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A large number of years ago (let’s not worry ourselves overmuch about how many) I started writing a column for Innsmouth Free Press. In it, I had the fairly wide charter of writing about “vintage” horror films, which meant, in practice, everything from the silents to the ’70s. We called it the Vault of Secrets, and I wrote it for five years.

Around the end of that time, Silvia, my publisher at IFP, approached me about the idea of collecting those columns into a book, and Monsters from the Vault was born. What we didn’t know, as we were putting the book together, was that the Vault of Secrets was about to shut down, as IFP ceased online publication. Hence, Monsters from the Vault collected every Vault of Secrets column that was ever published into one convenient tome.

However, being me, I didn’t write my Vault of Secrets columns one a month as they came out. Instead, I ran ahead, and there were several columns I had written before the publication of Monsters from the Vault that hadn’t ever seen the light of day.

For a while, I was unsure what to do with these columns. I considered publishing them on my own website or offering them as rewards on my short-lived Patreon, but ultimately nothing felt quite right, until I hit upon the idea of adding to them and putting out a companion volume to Monsters from the Vault.

Revenge of Monsters from the Vault collects those orphaned columns, sure, but they represent only a tiny fragment of its total page count. A few of the pieces collected here have even shown up online in one place or another, but not many. Most of this book is made up of totally new stuff, written specifically for this volume.

Beginning with a beautiful but underseen film released in 1926 and ending with Toho’s “Bloodthirsty Trilogy” of vampire movies from the 1970s, Revenge of Monsters from the Vault covers a lot of territory. There are sixty films packed into these pages, which is fewer than last time, but each entry is longer, on average, with the shortest entries in Revenge averaging about as long as the longest entries in the previous volume.

Within these pages you’ll find ape fiends, invisible dinosaurs, wax museums, devil bats, zombies, hunchbacks, haunted stranglers, cat people, flying serpents, creatures with an atom brain, terrors from beyond space, cities of the dead, snake women, men with x-ray eyes, and weirder things. There are four films from producer Sam Katzman, a couple from director William Castle, and an exploration of all four of the movies that spun out from Roger Corman’s purchase of the Yugoslavian crime film Operation Titian, to name just a few.

Pre-order today and you can get signed copies of both Revenge of Monsters from the Vault and its progenitor, not to mention some cool swag including a bookmark, postcard, and sticker, all for just $22 plus shipping!

If you’re already a proud owner of Monsters from the Vault, you can always pick up just the new one, which boasts matching cover art from Thomas Boatwright, and keep them both on your entertainment system for quick reference as you’re unearthing old, spooky movies to watch on a dark and stormy night…

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52917318_10215725451503426_1097449420703662080_nIt’s been a few days since this got announced on social media, so lots of people have probably seen it already, but I’ve been busy so it hasn’t made its way onto my blog until just now, but: My story “No Exit” made it into Ellen Datlow’s Best Horror of the Year Volume 11!!

This is my third time in Ellen’s Best Horror series, which is an honor that I, honestly, never thought I would manage even once, and I could not be more thrilled to be sharing a table of contents with so many fantastic writers.

“No Exit” originally appeared in Lost Highways from Crystal Lake Publishing, edited by D. Alexander Ward, and is part of my as-yet-unnamed “Hollow Earth cycle” of linked short stories. But don’t worry, you don’t need to have read any of the others to understand what’s going on in “No Exit.”

If you want to read some of the other stories, however, other tales in the cycle are currently available in Chthonic from Martian Migraine Press, Cthlhu Fhtagn! from Word Horde, and For Mortal Things Unsung from Pseudopod, with others coming soon.

Speaking of For Mortal Things Unsung, which is currently the only place you can read my story “New and Strangely Bodied,” it’s available to anyone who pledges $20 or more to the IndieGoGo for The Outer Dark Symposium on the Greater Weird.

I’ll be at the Symposium near the end of March (on Hellboy Day, in fact) in Atlanta, Georgia, where we’ll be talking about all things Weird. If you’re thinking of attending or backing the IndieGoGo, you can get lots of cool stuff, including several of my books (signed, of course) not to mention a signed photo of Linnea Quigley with a chainsaw.

There’s another big announcement that will be coming in the next few days, but if you follow me on Facebook, or are an astute reader of interviews, you may have seen some mention of it already…

Panic Fest is in the rear view and everything else is up ahead, so it’s been a week or so of catching up around here. There’s been a lot to catch up to, as well, as a lot has been going on kind of while I wasn’t looking.

For starters, Guignol & Other Sardonic Tales received a very generous review from Christine Morgan over at The Horror Fiction Review, which refers to my “consistently excellent quality and skill,” so of course I appreciate that. I also learned that my story “The Granfalloon,” which originally appeared in Darker Companions before being reprinted in Ellen Datlow’s Best Horror of the Year Volume 10, is being taught in an Advanced Creative Writing workshop that’s being offered by Richard Thomas!

Speaking of stories doing well for me, my story “The Hurrah (aka Corpse Scene)” made the Locus Recommended Reading List. I think this may be my first time on the list, and right now you can vote for my story (along with stories and books by lots of other authors) right here. (You don’t have to have a subscriber number, just a name and email address.)

I was interviewed by author Gwendolyn Kiste (whose novella Pretty Marys All in a Row I really enjoyed) at her website, and I was able to sneak in the first official mention, I think, of my next book-length project, which is a sequel to Monsters from the Vault called (of course) Revenge of Monsters from the Vault. It should be out later this year, covering 60 more classic (and not-so-classic) horror and monster movies from the silents to the ’70s including devil bats, ape fiends, space invaders, old dark houses, haunted stranglers, invisible dinosaurs, and a whole lot more!

(On the subject of my film writing, I also unwittingly discovered that I am cited extensively in the Wikipedia entry for John Carpenter’s The Thing. This thing I wrote eight years ago is getting me a lot of traction lately. It was also mentioned in the commentary track for the Scream Factory Blu of Someone’s Watching Me! and quoted in the Devil’s Advocate volume for In the Mouth of Madness.)

Most recently, the full table of contents was announced for Pluto in Furs, an anthology forthcoming from Plutonian Press, which will feature my story “Stygian Chambers” alongside tales by Gemma Files, Jeffrey Thomas, Adam Golaski, Richard Gavin, and many more.

That’s what’s been going on in the last few days, and there’s more on the way. I have other story sales that I can’t announce just yet, not to mention my appearance next month at The Outer Dark Symposium on the Greater Weird in Atlanta. I’ll also be a guest at the NecronomiCon in Providence in August, but more on that later…

 

I published my customary year end wrap-up back at the end of December, but in it I realize that I perhaps gave somewhat short shrift to my publishing accomplishments for the year, so I decided that a more in-depth post on the subject was in order.

Of course, the biggest writing news of 2018 was the publication of Guignol & Other Sardonic Tales, my third collection of short stories about ghosts, monsters, and sometimes the ghosts of monsters, and my second through Word HordeGuignol contains fourteen (14) strange tales, four (4) of them appearing in print for the first time.

Counting those four new stories, the total number of new stories I published in 2018 is nine (9). I also had two (2) reprints this year. “Goblins,” which originally appeared as a bonus story in the deluxe edition of Never Bet the Devil & Other Warnings from Strix Publishing was podcast at Pseudopod just in time for Halloween, read by none other than the Old Gent himself, Leeman Kessler, and my story “The Granfalloon,” originally in Darker Companions, was reprinted in Ellen Datlow’s Best Horror of the Year, marking the second time one of my stories has made it into that esteemed volume.

Other stories that came out in 2018 include “Hollow Earths” in Chthonic from Martian Migraine Press, “The Pepys Lake Monster” in Test Patterns: Creature Features from Planet X Publishing, “No Exit” in Lost Highways from Crystal Lake, “Masks” in the second issue of Forbidden Futures, and “The Hurrah (aka Corpse Scene)” at The Dark. That doesn’t seem like a ton of new fiction, but I’m proud of every one of them, and of the original stories that appeared in Guignol. I’ve also been hard at work on some other stories and projects that should be seeing the light of day in 2019.

In 2018, I was also lucky enough to get to pen the introduction to Amanda Downum’s long-awaited short story collection Still So Strange and I started publishing more of my film writing in places other than here, including reviews at Signal Horizon and Unwinnable. I’m particularly proud of this one.

There’s more stories, more film writing, and more monsters coming in 2019. In the meantime, if you’re so inclined, you could always throw a few bucks into my proverbial tip jar to help me keep doing this.

So, last night I sat on couches detailed like the spacesuits from Planet of the Vampires and watched three John Carpenter movies that I have seen roughly 1,000 times each (and, in at least one case, been quoted in a book about) with a bunch of other movie nerds at the third annual CarpenterFest at the Screenland Armour and it was great. We saw Assault on Precinct 13 and Prince of Darkness and In the Mouth of Madness. It was hosted by Greg and Jenius of the Nerds of Nostalgia/Nightmare Junkhead podcast, who were kind enough to single me out for some praise before the last movie.

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Before the event, I called CarpenterFest the film fest that I am duty bound to attend while also being able to recreate it in my living room at a moment’s notice. That proved true in this case, but watching movies in my living room is a very different experience from watching them in a theater full of people. And in spite of the aforementioned having seen them 1,000 times, I had actually forgotten that Prince of Darkness ends on a “top still spinning” scene, just as The Thing does.

In the run-up to CarpenterFest, I had a couple of things drop that I haven’t gotten a chance to post about before now. My review of Torso and The Wizard of Gore went live over at Unwinnable, and while I’m not supposed to pick favorites from my own writing, I’m really happy with how this double-review turned out.

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Also, a little while ago, I was asked to guest-host an episode of Pseudopod. I was happy to do it, especially when they told me that the episode they wanted me to introduce was two stories by Manly Wade Wellman. As I say in the intro, there are three “old dead white guy” writers who I think are probably the biggest influences on the way I write today, and those writers are E.F. Benson, William Hope Hodgson, and Manly Wade Wellman. The two stories are “These Doth the Lord Hate” and “The Golgotha Dancers,” both pretty great, and the latter an excellent example of Wellman’s aptitude for weird creatures.

If you aren’t already familiar with Wellman’s work and this episode piques your interest, I cannot recommend him highly enough, and would suggest starting with his Silver John stories or the recent Shadowridge Press reissue of Worse Things Waiting, complete with the original illustrations by Lee Brown Coye.

It’s the first day of December, which means that I’ve finally started reading Matthew M. Bartlett’s Of Doomful Portent, illustrated by Yves Tourigny, which has been sitting on my shelf, taunting me for some time now. The plan is to do it up like a proper advent calendar and read one story a day from now until Christmas.

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In the meantime, for those who can’t get enough of hearing me ramble about movies, you’ll be pleased to know that I’m going to be reviewing a lot more of them in the near future. Most of them won’t be here, however, they’ll be in various other venues, notably Signal Horizon, where I have the title of “Monster Ambassador,” maybe the best business title I have ever gotten, and Unwinnable.

Right now, you can read my recent reviews of the 40th anniversary Blu-ray of Lucio Fulci’s Zombie (which I had never actually seen before) and the Unearthed Films Blu-ray of The Unnamable (which I had also never seen before) over at Signal Horizon, and a double review of Torso and The Wizard of Gore are coming soon to Unwinnable.

If you’re really eager, you can catch up on previous reviews of Blade of the Immortal and Toho’s “Bloodthirsty Trilogy” that I wrote for Unwinnable while you wait.

I haven’t written a review for it anywhere, but if I only convince you to watch one movie in the immediate future, make it Errementari on Netflix. In a year without a Lowlife, Errementari would have no trouble being my favorite film of 2018 so far. As it is, the two are neck-and-neck. For some idea of what Errementari is like, think a Basque version of Pan’s Labyrinth set during the Carlist Wars, with suit actors playing devils that look like medieval drawings. In other words, it is extremely my jam.

As with most people, I’m sure, money is a bit tight as we head into the holiday season. If you happen to have anything to spare that you’d like to throw into my proverbial hat, this is my periodic reminder of my Ko-fi account, where you can help me pay for monster movies or (as is the more likely case of late) vet bills. Or, you can always buy yourself (or someone on your gift list) a copy of Guignol & Other Sardonic Tales or one of my other books. Every sale helps!

Today is the day after the midterm elections here in the United States, so things are perhaps marginally better than they were yesterday. At least in Kansas we managed to replace Kevin Yoder with Sharice Davids and we got Laura Kelly for governor instead of Chris Kobach, so we could certainly have done worse.

I don’t talk a lot about politics on here, and that isn’t about to change now, but I did talk a little bit about politics on the latest episode of the Missouri Loves Company podcast with Brock Wilbur and Viv Kane (if that is her real name…). Of course, we also talked about fun horror, that video game of The Thing that they made years ago, what Jordan Peele is up to these days, Clive Barker’s Facebook tendencies, Venom greeting cards, why Brock hates art, and lots of other stuff.

One thing I want to mention, in that podcast I say that I try not to think about what’s going on in the world politically when I’m writing. To some extent that’s true, insofar as the day-to-day politics of the United States don’t specifically factor into most of my stories, but what I guess would be considered “my politics” definitely do make their way in, just in broader terms that I would think of more as ethics. The specter of racism hangs over several of my stories, classism plays a big role in tales like “Shadders,” anti-imperialism and anti-war sentiment shows up in “The Blue Light,” etc.

More than any of that, though, I try to write about characters who feel at least a little bit like real people, who deserve dignity from one-another, even when they don’t get it from an indifferent universe. Certainly, as someone who grew up feeling different, I have sympathy for the outsider, the Other, the monster. But I also just try to casually inject diversity into my stories, in a way that lays a groundwork for simple acceptance. I don’t know if I always succeed, but I do try.

There’s no such thing as a story that isn’t political, and I don’t want to get caught in the trap of saying that my stories aren’t. They are, often in ways that even I don’t realize, and I hope that they sometimes reflect what I think is important in the world, even when I’m usually not specifically thinking about what’s going on in the latest headlines as I write.

In other news, another glowing and thoughtful review of Guignol & Other Sardonic Tales recently showed up, this time on Heavy Feather Review: “At the heart of Guignol & Other Sardonic Tales is a monster, and it might just be us. The real question is, are you willing to pay the price to find out?”