Monsters on Milk Cartons: Where Is Our History of Horror & Who Is Writing It Now?


Once upon a time, when the Horror genre was at war with the Literary Critic over whether any Horror was ever Literature, essays, reviews and opinions abounded. Everyone got in on the act – from writers like Poe and Lovecraft, to pulp writers and editors and reviewers.  Their commentaries and essays often appeared in genre magazines, anthologies, and in the front and back matter of novels, anthologies, and classic reprints. Horror lovers had opinions, and they argued them passionately.

Horror, like the Science Fiction and Fantasy genres, had very articulate “experts” and defenders; we were a sentient genre. But ever since the 1980’s Slasher end to the 1970’s Horror Boom, we seem to have lost our voice. In fact if it were not for Critic Harold Bloom’s attacks on Stephen King, there would have been an even more alarming radio silence since then.

What happened? Where is our genre narrative? And why in the age of “communication” and social media, is there less conversation? Why is there no apparent documentation of our history?

In fact…where IS our history?

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http://ninapaley.com/Portfolio/Nina6B.htm

The Inevitable Identity Crisis

It may be unpalatable to some, but one reason we have lost cohesion in the genre is because we have gained the interest of Literary Critics. In other words, we have proven just enough of our genre argument that Horror does descend from and occasionally revert to Literature that we “won” the war. However now the Hard Stuff begins. Now the Critic is asking questions we have no one willing or prepared to answer.

The problem is that the Literary Critic is asking questions we didn’t even know we had ourselves. We have been left alone so long to stew in our imaginative juices that we never stopped to think that maybe our own ideas about Horror were just our own and no one else’s. We had our own concepts of what tropes were and should be, of what conventions were required or self-eliminating, or what formula existed or did not; but there were no real, firm rules written down anywhere. We had writer’s beliefs, public opinion, and editorial preferences.

We have been our own authority for so long, it never occurred to us that we had no authority — just opinions. But now the Critic comes along asking what should be simple-to-answer questions. And they are turning out to be not-so-simple.

Questions are essential to the Critical purpose of recognizing our genre. To be clear, they do not establish what the Horror genre is defined by; they detect patterns.

Critics then are looking at what our editors, publishers, and writers have called Horror through the years. They are plumbing the depths of our print history looking for the bread crumbs that tell them what we think Horror is. Then from that, they will look for Literature…

This does not mean that pulp would be excluded as a sort of waste product; rather it would find itself relegated to a subgenre defined by strict and predictable formula. It would exclude itself from Literature, but not from the genre itself. But it does mean that all of our writing will have to be measured against an agreed-upon criteria, and some of us will not find the works we think we should find as the apple of the Critic’s eye…

What the simple beginnings of this process has done is to rightly shine a light on our genre’s internal conversation – which seems to have almost completely stopped or been stopped. And make no mistake, we are all stumped at the absence of words.

Our history is nowhere to be found at the moment. Our commentators are not commenting. At the precise moment when we have the Literary Critic’s long-awaited attention, we have no one to respond to it. And this is as alarming as it is embarrassing.

The reason for this silence is multi-fold, but the effects of it have been nothing less than devastating, because for the bulk of our historical record destruction, we can thank the internet. Nothing is turning out as promised. And the erasure of the old system of traditional publishing is having a crippling effect on our genre — precisely because of our years of battle. It absolutely does not help that the internet wooed us into certain false beliefs about how immortal all writing would become — how accessible…

For example, we have long had it preached to us that the internet would open all doors and that people of similar minds would find each other and unite, and wondrous alliances would form and knowledge would spill forth into and all over the universe.

It didn’t.

In fact, all it did do was kill print – the very medium in which the bulk of Horror lives, and the exact place documentation of our entire history was placed for safekeeping. Print, you see, was believed to be the medium that would last long after most if not all of humanity perished.

Since around 3400 BC, we have been collecting writing as a species. So the rise of Amazon and the virulent attack on the hard copy medium of all of the Arts, the open invitation to theft of intellectual property was certainly on nobody’s radar. But the Tech Revolution has made it a point of its rise to obliterate Art as a living for Artists, and in that process, everything our genre produced in writing in the very public battle of that Critic versus the Genre War has been all but lost.

This has been a devastating blow to the genre. And from the current trajectory of technology, we may be losing literally everything we have worked centuries for.

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You think I am kidding about where we nested our history? Go here https://www.amazon.com/Classic-Horror-Collection-H-P-Lovecraft/dp/1788285387/ref=asc_df_1788285387/ and read the introduction…

Our History in Reprints

In the Horror genre, we have always had dedicated fans. And for us, our most vocal writers and editors independently kept the flame of defending our genre’s Literary integrity alive for decades. We did it in print, and relied on its immortality in reprints.

People get to know each other by reading their words. Oral tradition becomes written tradition. And through that process, we all get to see where we fit in, where we have come from, and what our predecessors were thinking.

But we also through print get to peek through the window of time to see where we have come as cultures and societies. This means that essays included in the front of those books often say as much about our changing values as they do about Literature or individual writers’ lives. But it also means we sometimes have the privilege to discover lost or hidden gems in details about certain publications, publishers, editors or writers; we get to see the unvarnished history of the genre…

In Horror, we had begun to assimilate and collect our own history because no one – especially not the Literary Critic – was doing it. There was a strong sense of torch-passing, of keeping the words and opinions of our own greatest writers alive. There were those who collected the good stuff and saw to it that our most influential writers were reprinted often with or within the genre Classics – the ones that were so indisputably Horror and so probably Literature that we wanted to educate new initiates to the genre. Along with those works came the arguments for their defense – either Literarily, or simply for the pleasure of their existence.

Editors came to play a big part in this, primarily because they oversaw the genre during the publishing boom that happened from the 1950s to the 1980s. They were in perfect position to have opinions and gain battlefield experience and expertise, and so they wrote about it.

For anyone who wants to “read” the history of the Horror genre, you need to find old magazines and old reprints of Horror books and read the front matter – the prefaces and introductions and forewords written by our genre experts. In those you will witness not only what Horror was doing in every decade, but what writers and editors felt about the definitions and directions the genre seemed headed in. You will find essays on classic writers, including hard-to-find details about writer biographies and publication history, battles with Critics and editors, opinions about formula, conventions and terminology.

This peculiar way of documenting our history was oddly what the internet was supposed to be about…everyday fans and genre Establishment discussing the genre…

And because print lives in a world where reprints also live, even if you missed a great essay, chances were it would be reprinted enough times elsewhere than the original publication that the everyday fan could find it…eventually. Now, however, the silence on our historical journey is deafening.

With the single exceptions of editors Stephen Jones and Ellen Datlow, no single editor is being published in print regularly enough to establish those historical breadcrumbs. No one.

And I absolutely bristle when anyone in the Establishment says we can of course have access to our own history through the internet.

Take editor Paula Guran as the most horrific modern example. One of our genre’s finest editors and one who will historically go down as one of our century’s most prominent editors as well, Guran once produced email Horror newsletter Dark Echo “for horror writers and others”… http://paulaguran.com/about/ This was not only well-received by the Establishment, but was touted as one of the finest publications in the genre; I personally visited its pages on the net frequently. And I never would have guessed based on the mythology that I would one day not have it as a reference. Well, the day came.

Within those pages, Guran often discussed pertinent changes happening in the genre – living history…It was part of the literal pulse of the genre. And now that it is no longer in production, you cannot retrieve it on the internet. Period.

ALL OF THAT INFORMATION IS LOST. GONE. IRRETRIEVABLE.

Guran, an undisputed contributing authority on an important period of our genre, has been silenced – first because the what’s-on-the-internet-lives-forever myth really was a myth, and because the internet’s evisceration of print has led to the loss of yet another regularly employed editor in the genre: her. (And when the genre is willing to lose its Number Three editor – Number Two in the U.S. – then Houston, we have a problem.)

We are fast approaching an unsustainable new fiction-breeding population: less than two established editors in a genre equates to homogeny in that genre. And that is a direct result of the Tech Revolution’s plan to end print… which is starting to suspiciously look like a plan to end a lot of writing and writers along with it.

But there is another problem – the problem that ending the print industry means an end to the collecting of those previous and historical works (let alone modern ones), and an end to accessibility through availability, and the established cycle of reprints.

Not only can we not get reprints of older historically-relevant essays, but we cannot get what was printed (or internet generated) a decade ago.

How long are we going to put up with this?

Why is the solution someone else’s problem?

And where the hell is our Establishment? Rubbing their hands in glee anticipating a total takeover of the genre from the inside out?

It certainly feels like it.

I will say it again: our complete history exists in the front and back matter of countless, previously published books. NO ONE has collected them all in one place. NO ONE has sat down to collate the information into one or more volumes so that real Horror fans and writers who want to be educated within the genre can at least self-educate.

And what about future editors?

Does no one think that what has transpired over this tumultuous three decades of internet intrusion deserves documentation?

Really?

If all we have are MFA programs that despise genre writing, and virtually no print magazines, and limited markets for new and upcoming writers, and one remaining reputable and traditionally trained/established editor, and an elitist professional organization… How exactly are we to prevent uneducated-in-the-genre-history editors from misguiding the genre? How do we stop what will most certainly become ignorance?

With the loss of print, we have lost not only paying jobs in the genre, and training grounds in the genre for editors and writers, but we have lost the collective memory of our history.

How then can we also possibly help the Critic help us?

More importantly, how do we keep Horror on life-support until a real plan shakes out?

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 Critics and Comic Books

This is what the internet has reduced us to:

One freaking editor still working in this country who knows her stuff.

And no one is saying anything. Are you kidding me?

It seems right now that the only passionate people who give a flying **** about the genre are comic book/graphic novel writers and our one single official Literary Critic – S.T. Joshi. And while we have “people” doing what is being called Literary Criticism – as in the case of Jeff Vandermeer – keep in mind the field of Literary Criticism is not the field of criticizing Literature, but a Ph.D. level educational credential.  (Vandermeer does awesome critical work but I do not yet see the credential behind his name, so can recommend him as an awesome essayist but not as a Literary Critic.) There is also real Literary Critic and writer China Mievielle, but at this time I am unaware of any published Critical work by him (which I fervently hope he will change soon), and can only point to a few front matter works by him, which are impressive and worth the read.

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Go here   https://www.amazon.com/At-Mountains-Madness-Definitive-Classics-ebook/dp/B000FCK5US/ref=sr_1_1?keywords=mountains+of+madness+mieville&qid=1567428014&s=books&sr=1-1-catcorr#reader_B000FCK5US    to read his fantastic Critical essay on Lovecraft.

Comic books and graphic novels is where a lot of writers and opinionated fans have retreated. Perhaps it is because of this age’s reliance on the visual, or perhaps it is because these subgenres of Horror have always been underrated and a bit rogue. Campy and rich with pulp, they represent the roots of our genre in a unique way, and within their own worlds, they may well be living and holding the hidden history of the genre right now. But if you are looking for “official” history, you will have a hard time cumulating it in the here-today-gone-tomorrow Print On Demand environment of our hide-and-seek world of the internet.

You are, I think, better served to look to the Critics. And in this case, our one Critic.

S.T. Joshi, once a writer in the genre himself, has taken it upon himself to try to do some of the heavy lifting in getting Horror established as a Literary genre. He has begun not only looking for the history of the genre and the works and writers that make up that history, but has begun the much harder conversation of defining the genre…

What is Horror? And is “Horror” the right name for the genre?

He has begun looking for terminology, to come up with a common lexicon so there is absolutely no confusion about what is meant when Critics and others sit down to talk genre shop.

There was a time when we would have had “people” to engage in this conversation. But either they are not out there, or the internet has made darn sure they cannot be found.

This is a problem. And I am sure that not even a Literary Critic believes that his or her singular voice should be the only voice in a discussion.

But right now, Joshi is the only one consistently publishing his continuing analysis of the genre, and he is a bit handicapped, because being human, he has preferences and aversions. He is, at least, uniquely honest about them as he sets about his mission to establish definitions and ground rules for the genre. And as such, we are privy to some very revealing internal discussions he is being forced to have with himself, and the opportunity for fans and writers of the genre to learn something valuable about the genre and Literary Criticism is priceless.

I recommend Joshi highly, because whether you agree with him or not, he is helping the genre understand not only Literature, but its own role in it. He is inadvertently speaking TO us as a genre, showing us how Criticism works and why it needs from us what it needs.

He helps us see the reasoning Critics use to determine Literature, and in doing so helps us to look at our own writing and works differently – in such a way that we can either say we don’t write Literature and don’t want to, or that we would like to try our hand at it and therefore how to get into the mud with it.

Either way, he is educating us about how Literature and Critics work — how they think. What we do with it and how we argue and debate about it can and should be informed by just this type of academic writing structured for the layman.

So here are his works that you need to read and force yourself to read completely (whether you agree with him or not) because IF you don’t agree, learn what he (a Critic) needs to hear back from you on why or why not. If you don’t speak his language, and he does not speak ours, then we are just yelling at each other.

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What To Do About Our History Amnesia

The most important thing a fan can take away from this is that Horror as a genre has had many growing pains and has had many people that stood up to document those pains. We have a written history that is splashed all over the front matter of books we cannot get or find anymore.

But there are people. We still have “people.”

And our history was never intentionally lost but deviously and unceremoniously erased by the Tech Revolution fallout.

We need to set about reacquiring it, republishing it, and making it available to novice writers, editors and new fans.

I recommend reading the essays of Lovecraft and Poe where ever you can find them. But I also recommend reading essays by Stephen King, and S.T. Joshi (who admittedly dislikes his writing). I recommend reading anything written in front matter by editors Ellen Datlow, Paula Guran, Jeff Vandermeer, Stephen Jones, and occasional editor British Literary Critic China Mieville. And anything written by writers like Ramsey Campbell, Robert Bloch, Clive Barker, Neil Gaiman, Ray Bradbury, and Joyce Carol Oates are also vital to the ongoing discussion of our history.

For “documentation” of the genre’s ongoing history, I strongly recommend the Mammoth Book series of Best New Horror (an annual publication of international repute). Currently edited by British editor Stephen Jones, the voluminous front matter includes the Year in Horror summation with genre news, new and defunct publications, industry changes and effects, books, movies and anthologies published/produced, awards and obituaries. Read it and you will be fully “up to speed” on the year.

Because this is all that remains of our historical narrative…

And if we don’t do something definitive and soon, we are going to be lost to another kind of history.

It’s time to start reconstruction. It’s time to start working with Literary Critics. It’s time we starting talking to each other as a genre again… It’s time to be monstrous.

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https://www.amazon.com/Lunarable-License-Monsters-Parenthood-Aluminum/dp/B078J5YV7V

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Where is #26? Mammoth’s Best New Horror Goes Hardback


If you think you hear the gnashing of teeth….It might be me.

As if it wasn’t hard enough waiting almost two years for any given year’s Best New Horror from Britain’s Stephen Jones…

Now most of us will have to wait even longer to own it, because BNH #26– missing for almost two years now from American shelves, has gone hardback and gone exclusive in distribution. And the cost alone will take it out of the hands of many while making the reservation queue at libraries even longer….a whopping $45 American.

Well… if and when it gets here for the rest of us brick-and-mortar diehards…

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This is not the news I was waiting for. But I am pretty sure that is me on the cover when I heard the price.

For those who don’t know, Stephen Jones is probably the apex editor of all Horror fiction. His work is the most recognized, the most lauded, the most respected in the genre. For many fans, he does not just have his fingers on the pulse of Horror – he holds its bloody, pulsating heart.

His editorial picks are the ones we excitedly wait for as fans, and the ones we lust after as writers. He knows his stuff and he knows the genre like few others. His typically lengthy year-in-review introductions are practically annual documentaries of what is happening in the genre on both sides of the pond, in publishing, in editing, and in markets. The historical value of the front matter alone is typically worth the price of the book. And if you are a writer or serious fan, it has probably been an indispensable part of your genre history files.

So what on earth possessed Mammoth to issue it in an unforgivably expensive hardback edition, and then to not just physically release it everywhere here in the U.S.?

It’s bad enough that we seldom get British Horror in the United States – neither as announced availability nor in our brick-and-mortars, and now this elusive (still not available in most bookstores from P.S. Publishing) annual collection from 2015 has gone elite on us.  Although Amazon claims to have access, why isn’t this available anywhere else? I work for one of the largest bookstore chains in the U.S. and I cannot order it. Not for me…not for my customers.

And what is with the price?

The whole pricing issue in adult book publishing is so frustrating. I am always hearing how Young Adult is the big moneymaker…that this is where sales rule. I also hear that this is why they suppress the price of YA fiction. And I am thinking:

Just WHO is the Brainiac who decides that YA is popular and therefore they must keep the prices down and NOT that YA is popular BECAUSE the prices are kept down?

(I know. I am ranting. But I wait for this collection every year…. And now I am bitter. And by its own e-sample introduction, #26 states right off the bat that “67% of books sold in America were in print format” as opposed to 23% in e-book format… so WHY are our choices e-book or a brick of gold to the Amazon gods?)

Really. The sticker shock is absolutely paralyzing as it is…just wander from YA and see what I mean: visit children’s picture books at an average of $17.95 by comparison. Or tour the adult section where a YA hardback is $10.95 and an adult hardback is now typically $27.95.

This is part of the reason Adult Horror fans have defected to YA Horror…and why IF print sales suffer, price has a lot to do with it.

I mean I was “willing” to shell out $27.95 for Best Horror in hardback…but $45 is giving me serious pause. That is one-fourth of my weekly income.

Maybe I’ll just wait for the movie…

Conspiracy Theory, Anyone?

But what really ticks me off, is that because of the pricing the sales will plummet as compared to other anthologies and other years. “They” will say, “lookit…Horror is not selling. Not even Stephen Jones.”

Granted, ALL of fiction sales are down in adult anything. But we aren’t going to reverse that course by making what is a relatively sure guarantee of a good anthology ungodly expensive and limited in availability.  Mammoth….what is wrong with you?!

Does this feel like a conspiracy to you? Somebody is putting a strangle hold on our genre. They are publishing everything in hardback sporting optimum prices and nobody but Stephen King can pull that out…and I’ve even seen King fans put other selections back just so they could afford the one hardback. Then publishers deign to brag how Horror is dead, the proof being in the sales.

Pish tush. Give us back our paperbacks and our section. We’ll show you… the relative and consistent successes of American editors Ellen Datlow and Paula Guran should be proper “evidence”… and seriously….GIT YER MITS OFF THE BRITISH!

Our economy is on life-support and our paychecks with expendable cash are dead-on-arrival. That has nothing whatsoever to do with not wanting to buy Horror; just check out the long reserve lists at libraries. However, it has everything to do with buying expensive books by writers that come with satisfaction guaranteed (like classics, or Rice, Campbell and King), and with shopping the bargain tables.

Nobody disputes the need for hard cash to pay for professional editing and snazzy covers – we want that and are willing to pay for that. But some of us don’t have a first born to give or a second mortgage to take out. Killing variety and choice and then raising the prices on what remains is NOT going to improve profits. People who would otherwise spend their grocery money (like I used to and sometimes still do) are going to just walk out of the store. For too many, $45 might as well be a million. We can’t do it. We won’t do it. Even for British Horror.

And that says nothing about what this does to American Horror writing…Keeping British Horror writers visible is important; they are our inspiration and our competition. If we can’t write like them or in spite of them, we lose our creative momentum, the all-important sense of genre tradition, the gravitational pull of their moon, the directions of genre evolution in the English language, and just some darn good reading.

Our editors continue to complain about our lack of originality and our knowledge of our own Horror lineage. So sure it makes perfect sense to just cut us off from the Brits… the Keepers of our Origin Mythology… (I am being sarcastic.) This feels like censorship, even if one is trying to protect American publishing: we should do that by writing better fiction or getting better editors or better publishers…hey? I am saying our genre on the American side is suffering from this isolationism.

And donning a higher price point also says nothing about repairing our need to just read in our genre – and read broadly. The British are a distinct “flavor” in the genre, and an important historical root.  Whether it is because they are writing better Horror, have more Horror writers, or because they have more respected publishing venues is hard to say. They are a major force we need to include in the shaping of our own American tradition. And if the American publishing scene makes us all feel like there are only about fifteen “real” Horror writers in the professional ranks, we need the International wake-up call that there are indeed many more out there – each successfully defining their own voice, providing other examples of how to do it.

I sincerely hope Mammoth re-thinks their new format and marketing plans. I can see this kind of thing being done for a special edition, or offering a limited run for collectors, or even exclusive release in exchange for special promotions. But most of us just want our British Horror. It shouldn’t be cheaper to fly to Britain personally just to see what is happening in the genre across the sea, or to have to rely on a handful of American editorial tastes to sample good British Horror.

Meanwhile, I am headed back to (mostly) American Horror and whatever I find in the aisles of my store. No Stephen Jones for me. Not this year.

 

Things Found on Shelves (More & Other Horror to Soothe the Recently Horrified):

So here is some new Horror I have found by wandering my bookstore and putting things away:

Novels

Curse of the Zombie by Ray Cluley. Great Britain: Hersham Horror Books, c2014. POD pbk: $10.99

Disappearance at Devil’s Rock by Paul Tremblay. HarperCollins Publishers, c2016, HC $25.99

Hater by David Moody. Thomas Dunne Books, c2006, pbk $14.99

The Hatching by Ezekiel Boone. Atria Books, c 2016, HC $26.00

Hex by Thomas Olde Heuvelt. Tom Doherty Associates LLC, c2016. HC $25.99

I Am Providence by Nick Mamatas. Night Shade Books, C2016, pbk $15.99

Invasion of the Body Snatchers by Jack Finney. 60th Anniversary edition.  New York: Touchstone, c 1954, 1955, 1978. Pbk $15.99

Maledicus: The Investigative Paranormal Society Book I by Charles French. Gopublished.com: Charles French, c2016. POD Pbk $15.00 Mirror Image by Michael Scott and Melanie Ruth Rose. New York: Tom Doherty Associates, c2016. HC $25.99

My Best Friend’s Exorcism by Grady Hendrix. Quirk Publishing, c2016, HC $19.99

Water for Drowning by Ray Cluley. Reat Britain: Hersham Horror, 2014. POD pbk. $7.99

Anthologies

The Best Horror of the Year Vol. 8 edited by Ellen Datlow. Night Shade Books, c2016 $15.99

Chilling Horror Short Stories: Anthology of New & Classic Tales. Laura Bulbeck, series ed. London: Flame Tree Publishing, c2016, 2015. HC $9.98

Chilling Ghost Short Stories: Anthology of New & Classic Tales. Laura Bulbeck, series ed. London: Flame Tree Publishing, c2016, 2015. HC $9.98

The Color of Evil. David G. Hartwell, ed. New York: Tom Doherty Associates, c1987. Pbk $8.99

The Creepy Pasta Collection: Modern Urban Legends You Can’t Unread edited by Mr.CreepyPasta, Adams Media, c2016, pbk $15.29

Dark Horizons: an Anthology of Dark Science Fiction. Charles P. Zaglanis, ed. Lake Orion, MI: Elder Signs Press, c2016. Pbk $14.95

Fresh Fear: an Anthology of Macabre Horror edited by William Cook, King Billy Publications, c2016, pbk, $16.00

Great Ghost Stories: 101 Terrifying Tales. Stefan Dziemianowicz, ed. New York: Fall River Press, c2016. HC $7.98

The Mammoth Book of Kaiju: 27 Tales of Monster Mayhem. Sean Wallace, ed. (First published in) Great Britain: Prime Books, c2016. Pbk $16.95

Nightmares: a New Decade of Modern Horror. Ellen Datlow, ed. San Francisco, CA: Tachyon Publications LLC, c2016. pbk $16.95

Peel Back the Skin: Anthology of Horror Stories. Anthony Rivera and Sharon Lawson, eds. Chicago, IL: Grey Matter Press, c2016, pbk $16.99

Things From Outer Space. Hank Davis, ed. Riverdale, NY: Baen Books, c2016. Pbk. $7.99

The Year’s Best Dark Fantasy & Horror 2016 edited by Paula Guran, Prime Books, c2016 pbk $19.95

 

About Horror

Franklin, Ruth. Shirley Jackson: a Rather Haunted Life. New YorK: W.W. Norton & Company, c2016 HC $35.00

Frayling, Christopher. Vampyres: Genesis and Resurrection: From Count Dracula to Vampirella. New York:Thames and Hudson, c2016. HC $27.60

Peterson, David J. The Art of Language Invention: From Horse Lords to Dark Elves, the Words Behind World-Building. New York: Penguin Books, c2015.

Schneck, Robert Damon. The Bye Bye Man and Other Strange-But-True Tales. New York: Tarcher Perigree Press, c2005. Pbk $15.00

Vuckovic, Jovanka. Vuckovic’s Horror Miscellany: Stories, Facts, Tales & Trivia. New York: Metro Books, c2015. HC $7.98