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Archive for the ‘Fiction’ Category

It’s one of the ironclad rules of media journalism that all “100 best” lists are bad.  Certainly, some are worse than others; some are merely skewed, while others cause the knowledgeable reader to wish they could reach through the screen or page to repeatedly slap the compilers while shouting “WHAT! THE! HELL! WERE! YOU! THINKING?!?!!”  Nearly all of them are biased toward the last 40 years prior to their compilation (for obvious reasons) and most of them seem to be compiled by committees which include at least one, and sometimes as many as a majority, of individuals who absolutely should not have been included due to such factors as A) conformism; B) contrarianism; C) inexperience; D) ignorance; E) lack of taste; F) stupidity; G) crippling bias; or H) any 2-6 of the preceding.  Today’s example of the genre is Variety‘s new list of the “100 Best Horror Movies of All Time“, whose chief flaw is summed up by the title of this column: it seems to have been composed by a group composed of 1 serious horror fan, 1 casual fan, 2 fans of adjacent genres, 3 non-fans, and 1 person who does not actually like horror movies, for the consumption of Variety readers who are not actually horror fans per se.  Now, before any of y’all accuse me of bias, let me get this out of the way: de gustibus non est disputandum.  There can be considerable disagreement between aficionados of any genre about which examples are best, much less the specific order they should be arranged in.  I’ve already written about my own favorites, and about my philosophy of the genre, the most important principle of which is that slashers are not horror:

Slashers are actually more closely related to porn than horror; both genres grew out of the exploitation films of the 1950s, which featured both gratuitous sex and gratuitous violence.  Those in turn were essentially cinematic Grand Guignol, whereas true horror began as filmed “ghost stories”; the former are theatrical, while the latter are literary.  Expressed another way, slasher films are designed to shock the body via intense imagery, whereas horror intends to shock the mind via terrifying ideas.

So right off the bat, the Variety list fails by putting a slasher in the top slot; the top ten are further puffed out with a satirical black comedy, a couple of suspense thrillers, and a literary exploitation flick.  And the rest of the 100 are similarly heterogeneous; there are lots of horror and slasher movies in the list, but also lots of suspense, psychological drama, tense sci-fi, monster movies, dark satire, black comedy, and other types of flicks which may indeed be entertaining and exciting and even thrilling, but are not horror.  34% are from the past 40 years (not bad as “top 100” lists go), but 14% are from the 21st century (not exactly a notable period in genre history).  So, go take a look at it if you feel so inclined; you may find a few things there you’ll want to see, even if they aren’t “the 100 best horror movies” as advertised.  And try not to get too annoyed if they ranked your favorites much too low.

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Unblocked

For six years, from the summer of 2010 to the summer of 2016, my creative output was like a geyser; I had no trouble producing hundreds of new essays a year, including a new short story every month.  But then life intervened, and sapped my creative energy so that it became harder to think of new nonfiction and much harder to think of new fiction; even semi-retirement did not bring back that old energy.  But then in January of last year I started a new solo D&D game for Grace, and it seemed to free up some long-idle creative gears which had rusted through disuse.  Of course, my brain being what it is, I had to look over a bunch of old materials and decide that they all needed to be revised, updated, or added to; for the first time since I started this blog, I started taking a little time for myself every week to work on my game world; that was what inspired me to write this essay a year ago. But I’ve finally finished most of what I’ve needed to finish, and I’m working on turning my enormous Doctor Who review project into a book as I’ve planned for three years.  Then a couple of weeks ago, on the second day of summer, a new story came to me; by the time y’all read this I may have even started writing it.  And though most of y’all will have to wait until the long-delayed publication of Lost Angels to see it, my subscribers can read it now (as soon as I’m done with it, that is) as a “thank you” for all your unflagging support.  So if you’re a subscriber or frequent gift-sender, and would like to read the story, shoot me an email and I’ll get a PDF copy out to you; it might even inspire me to stop procrastinating and get it done!

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It’s been quite a while since I wrote my reviews of series 12 of Doctor Who; I saw series 13 with Lorelei Rivers only a few months after its initial broadcast, but I really wanted to see it again with Grace on DVD before reviewing it, and I only accomplished that a few weeks ago.  Yes, I said “weeks”; I have rather been dreading tackling it, because it ain’t pretty.  Series 13 consists of one six-part story entitled “Flux”, and given its low overall quality I think it best to handle it as I handled “The Trial of a Time Lord” or Torchwood‘s “Miracle Day“, in a single review covering all of its manifold problems.

I started all of my reviews of Series 12 in much the same way as I did every review of a 6th Doctor story:  by saying something good about it, so as to force myself to be as objective as possible.  And while I’ve already blown that in the previous paragraph, I think I can be forgiven considering what I had to work with here; still, it’s a practice that proved its worth when thinking about those other two collections of execrable rubbish, so I’m going to give it a go here.  First, “Flux” isn’t unremittingly bad; two of the episodes (a third of the story) were quite watchable, and I’d go as far as to say chapter 2, “War of the Sontarans”, was actually good if one disregards the Flux-related crap, which isn’t difficult to do.  The concept of the alternate history where Russia is inhabited by Sontarans is weird, but fun, and we’e seen similar historical screw-ups created by time-tampering before.  Chapter 4, “Village of the Angels” had too many problems to be really good, but it was watchable and the flaws wouldn’t have been irremediable if worked over by a decent script editor; it also featured the only really interesting, engaging guest character of the whole 6-part story, the psychic researcher Professor Jericho, who would not have been out of place in a 3rd or 4th Doctor adventure.  That’s certainly appropriate, given that the episode is set in 1967, but also surprising, given Chibnall’s apparent inability to dependably create interesting characters while also serving as showrunner.

The rest of the characters are, as is typical for Chibnall, more like descriptions than personalities.  Many of the cast are probably very competent actors, but even the finest thespian can’t conjure Hamlet out of lackluster dialogue draped carelessly over a checklist.  Dan isn’t a strong or interesting enough new companion to balance out the creepily-codependent Yaz; Vinder and Bel are just collections of lines rather than actual characters we might conceivably care about; the dog-faced boy oscillates between annoying and silly; and none of the villains go beyond “generic baddie in weird makeup” except for Snake Dude, who doesn’t seem to actually have a dramatic function except to complicate the already-convoluted plot even more unnecessarily (but maybe might have something to do with the Mara if Chibnall had the sense to actually connect his stories to the Whovian canon instead of merely sprinkling random references to past characters & events into his script while trying to invalidate the framework in which they were embedded).  And though in the past Doctor Who was known for making even minor characters interesting, in here they might as well have script names like “Dan’s sweetheart”, “psychic woman”, “little girl”, and “old people” for all the development Chibnall gives them.

And then there’s the titular Apocalypse of the Week, the Flux, which manages to be dreadfully boring despite supposedly wiping out half of the universe.  Part of the reason is that Doctor Who has steadily inflated its threats for 60 years, and we’ve already seen “malevolent Time Lord unleashes a chaos wave that destroys much of Creation” way back in 1981’s Logopolis.  Another part is that it doesn’t actually make much sense; Chibnall seems unsure of exactly what it’s doing or how it’s doing it, which is why it can somehow be stopped by a wall of interlinked spaceships built by an advanced-but-not-remotely-godlike alien race we’ve never heard of before despite their supposedly being linked with humanity on some deep level.  And why didn’t the Flux destroy the sun and other planets, when it sure looked like it was doing that in other parts of the universe back in Chapter One?

The real answer is, unfortunately, that the Flux is a naked metaphor, an in-universe representation of what Chibnall is trying to do with the Whoniverse: utterly destroy it in order to create his own, new Whoniverse without the slightest regard for anything that came beforeTecteun is thus revealed as a sort of self-insert character, a deranged control freak who, after failing to remake everything in her own image and likeness via more modestly-megalomaniacal means (Tecteun via her creepy spook “Division”, itself a blatant ripoff of the Time Lords’ Celestial Intervention Agency, and Chibnall via all his Hapless Child monkeyshines), decide to just destroy everything (including, in Chibnall’s case, Gallifrey itself) out of spite.  “The Flux” is thus the culmination of a trend that started with mere spoiling, progressed to outright vandalism, and eventually arrived at wholesale arson of a venerable and beloved mythos.  Was the extended metaphor intentional?  I honestly don’t think Chibnall is that clever, but if it isn’t his subconscious was tattling on him. 

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People with nothing to hide have nothing to fear from O.B.I.T.
–  Byron Lomax (Jeff Corey)

Generally speaking, The Outer Limits was not as devoted to social commentary as its contemporary The Twilight Zone.  This is not a knock; the flavor of the featured tales reminds me very much of Silver Age sci-fi comics like Mystery in Space and Strange Adventures, more thrilling than cerebral, and though the technobabble nearly always has holes one could pilot a flying saucer through, the same could be said of The Twilight Zone.  The episodes were for the most part skillfully directed and shot in an elegant film noir-inspired style, enhanced with superbly creepy music and performed by some of the top small-screen talent of the day such as Martin Landau, Robert Culp, David McCallum, Sally Kellerman, Vera Miles, Robert Duvall, William Shatner and many others.  But while the stories rarely fail to entertain (though modern viewers used to CGI may find the clever-but-cheap special effects wanting), they’re generally short monster movies or unchallenging morality plays rather than incisive examinations of the issues of their day.  Of course, there are exceptions, and one of them is O.B.I.T., one of those rare teleplays which are more relevant today than when they were filmed.

The Outer Band Individuated Teletracer (O.B.I.T.) is a top-secret surveillance device which is able to tune in on any individual’s unique biometric signature in order to spy on that person regardless of walls or distance.  It is used to monitor the staff at a vital Defense research installation, and when one of its operators is brutally murdered the U.S. Senate subcommittee which oversees the facility sends one of its members to investigate.  What he discovers is a base plagued by tension, discord, and serious mental health issues, all driven by the administration’s incessant prying into every private life; though the existence of the machine is a closely-guarded secret, it is obvious – and terrifying – to all that the government clearly has some means of surveillance unimpeded by locks or whispers.  Of course, this being The Outer Limits, the machines (which the investigation soon reveals are both numerous and not solely restricted to US  government usage) are an alien device surreptitiously introduced into human society as a tool of conquest.  In the climactic scene, when the disguised alien is revealed, this is what he has to say:

The machines are everywhere! Oh you’ll find them all, you’re a zealous people. And you’ll make a great show of smashing a few of them. But for every one you destroy, hundreds of others will be built. And they will demoralize you, break your spirits, create such rifts and tensions in your society that no one will be able to repair them! Oh, you’re a savage, despairing planet, and when we come here to live, you friendless, demoralized flotsam will fall without even a single shot being fired. Senator, enjoy the few years left you. There is no answer. You’re all of the same dark persuasion! You demand – insist – on knowing every private thought and hunger of everyone: Your families, your neighbors, everyone — but yourselves.

When O.B.I.T. was first broadcast in November 1963, the security state was a mere toddler; its tools were largely limited to hidden cameras and microphones, and eminently-corruptible human snitches and busybodies.  I hardly need to point out that this is no longer the case; using biometrics to identify individuals is no longer science fiction, and the number of means the government and large corporations have to track, trace, watch, eavesdrop on, and judge every last one of us would’ve been unbelievable to a TV audience of the Kennedy era.  Millions of people in the developed world, acting individually or collectively, feel completely justified in digging into the affairs of those who have different beliefs from them, in hope of discovering some transgression or mistake that can be used to destroy the victim’s life with the help of faceless, merciless corporations and institutions.  The irreparable rifts and tensions which are the inevitable product of a panopticon are already here, and growing more dangerously-intrusive all the time.  And we didn’t even need malevolent aliens to do it to us.

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Though I’ve been a Trekkie since childhood, I had never seen all of Deep Space Nine until recently.  The reason is simple: the series premiered in January 1993 and was midway through its third season when my first husband left me without warning.  My life was thrown into turmoil and it took two years for me to get it straight again, during which time money was much too tight for the relative extravagance of cable TV.  So though I saw all of the first two seasons, half of the third, and occasional episodes (at friends’ houses or via borrowed videocassettes) of the fourth and fifth seasons, I got rather lost due to the complex story arcs and decided not to see any more individual episodes until I could rewatch the whole show from the beginning.  I gave Grace the complete series on DVD for Christmas about a decade ago, but still never got around to viewing it until this year, after I moved to Sunset as my primary residence.  As I watched, I soon found that I agree with many reviewers’ opinion that the series is the best of all the Star Trek sequel series; though it was a direct spinoff of The Next Generation I find it very much superior to its parent, not only because of its greater consistency, better writing, and relief from the pressure of being THE Star Trek show of its decade, but also because it discarded the moral oversimplification which (unfortunately) permeates most of The Next Generation in favor of a universe full of greys in which few characters were either moral paragons or cardboard villains.

This realistic portrayal of the ethical tangle that is real life was on full display in a 6th-season episode we watched a couple of weeks ago, “Wrongs Darker Than Death or Night“.  In it, Major Kira Nerys discovers that her mother, whom she believed to have died in a concentration camp during her planet’s half-century-long occupation by the militaristic Cardassians, actually survived for seven years after the very young Nerys had last seen her…as a “comfort woman” claimed by the Cardassian governor, Gul Dukat.  At first, Kira (who started the series as a morally rigid, almost puritanical character, and only slowly grew to accept that real life rarely resembles such abstractions) refuses to believe that her sainted mother could have been guilty of collaboration horizontale, then as she explores the truth (with the help of a mysterious alien device which grants her visions of the past), she instead becomes terribly angry with her mother for literally sleeping with the enemy.  But as the vision goes on, she realizes that her mother’s position as the governor’s mistress not only resulted in better living conditions for herself, but also for her husband and children, who might otherwise have died in a labor camp.  By the end of the episode she has not forgiven her mother, but has come to accept that she did what she thought best for her family, just as Nerys herself had to make hard choices (including becoming a terrorist) in her own struggle to survive the occupation.

The episode is not a highly rated one; perhaps the topic is too uncomfortable for many viewers, especially in these neo-Victorian times.  But as a sex worker and hard-nosed pragmatist, I deeply appreciated the show’s willingness to recognize that sex work, even under duress, can almost never be fit into a pat narrative of villain and victim, and its repeated depiction (in this episode and many others) of war as a filthy business from which nobody emerges entirely clean.

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Ever since I announced that I want to publish a third fiction collection, Lost Angels, sometime next year, my Muse of Fiction appears to have regained some interest in me.  I’ve been rolling one idea over in my head for about a month now, and then I woke up on Saturday the 15th from a dream that I was compelled to turn into a story before I slept again.  I’m not going to release it separately from the book, but I will tease a little of it here.  And if you’re a subscriber, gift-giver or client, and you’d like to read it before then, please just email me and I’ll send you a PDF copy.  The story begins with the director of a nursing home talking to an attendant about a recently-deceased patient…

…”It seems strange an educated man only had those two books; I don’t see a reader here. That phone screen seems very small for old eyes,” she said, rubbing hers as if to emphasize the statement.

“Oh, he spent most of his waking hours using the VR headset. Barely ever turned on the TV.”

“This?” Dr. Sprague picked the headset out of the box.  “I used to have one when I was in graduate school, back in the twenties.  But as I got older I just found it too overwhelming.  After my children grew up I never bought another one.”

“Oh, they’re a lot better than they were when I was young.  They used to make me sick and give me a headache, but not any more. Now it’s almost like the real thing, smell and all. The only thing they can’t seem to get right is the feel,” she said, gesticulating with her fingers.  “But my son says they’ll have that licked any time now.”

“Where are all his movies and games?  I just see the one that’s in the set now.”

“You know, I never gave that much thought.  I think that’s the only one he had.”

“Thank you, Jessica.  Would you mind if I sent for you when the family arrives?  If they indicate they’d like to speak to you, I mean.”

“No ma’am, I don’t mind at all.  And I won’t even tell ’em what he thought of ’em.”

Dr. Sprague laughed and saw the attendant out, then returned to her desk and picked up the headset.  In the absence of permission, it wasn’t entirely ethical to peek at what had kept a formerly-active old man busy for four years without leaving his room.  But a phrase came to her, from a 20th-century book she had often read to her children when they were young:  “When a mystery is too overpowering, one dare not disobey.”  The indicator LED was orange; there was certainly enough charge left for a quick look around whatever virtual world had been so fascinating, and she could easily pull it off and pretend she had never looked if it turned out to be something embarrassing.  So she held down the power button to start it, and placed the set on her head…

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Long-time readers know that I’m scornful of the notion that greatly-extended human lifespans would be a boon, and every year on this day – the Day of the Dead – I write about the goodness and inevitability of death.  But this year I thought to myself: what would a society of near-immortals look like?  And how would creatures who were essentially immortal (unless killed by mischance) face the prospect of impending death?

When both I and the world were much younger, I believed I would know when I had become old; I thought there would be some clear line of demarcation, at least as obvious as rooting, and that when I crossed it I would be able to say, “Now I am no longer young”.  But though the differences between unrooted youth and rooted adult are obvious, the difference between relatively young adults and old adults are not so at all.  We slowly grow larger, and wiser, and less active, and communicate more slowly and deliberately.  But at every point in my long, long life when I have considered the issue, there were some adults in the community who were younger than I, and others older; and though I can now definitively state “I am very old” without fear of contradiction, I cannot tell you at which point in my many millions of years I crossed over into that territory.

If I were pressed to choose such a line, I reckon it would have to be when I awoke from my first hibernation.  The young are far too busy and energetic for such pastimes; they have so much to see and do and learn and think about, so many worlds to explore, so many mysteries to solve and wonders to marvel at, that the notion of spending a few thousand years asleep is quite beyond their comprehension.  Moreover, it isn’t even possible to enter such a state without putting down roots, and few who do that ever get around to pulling them up again without mighty provocation.  And yet there is no set age at which one must root, nor any determinate length before hibernation; I’ve awoken to find individuals who were not yet sprouted when I fell asleep securely rooted within sensory range when I again became conscious, and heard news of others from my own season who were still flitting about the cosmos long after I had settled down to spawn.  And while I took my first hibernation some fifty thousand years after rooting, I’ve known others to go for hundreds of thousands before seeking the peace of slumber.  But when one awakens from that first deep, long sleep, one soon finds oneself the center of attention, pressed on all sides by eager, yet reverent queries from young ones enthralled by the miracle of actually being able to converse with a time-traveler just arrived from an epoch before they even existed.  Sometimes they actually want to touch, reaching out their tendrils in awe as if they could absorb the knowledge of a bygone era by osmosis.  And that experience of being a stranger in one’s own community, of being treated like a living oracle, like a weird visitor back from the underworld with divine wisdom to share…that, I think, is the experience which defines the old.

I remember the first time I as a green youth conversed with such an individual, one of the very first settlers on this world, who arrived so long ago the gentle hills to the south of that land had then been a jagged range of mighty crags, appealing to the romantic sense of a youngster who had journeyed across vast gulfs of space and visited hundreds of worlds in search of just such a wild, beautiful place to settle.  I listened almost in disbelief as we were told that at that time there was a clear demarcation of night and day, and the myriad stars were clearly visible in the sky when the world had turned so that the then-younger sun no longer was.  I was frightened by the depth of the abysses this most ancient of elders had crossed; I myself had always been a homebody, content with the occasional short foray out into space, never going far enough that my native sun was not clearly larger and brighter than the other stars.  And so, perhaps foolishly, I used the narrative as justification for my decision to remain on this world, to root and spawn here and never face the dangers of the vast unknown which swallows up so many wanderers before they find a place to call home.  If this world was so beautiful and clement that it had won the loyalty of so courageous an explorer, so perfect that it stood out among multitudes, what were the chances I would find its like before being lost forever or destroyed by one of the countless dangers of deep space?  Very low, I thought, and so I lingered there, learning all I could from that elder and many others, conversing with visitors and reaching outward with my mind to hear the faint songs of other spheres echoing against our shores from across the fathomless void.  Eventually my teacher passed again into hibernation, and I set out to find the perfect spot in which to spend the rest of my years.

I was not in a hurry; I flew slowly from pole to pole, lazily taking in the terrain below, until at long last I had returned to the place where the ancient one slept.  And then I carefully considered my observations, weighing the advantages and disadvantages of each memorable locale, until I at last decided upon the one in which I still reside all these long ages later.  At that time I was alone here, and the nearest other was at the outer limit of comfortable communication; all who reside in the area now are my descendants, except for a few who settled from elsewhere.  I have hibernated so many times I long ago lost count; after one of those, perhaps thirty or forty million years ago, I awoke to the news that my ancient teacher was gone, drowned mercifully in sleep when that land had been swallowed up by the sea in a mighty earthquake.  Some say that I am now the eldest resident of this world, and I can well believe that is so; it has been a very long time since I conversed with anyone who can recall the time before I rooted, nor even received word of any others of my season who still reside elsewhere.  Even beings as long-lived as ourselves must eventually succumb to misfortune as my teacher did; given long enough, even the most unlikely event becomes a certainty.  And though my aversion to risk has kept me alive far longer than most, my time also must come at last.

I do not believe it will be a great deal longer; though worlds and suns are considerably longer-lived than we, they too must eventually perish in the fullness of time.  The conditions on this once-perfect world are no longer what they were; it has grown distinctly hotter and drier, and my raiment, matching the sun, is far redder than the images in my oldest recollections.  The population has aged remarkably, and no young have sprouted here in a very long time; the only mobile individuals are the occasional visitors from elsewhere, and even many of the younger adults have undertaken the monumental task of de-rooting and shedding enough mass to undertake the migration to some younger orb.  But I shall not be joining them; I am far too tired, far too massive, and far too feeble to even contemplate such a tremendous effort, and my roots are so inextricably intertwined with the soil not even I can guess how far they go.  I sprouted on this world, and came of age here, and spawned here, and grew old along with it, and I am content to perish with it as well; as the songs and stories and teachings of the ancient one have lived in me far beyond the physical existence of their source, so will mine live on in countless students long after I myself am gone.  At long last I will explore the great unknown I have shunned since my youth; after ages of daylight and an eon of twilight, I am no longer afraid to face the dark.

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It’s been three years since I stopped publishing “fictional interludes” on a monthly basis, and more than six years since I stopped doing “My Favorite __________” columns.  And yet last week I started deeply missing that feature, and wishing that I could produce them as often as I used to.  That mood inspired me to pull out my own copies of Ladies of the Night and The Forms of Things Unknown, browse through them, and reread a few of them, and that in turn inspired me to make a list of my own favorites from both collections (and a couple which will be included in my next collection, Lost Angels, which I’ll probably compile in another year or so).  So without further ado (except to encourage you to support my work by buying them if you don’t already own them, and reviewing them if you like them), I hereby present my own personal top 10, in order of publication, with a short comment on each.

1) Pearls Before Swine

Perceptive readers have certainly noticed my love of mythology in general and Greek mythology in particular; a number of my stories have themes, titles, settings or characters borrowed from it.  This one has only the last, and yet its title is scriptural and its themes eternal.  And its Southern Gothic setting is, in many ways, one that fits the character almost as well as the one she’s usually associated with.

2) Bad News

While it’s not uncommon for my stories to feature dry humor, I have difficulty performing this one at book readings without giggling.  Even if I were restricted to five selections, I think this one would still make the cut.

3) Visions of Sugarplums

As befits a Christmas story, this is certainly the lightest, most sentimental, and most optimistic tale on this list.  And the protagonist is one of my favorite characters I’ve ever (literally) dreamed up, partly because rather than being a goddess, witch, villainess or femme fatale, she’s just an escort of rather nervous temperament who finds herself in well over her head.

4) Rose

This isn’t my only story which treats seriously a topic I usually make fun of in my non-fiction, nor my only story based on a poem, nor the only one featuring very dark humor.  And did I ever tell you that the unreliable narrator is one of my favorite literary devices?  Because it is.  Read this one and maybe you’ll understand why.

5) Millennium

A tale of First Contact seen through an extremely cynical lens.  You’ve probably never seen aliens portrayed quite like this before, and the fact that you probably haven’t may tell you just how cynical.

6) The Sum of Its Parts

I’m not really very good with pastiche; the only author whose style I can reasonably approximate is Maggie McNeill.  And that’s probably why I like this one so much; it reads very much like a pulp tale from the 1930s, and the characters and dialogue are, in my own admittedly-biased opinion, some of the best I ever wrote.

7) Knock, Knock, Knock

I’ve written scarier things than this, and more personal things than this, but none both scarier and more personal.  And I still don’t like thinking about it when I’m alone late at night.

8) Lost Angel

This is not a tale of horror, at least not the usual kind of horror; it is, in fact, pretty squarely in the genre generally known as “science fiction”.  Nobody dies violently or suffers some other awful fate…so why do I always experience a pronounced frisson when thinking about the ending?

9) Trust Exercise

Many of the stories in The Forms of Things Unknown are, in a way, autobiographical, but none more so than this one.  It’s about love, trust and other scary things, but it can’t possibly scare you as much as it scares me because I know what it all means.  I still think you’ll enjoy it.

10) Wheels

While “Trust Exercise” is a scary story about love, it’s not the love that’s scary; that is definitely not true in “Wheels”, the distillation of some themes that have haunted me for almost four decades and finally demanded I explore them in a more traditional narrative form.

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Once in a while I write something while under the influence that reveals some murky river flowing through caverns measureless to Man, down to the sunless sea deep in my brain.  A couple of weeks ago I replied (while sober) to some moralistic prattle about how the “sin” of homosexuality is still a choice even if it’s an innate predilection, with the following:  “Most humans are born with the inclination toward mindless submission to authority; they not only let it rule them and ruin their lives, but also foist that violent authority upon the virtuous others who are not inclined to that sin, ruining their lives as well.”  But then later in the evening, when I was already well on my way to my secret Garden of The Unknown, one of my regular readers replied with a comment on the concept of sin, and my inebriated brain responded with the following, which you may find interesting (or not):

That depends entirely on how one defines “sin”; it’s not as cut-and-dried as most people think.  Did you ever read this?  It’s one the 10 scariest short stories I’ve ever read.  Now, a lot of people don’t think it’s frightening at all, and maybe even boring; this is because it’s all suggestion and nuance and shadows and no “the house is haunted because slave children were tortured there” modern pat origin BS.  If you don’t have the kind of dark, shuttered rooms and bottomless abysses in your skull that I do, this tale may not take your imagination to the kind of utterly horrifying place that it takes mine.  But if you’re a fan of Poe, Lovecraft, Benson, Blackwood, et al, you might find it at least creepy and worth your time, if not in your personal top ten.  And if you do like it, here are my other nine; PDFs of 13 more tales are included.

No, we aren’t to Halloween season yet, but IMHO it’s never a bad time for tales of the macabre.

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