblay, Malcolm Devlin, Richard Thomas, Stephen Hargadon, Gary Budden, Annie Neugebauer, Richard V.
The sensation of the eerie occurs either when there is something present where there should be nothing, or there is nothing present when there should be something. As such, I don't presume to write an obituary. James , but there are many others who one would not approach in these terms: H. Why is there nothing here when there should be something? Instead, he seems to have wanted to equip the reader which as much material as possible for their own research, not wanting to exhaust any particular vein of the weird or the eerie. In his book The Weird and the Eerie, Mark Fisher does an excellent job of distinguishing the two terms, but he also brings them together.
During my university years, and the years immediately after, I wrote strange little stories that I thought were groundbreakingly brilliant, but which few others had the time for. To celebrate the launch of the Ginger Nuts of Horror has a series of exclusive interviews and articles from some of the contributors to the first volume. The decision takes no time at all. Then there was the time travel story about an erratic time machine constructed of skin and bone. . Slowly, I started to encounter a few authors who occupied a similar hinterland. What Fisher succeeds in doing is showing us that weirdness and eeriness are experiences that can, and do, occur in utterly unexpected ways, and in unexpected places.
Nor must they always be horrifying, as both hint towards the possibility of radical alterity, to the idea that things are neither always what they seem, or fixed as they are right now. I barely made a penny from any of them, but I felt as if I was slowly getting somewhere. Some are definitely at the eerie end of the scale Paul Tremblay, Stephen Hargadon. The unknown is not always unwelcome. His dark half will also be reading something strange on the Saturday evening. The eerie operates more by suggestion, by what is left unsaid. Instead, he acts here more like a surveyor, producing a map that he wants us to make use of, and explore more thoroughly.
What I did read, his essays on Joy Division and Burial in particular, was extraordinary. The weird has a note of grotesqueness, while the eerie has a note of lack. Featuring stories by: Paul Tremblay, Malcolm Devlin, Richard Thomas, Stephen Hargadon, Annie Neugebauer, Richard V. Through Adam, I found Machen, and then Ligotti. I knew from early on in the process that I wanted to encompass both. Whether you find them weird, or eerie, they are all undeniably strange. It made sense for The Shadow Booth to be a mass market paperback too, somewhere in the region of 200 pages slim enough to still fit in a pocket.
By eerie, we designate ' a failure of absence or. The competition was simply too good. The usual suspects are there the weird as presented by H. What is perhaps most striking in this book is the multiplicity of examples he uses to demonstrate the variant workings of weirdness and eeriness. The black cover suggested itself and could not be ignored. Lovecraft, the eerie as presented by M. I'm just going to review a cool book by a cool guy, who I wish I'd known.
I remember a song from my teenage years, around the time that I was starting to read Moorcock and explore the gothic, by the band Therapy?. The book is split into two halves, one for each of the topics. Drawing its inspiration from the likes of Thomas Ligotti and Robert Aickman, The Shadow Booth explores that dark, murky territory between mainstream horror and literary fiction. But now, unexpectedly, I have stumbled across a tiny, one-man booth in the desert sands. Fisher rarely spends more than a few pages on any single book or film or album. I didn't know him, I had never met him, and I'd only become aware of his work in 2015. Hopefully this goes some way towards explaining why I decided to launch , a journal of weird and eerie short stories by contemporary writers.