REVIEW: Fledgling by Octavia E. Butler

Nearly sixteen years after her untimely death, Octavia Butler is having a bit of a moment. Over the last few years, a concerted effort has been made to re-discover and re-claim the legacy of the first ever science fiction author to receive a MacArthur fellowship.

It is not hard to see why this would happen… Though widely-respected and a winner of various awards during her lifetime, Butler’s name has started to fade from view for the simple reason that she was never one of the four or five (predominantly white and male) authors whose continued sales keep the lights on for genre publishing. The institutions of SFF publishing are barely interested in live mid-list authors, so why would they give a shit about dead ones? Especially when the dead mid-list authors in question write books as difficult, problematic and profoundly unfashionable as Fledgling.

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On “The Terrible Old Man” by H.P. Lovecraft

Canon Fodder is an occasional series in which I write about classic works of horror fiction. This particular part of the series is devoted to the complete published works of H.P. Lovecraft, which I will slowly be working my way through.

This is basically the 1920s equivalent of a right-wing Gran Torino meme.

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REVIEW: The Hollow Places by T. Kingfisher

Given that I didn’t think that much of The Twisted Ones, I was surprised to find myself reading T. Kingfisher’s second horror novel The Hollow Places.

Perhaps I am growing generous in my old age but I did quite enjoy some of that book’s characterisation and while I felt that Kingfisher lacked the stomach to engage the book’s darker themes and images, I was at least impressed by her ability to locate these themes in the first place. Sadly, The Hollow Places is not an improvement on The Twisted Ones as while the worse bits of that novel are (thankfully) not replicated in this one, this relative easing of the reader’s burdens comes at the expense of much of what made The Twisted Ones interesting. Like islands on the Danube, my interest in this author’s output has now slipped beneath the waves.

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REVIEW: Hex by Thomas Olde Heuvelt

While it is interesting that people feel the need to explain the continued popularity of horror, my favourite account is that people choose to subject themselves to scary things as a form of vaccination. The idea being that you watch a horror film or read a horror story because that way you experience a little bit of negative emotion in what are otherwise perfectly controlled conditions. That way, when you encounter things that are legitimately scary, your brain is less likely to get overwhelmed.

The neat thing about this theory is that it also accounts for the different levels of abstraction found in horror-based media. Scary monsters might make you jump, but at the end of the day they do not exist and even if they did exist they would not really change that much about the world. Under the above theory, scary monsters are ontologically distant from the real world and so much easier to process than something like a serial killer and a serial killer is a lot easier to process than a character like the next-door neighbour in Jack Ketchum’s The Woman Next Door. The closer we get to the real, the harder the horrors are to process and the scarier they become. This also goes some way towards explaining the continued popularity of cosmic horror as even if big rubbery monsters like Cthulhu don’t actually exist, you still have to deal with the possibility that the universe is an inscrutable well of pitch-black suffering that is utterly indifferent to our existence.

Originally published in Dutch but re-published in English in 2016, Thomas Olde Heuvelt’s Hex is one kind of horror novel masquerading as another: The title and cover suggest that this is a novel about a witch but maybe that’s not what should be scaring us.

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On “The Statement of Randolph Carter” by H.P. Lovecraft

Canon Fodder is an occasional series in which I write about classic works of horror fiction. This particular part of the series is devoted to the complete published works of H.P. Lovecraft, which I will slowly be working my way through.

You never know who is on the end of the line…

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REVIEW: Those Across the River by Christopher Buehlman

I took an unusual path to this book.

A little while ago, someone who knows of the disdain in which I hold Fantasy novels recommended that I check out The Blacktongue Thief by Christopher Buehlman. The book, I must say, did not convert me to reading Fantasy but I did finish it because while I found the plot under-cooked and the characters somewhat generic, I loved the writing and the imagery. A couple of months later, I happened upon an amiable  haircut with a YouTube channel who spoke in glowing terms of Those Across the River and while I didn’t necessarily trust the recommendation, the plot synopsis combined with my respect for Buehlman’s sentence-by-sentence writing were enough for me to give him another chance, and I am very glad that I did.

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On “The Doom that came to Sarnath” by H.P. Lovecraft

Canon Fodder is an occasional series in which I write about classic works of horror fiction. This particular part of the series is devoted to the complete published works of H.P. Lovecraft, which I will slowly be working my way through.

Everything louder than everything else.

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REVIEW: Nothing but Blackened Teeth by Cassandra Khaw

Stories about haunted houses tend to fall into two broad approaches:

Firstly, there are the stories that are all about the haunting and which use their characters as viewpoints through which to explore the haunting and victims through whom the haunting’s destructive power can be felt. This style of story is quite popular in horror films but it also forms the backbone of the occult detective and paranormal investigation sub-genres where the tendency is always to show the audience something frightening and then let that horror blossom through a process of rational contextualisation whereby the spooky thing in the old house becomes a horrific truth about the world.

Secondly, there are stories where the focus is on the human characters rather than the haunting itself. In this style of story, the haunting is not required to make sense as the point of the exercise is to show you a human mind imploding under unimaginable pressure. In some ways, having a haunting not make sense only adds to its power because the characters’ inability to see the edges of the haunting only serves to make it harder to endure.

I refer to these groups as approaches because a lot of great works move between the two. For example, Ghostwatch shuffles back and forth between the approaches, hinting at hidden lore before focusing on the little girl and then moving back to the lore as the true nature of the horror is revealed. Similarly, The Exorcist presents itself as a lore-filled possession story but in reality the power of the film owes less to Catholic myth than it does to the film’s interest in the experience of the little girl and the relationship she has with her mother. Naturally, there are great examples from either form and many of the best works do employ elements of both approaches but the hauntings that stay with me tend to be of the more psychological variety. For me, the greatest ghost story of all time remains The Haunting of Hill House by Shirley Jackson, a novel in which the exact shape and source of the horror are a lot more vague than the beautifully-drawn portrait of a vulnerable woman descending into outright madness.

While any comparison to Hill House is going to be unflattering, Cassandra Khaw’s novella Nothing but Blackened Teeth is clearly a story that is more interested in the haunted than the haunting. More’s the pity then that the story’s human elements never quite snap into focus.

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On “The White Ship” by H.P. Lovecraft

Canon Fodder is an occasional series in which I write about classic works of horror fiction. This particular part of the series is devoted to the complete published works of H.P. Lovecraft, which I will slowly be working my way through.

I am too principled to experience happiness.

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