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Posts Tagged ‘Interviews + Features’
H.P. Lovecraft & the Horror of Comics Sunday, October 24th, 2010

Josie Campbell reports for Comic Book Resources on the West Hollywood Book Fair appearance (earlier in October) of Steve Niles, Mike Mignola and Hans Rodionoff talking about the influence of H.P. Lovecraft on horror comic books. Rodinoff disscovered his first Lovecraft short story on a camping trip, reading it with a flashlight in his sleeping bag. Mignola, a young comic book reader, was introduced to the old pulp writers through Robert E. Howard. While looking for more Howard stories, he stumbled onto “Weird Tales” and H.P. Lovecraft. Similarly, Niles was “digging around in books looking for stuff and I ran across Lovecraft.”

The trio also discuss HPL’s influences on their work and horror in general.

Weird Tales #356 Is Here! Thursday, October 14th, 2010

Weird Tales celebrates the eerily sensuous in its summer the UNCANNY BEAUTY issue. Subscribers and stores should be getting magazines soon. (Report of sighting.)
Fiction:

  • “Secretario” by Catherynne M. Valente
  • “A Concise & Ready Guide” by Ian R. MacLeod
  • “Beauty & Disapperance” by Kat Howard
  • “One Minute Weird Tale” by Lauren Beukes
  • “Sisters Under the Skin” by L.L. Hannett
  • “How Bria Died” by Mike Arnovitz
  • “The Wakened Image” by Natania Barron

Nonfiction:

  • Strange Faces - nonfiction by Theodora Goss
  • Le Tarot de Gaga - feature by Amal El-Mohtar
  • Sirens & Gargoyles - art by Callie Badorrek
  • Our Queen, Our Mother Our Margaret - nonfiction by Paula Guran
  • Galactic Tomboy to Sci-Fi Pinup Girl (and Back Again) - nonfiction by Rae Bryant
  • Lost in Lovecraft: To Pnatkotus & Beyond - column - Kenneth H. Hite

    …AND MORE!
    Weird Tales #356/Summer2010

“Mr. Nine and the Gentleman Ghost” Tuesday, October 12th, 2010

Original Fiction: Mr. Nine and the Gentleman Ghost
by Aidan Doyle

copyright ツゥ 2010 / May not be reproduced without permission

Elisabeth gave her invitation to the valet and received a gilt-edged program in return. It welcomed her to the Bearbrass Gentle Ladies Society Monthly Ball. The valet glanced at Elisabeth窶冱 satchel and then escorted her into the ballroom.

Bearbrass had been a sleepy colonial outpost until gold was discovered in the nearby hills. Within three years, it had been transformed into the largest city in all of the colonies. Elisabeth did not think of this as necessarily an improvement.

A dozen chandeliers clung to the ceiling and paintings imported from the empire competed for space on the walls. An orchestra of more than twenty musicians waited on the stage at the far end of the room.

Mrs. Rittiker, the president of the Bearbrass Gentle Ladies Society, greeted Elisabeth at the entrance. She was a short, stout woman in her early fifties and wore a purple chiffon gown with a plunging neckline. 窶弸ou窶况e come without a chaperone again,窶 she said. 窶廬f I were half the gentle lady I pretend to be, I would be thoroughly scandalized.窶

Elisabeth laughed. Although ostensibly the Gentle Ladies Society served as an organizer of social functions, the society窶冱 inner council was devoted to recovering the lost knowledge of the ancient gentle ladies. She had known Mrs. Rittiker all of her life. She handed over the satchel. 窶廡resh from the book mines.窶

Mrs. Rittiker opened the bag and took out a book. She brushed a speck of dirt from the cover and smiled when she read the title: The Gentle Ladies窶 Guide to Midnight Apparitions. 窶廸o one has your talent for finding books, Elisabeth.窶

She replaced the book in the satchel and handed it to a servant. 窶弋ake this to my carriage.窶 She took Elisabeth by the hand. 窶弋here are some handsome young men waiting to see you.窶 Mrs. Rittiker led her over to the other guests and a dozen young men formed a line in front of her.

Elisabeth suppressed a sigh. The only reason she came to the balls was to meet Bertie, and he was always irritatingly late.

窶弋his is Horatio Lightfellow,窶 Mrs. Rittiker said. 窶廩e arrived on this morning窶冱 zeppelin from the empire.窶

窶廚harmed to meet you,窶 Lightfellow said. 窶廣t some point in the evening I would be most happy to inform you of the latest fashions in the capital.窶 His gaze strayed to Elisabeth窶冱 hair. She had been born with hair made from gold.

窶廬 had been told of the remarkable properties of Bearbrass gold,窶 he said. 窶廝ut I wasn窶冲 aware it extended to the city窶冱 inhabitants.窶

Elisabeth could think of nothing less interesting than talking about what clothes people she had never met were wearing. 窶廬 was conceived in a gold mine,窶 she said.

Lightfellow looked shocked. 窶廬 hardly think that窶冱 something a young lady should mention.窶 He looked to Mrs. Rittiker for assistance. 窶廬 had heard tales of the wild women in the colonies, but I had presumed them exaggerated.窶

窶廝earbrass Gentle Ladies are not as gentle as the ladies of the empire,窶 Mrs. Rittiker said. 窶弩e take great pride in that.窶

窶廴y father was a gold prospector,窶 Elisabeth said. 窶廴y mother was a librarian. I am a book prospector.窶

窶彜he窶冱 the best in all the colonies,窶 Mrs. Rittiker added. 窶廩er heart is made from gold too.窶

Lightfellow appeared lost for words. 窶廴ay I have the pleasure of the last dance?窶 he eventually asked.

窶廬窶冦 terribly sorry, Mr. Lightfellow,窶 Elisabeth replied. 窶廬 always leave the last dance free.窶
He checked his program. 窶弋he seventeenth dance?窶

窶廬 would be most pleased to dance with you.窶 She wrote Lightfellow in the space next to 17 on her program.

Lightfellow bowed and hastily retreated. The next man stepped forward and the process continued. She insisted on leaving the last dance free.

The orchestra started playing. Her first partner led her onto the polished hardwood floor. She danced a waltz, changed partners, danced a polka, then a one step and another waltz. Her partners were a mixture of gold prospectors, bankers and cattle kings. Halfway through the night they paused for supper and crowded around tables laden with cakes and pastries. Elisabeth helped herself to a slice of chocolate cake.

Mrs. Rittiker gathered a crowd around her and began a lengthy tale of her exploits on the cricket field.
Elisabeth overheard Lightfellow expressing his disapproval of Bearbrass women.
Then everyone fell silent. Elisabeth turned around.

A four foot high ventriloquist窶冱 puppet stood at the entrance to the room. It wore a dark suit and orange bow tie and clenched a poster in its right hand. The puppet marched mechanically towards the stage, its wooden limbs jerking as though pulled by invisible strings.

Elisabeth leaned over to Mrs. Rittiker. 窶弩ho窶冱 that?窶

窶廴r. Nine. The Governor hired it to crush the miners窶 rebellion. Now it can go wherever it pleases. Even the Governor窶冱 scared of it.窶

The puppet slowly made its way up the stage stairs. It took a moment to survey the crowd. 窶廴r. Nine is most sorry to intrude.窶 It unfurled a wanted poster, revealing a sketch of a monkey. 窶廴r. Nine wants this monkey spirit. Have you seen it?窶

No one spoke. The puppet sniffed the air. It stared at Elisabeth.

Her heart hammered against her chest. 窶廩ow did it come to life?窶 she whispered.

窶弋he gold did it. Now it has to eat gold to stay alive.窶 Mrs. Rittiker glanced at Elisabeth窶冱 golden strands. 窶弸ou should be careful, my dear.窶

A servant placed a table and stool at the edge of the stage. The puppet sat down and rested its elbows on the table. The little finger on its left hand was missing.

窶弩hy is it looking for a monkey spirit?窶 Elisabeth asked.

窶廣 monkey spirit bit off one of its fingers.窶

A servant brought a pile of pancakes sprinkled with gold dust to Mr. Nine窶冱 table. The puppet began eating with great gusto, shoveling the pancakes into its little mouth. It washed them down with a glass of iced water mixed with gold flakes.

The orchestra resumed playing and Elisabeth窶冱 next dance partner escorted her onto the floor. She couldn窶冲 help glancing at Mr. Nine and twice accidentally stood on her partner窶冱 foot. The puppet finished eating the pancakes and licked its lips with its bright green tongue.

The dances continued until it was almost time for the last dance. Captain Albert Widdershins floated through the far wall and strode through the orchestra. The musicians scattered. No one liked having a ghost walk through them.

Elisabeth felt the tension slip away. Bertie always liked to make a grand entrance. He was six feet tall with a ramrod-straight back, a trim moustache and short hair. He had once been a zeppelin captain and wore riding boots and a tight-fitting military uniform. She could sense the envy of the other young ladies. He was the most handsome gentleman ghost in all of Bearbrass. He had died in the mines and the gold had brought him back.

He nodded to Mrs. Rittiker and glided over to Elisabeth. 窶廬f you窶冤l permit me to say so, you look most enchanting tonight, Miss Elisabeth.窶

窶弃ermission granted, Captain Widdershins.窶

窶廬 must once again apologize for my tardiness.窶

窶弋he hour grows late, Captain. I fear the last dance is almost upon us.窶

He stepped closer to her. 窶廬f the lady would be so kind as to allow me to touch her golden locks.窶

She nodded. He slipped off his gloves and put them in his belt. When his spectral hand met Elisabeth窶冱 hair, a jolt of energy coursed through her. His ghostly hand assumed a solid form and gradually his whole body transformed into solid flesh.

His hand lingered a moment on her hair. 窶廴ay I have the last dance?窶

She pretended to check her program. Then she took his arm in hers. His body was cold, but she felt it growing warmer.

In her excitement at Bertie窶冱 arrival, she had almost forgotten about Mr. Nine. The puppet watched silently from its stool. She tried to put it out of her mind.

The last dance was a waltz. The captain encircled her waist with his right arm and took her right hand in his left. He twirled her and led her around in a circle. The rest of the world seemed to disappear. It was just the music and Bertie窶冱 strong arms. It felt like they had only been dancing for a few seconds and then the music finished.

窶廾nce again, Miss Elisabeth you have enchanted me with your grace and beauty,窶 Bertie said. 窶廬 warrant that even the Queen of the Fairies would acknowledge you as the superior dancer.窶

Elisabeth laughed. 窶廣nd I warrant that even the King of the Leprechauns would acknowledge you as the superior flatterer.窶

Footsteps sounded behind her. She turned to see Mr. Nine.

The puppet bowed. 窶廴r. Nine would like to request the last dance.窶

窶廝ut the last dance has just finished,窶 she said.

窶弋hat was the second last dance,窶 the puppet replied. 窶弋he orchestra will play again. What is the lady窶冱 preference? A waltz?窶

窶廬窶冦 sorry, but the evening is late. I must be getting home.窶

窶廛o not concern yourself. Mr. Nine窶冱 carriage will take you home.窶

Captain Widdershins stepped in front of Elisabeth. 窶弋he lady has said she is going home. It is the height of bad manners to persist in bothering her.窶

Mr. Nine stared at Widdershins. 窶廴r. Nine is requesting the last dance. This does not concern you.窶

Elisabeth put a hand on his shoulder. 窶廬t窶冱 all right, Bertie.窶 She looked down at Mr. Nine. 窶弋hank you for your offer, but Captain Widdershins has already agreed to escort me home.窶

The puppet sniffed the air and its green tongue crept along its lips. 窶廴r. Nine is hungry. Mr. Nine likes your smell.窶 The puppet stared at Elisabeth窶冱 chest.

Widdershins plucked a glove from his belt and slapped Mr. Nine across the face.

The puppet窶冱 eyes rolled in surprise and it glared up at Widdershins. 窶廴r. Nine accepts your challenge.窶

* * *

The Bearbrass cricket oval also served as the dueling grounds. Elisabeth and Bertie walked to the oval, followed by a crowd of onlookers. Mr. Nine traveled by carriage.

As the host of the ball, the duty of overseeing the duel fell to Mrs. Rittiker. She directed the servants as they laid out a number of lanterns in a circle.

Elisabeth and Bertie waited near the lanterns. Clouds obscured the moon, and shadows hid Bertie窶冱 face.

窶廬 don窶冲 want you to do this,窶 she said.

窶廬 don窶冲 want to do this either,窶 he replied. 窶廝ut I have no choice. If I don窶冲 stop the puppet, it will come for you. It wants to eat your heart.窶

窶廰et me worry about that. I can always hide in the mines.窶

窶廬t is my duty as a gentleman to protect you.窶

窶廬 can look after myself. Who is going to look after you?窶

窶廬 am a most accomplished duelist,窶 he replied.

窶弩hy do you have to fight now? If you wait until morning, you窶冤l be spectral again.窶

窶廬f I窶冦 spectral, I can窶冲 hold a gun,窶 Bertie said.

窶弩hat happens if a ghost is killed?窶 she asked.

窶廬f a ghost dies, you should collect some of its blood. Ghost blood has many powers.窶 He paused and then said, 窶廬 want you to promise me that you窶冤l take the first zeppelin in the morning if I don窶冲 win.窶

Elisabeth shook her head. 窶廸ot without you.窶

窶弸ou know it won窶冲 be safe here. Promise me.窶

窶廾nly if you promise that you won窶冲 die.窶

Bertie laughed. 窶廬窶冦 already dead.窶

Mrs. Rittiker walked over to them. 窶弸ou shouldn窶冲 go through with this,窶 she said. 窶弋he puppet is near unkillable. The only thing that can stop it is if you bite off parts of its body. That窶冱 why it can窶冲 replace its finger. The monkey spirit bit it off.窶

窶弋hank you for your concern, dear lady. I shall disable the puppet with a shot to the head and then I shall use my teeth to sever what body parts I deem necessary.窶

Elisabeth took his hand. 窶弃lease, Bertie.窶

窶廣 zeppelin captain never backs away from a fight.窶

Mrs. Rittiker sighed. 窶弋hen we are ready to start.窶 She walked to the center of the circle.
Bertie squeezed her fingers. 窶廨oodbye Beth.窶 He let go of her hand and followed Mrs. Rittiker.

Mr. Nine窶冱 driver opened the puppet窶冱 carriage door. Mr. Nine stepped out of the carriage and set off towards the circle. The driver took a wicker laundry basket from inside the carriage and then followed after the puppet.

Mr. Nine marched into the illuminated circle. The driver stopped at the edge of the crowd. About fifty onlookers, including several women, had come from the ball to watch the spectacle. Their faces were hidden in the shadows cast by the lanterns, but Elisabeth heard their excited voices. Witnessing a duel between a puppet and a ghost would give them a tale to entertain their society friends.
Elisabeth swore at the top of her voice.

The crowd fell into a shocked silence.

窶廝e quiet,窶 she said softly.

Mrs. Rittiker waited until Bertie and the puppet stood next to each other.

窶廛o either of you wish to withdraw from this duel?窶

窶廸o,窶 Bertie said.

窶廴r. Nine is ready to fight,窶 the puppet said.

Mrs. Rittiker handed a dueling pistol to each of the combatants. They inspected the guns and then exchanged them. They took up positions at opposite edges of the circle.

Elisabeth noticed that Mr. Nine窶冱 driver had opened the wicker basket and was peering into it.
Mrs. Rittiker held a red handkerchief in her hand. She lifted her arm and then dropped the handkerchief.

Bertie aimed his gun and fired. Mr. Nine窶冱 wooden head exploded.

The puppet窶冱 body raised its gun and shot Bertie between the eyes.

Captain Widdershins tumbled to the ground.

Elisabeth sprinted to his side. She shook him, but he didn窶冲 respond. His body was cold. She wiped the blood from his face with her handkerchief. She closed his eyes and kissed his cold lips. His body faded away.

Mr. Nine窶冱 driver carried a wooden head with an identical face on it towards Mr. Nine窶冱 headless body.

* * *

Elisabeth put on her pair of cats-eye spectacles and stepped into the mine shaft. It was dark, but the glasses allowed her to see. After ten minutes she reached a large cavern with a dozen tunnels branching off in different directions. She knew this area well and had a good idea where to look for the book she wanted. She chose one of the tunnels leading south.

Eventually she noticed some small, brown, spotted, speckled mushrooms. The wall was moist, damp, clotted and earthen. Adjectives were one of the most common signs of buried books. Now all she had to do was find a subtext. She put her nose against the earth. There was the faint smell of lemon. She followed the scent until she found a vein of books hidden near the wall. She took a small spade from her tool bag and started clearing away the dirt from the top of the dozens of books. It took her three hours, but eventually she found the book she was looking for.

Separating a book from the earth required a precision tool. It was easy to make mistakes. Several times in the past, she had cut the pages and the words had bled everywhere.

She probed the dirt at the edge of the cover with her book scalpel. After a few delicate cuts, she removed the book from the ground and looked at the cover.

The Gentle Ladies窶 Field Guide to Animal Spirits.

She leafed through it until she found an illustration that matched the sketch on the wanted poster.

The golden spectral monkey.

She carefully excised the page and smeared it with the ghost blood from her handkerchief. The page transformed into a spectral monkey.

窶廛o you know who I want you to kill?窶 she asked.

The monkey nodded. 窶廬 need gold to make me corporeal,窶 it said.

Elisabeth grabbed her pair of scissors. She was about to cut a lock of her hair, but the monkey shook its head.

窶廬 require greater payment,窶 it said.

It pointed at her heart.

* * *

Every month Elisabeth attends the Bearbrass Gentle Ladies Society Monthly Ball. She is not nearly as graceful a dancer as she used to be. A wooden heart is not an ideal substitute for one made of gold. But she is still the most beautiful girl in all of Bearbrass and many men want to dance with her.

They ask if they can have the last dance, but Elisabeth apologizes.

She always leaves the last dance free.

[end]


About the Author:

Aidan Doyle is an Australian writer and computer programmer. He loves traveling and has visited more than 70 countries. He is a Clarion South graduate and his stories and articles have been published in places such as Fantasy Magazine, The Internet Review of Science Fiction, Salon.com, Science Fiction Weekly and Australian small press magazines.

One Minute Weird Tales: vol. 2 no.2 Saturday, September 25th, 2010

“Catching an Angel”, written by Rochita Loenen-Ruiz. The video was created by Gregory Bossert.

Embed our one-minute weird wonders to your heart’s content 窶 and be sure to follow us via RSS, LiveJournal, or Facebook to catch them all!

Growing Up Poe: Alethea Kontis Friday, November 13th, 2009

Edgar Allan Poe would be celebrating his 200th birthday this year. He cast an epic shadow across American fiction; he inspired every last horror writer who came after him; and his fans founded this very magazine. Weird Tales wondered if Poe still has the same impact today 窶 so in our latest issue, we asked a bevy of dark fantasists (including Cherie Priest, whose essay we’ve already published online) how much the Grandpa of the Gothic loomed in their tender years. The answer: a whole freakin’ lot. Here’s what geek princess Alethea Kontis has to say about it:

* * *

GROWING UP POE: Teen Angel, Dark
by Alethea Kontis

copyright ツゥ 2009 / May not be reproduced without permission

* * *

Fourteen: the age of nihilistic fervor. The pinnacle of those egocentric, life-altering years where no one suffered as much as me. In a million years no one could possibly have understood the ineffable quagmire of emotions in which I flailed, a lone gull crying out over the empty seas of my tears.

To make matters worse (because matters could always be worse, and usually were), the innocence of youth had left me with the tiniest flicker of hope, and a dream that the brooding prince of a tiny, heretofore-unknown kingdom (who, coincidentally, happened to be my One True Love) would come galloping by on his horse at any moment to save me from the hell that was my life. He would see through the physical mess I had become and know the Real Me, the beautiful, shining beacon of soul held hostage by my own darkness. But alas! the newly-forged, freshly-jaded adult side of my Mini-Wheat knew that there was no such prince. No one was coming for me. Hope was futile. I was doomed to be left behind by the world, forever alone, a small, forgotten puddle of disappointment, darkness, and despair.

Enter Poe. And The Cure.

Life had a soundtrack in those days. The radio played songs chock-full of hidden messages, battered symphonies of secrets whispered only for my tortured ears. Volumes could be read into mixtapes that were as personal as journal entries, telling the story of my duality, my constant struggle between darkness and light. I wore my heart on my sleeve, freely dripping blood down hallways and hoping someone would notice. (That brooding prince, maybe.) I had been writing poetry since I was ten窶蚤lmost a third of my life. I was in love with the power of words, the ability to say so much with so little. It was a gift窶祢 had a gift窶蚤nd I would not squander it.

Music was the logical next step in poetry窶冱 evolution, but I was not a lyricist. Sure, I had walked around the house singing nonsense tunes as a child, but I lacked the genius code in my DNA attributed to such luminaries as Rodgers & Hammerstein, Gilbert & Sullivan, and the virtuoso that was Cole Porter. I would never be a songwriter. That didn窶冲 mean, however, that I couldn窶冲 lie corpse-like on my bed in a room soaked in dusk (and wallpapered in movie posters) and appreciate the talents of Robert Smith or Peter Cetera or Bryan Adams. I was that small-town girl in her lonely world, bags packed for that midnight train to anywhere (preferably an equally small, heretofore-unknown kingdom). My hurt didn窶冲 show, but the pain still grew. Me & Charles Manson liked the same ice cream. I was a strange angel, an angel of music, and the Phantom of the Opera was there, inside my mind.

Any member of the Spring Valley Players worth his or her salt knew all the words to Andrew Lloyd Weber窶冱 production of Phantom (though I was the only one who could sing Christine窶冱 part). Memorization is what we did in those days. After all, if I was going to be Lights Mistress, I had to know every line of See How They Run in order to hit all my cues. Every line . . . including the first verse of 窶廬f,窶 by Rudyard Kipling. And when I found the rest of the poem in a set of Kipling窶冱 works at my grandmother窶冱 house that summer, I soaked it up. I was a sponge that could not be saturated. It was the beginning of the end.

I started memorizing all sorts of poetry after that, starting with the poems that had any excuse to be in one of our plays (窶弋he Jabberwocky窶). I memorized fun stuff with my little sister as a game 窶 Shel Silverstein, of course, and the often-quoted-but-rarely-attributed Ogden Nash, of whom we were both great fans at a very young age (we liked mustard, even on custard). But the best part about memorizing poetry was when I got to play the role of the overachieving student. (There窶冱 nothing like having fun and getting extra credit for it!) Shakespeare? No problem. Sonnets, Friends, Romans, Countrymen, and star-crossed lovers separated by only a balcony. Byron, anyone? Oh, the sappier the better.

Unfortunately, two of my favorite poems 窶 窶弋he Highwayman窶 and 窶弋he Raven窶 窶 were both far too long, and I would not be a complete person (as complete as I could be, imperfect soul though I was) without some Poe in my repertoire. There must be something else in my literature book. And there, buried deep in the back, I met Annabel Lee.

Known as Poe窶冱 Last Poem, 窶廣nnabel Lee窶 was beautiful and sad, true and tragic. It spoke to me, telling me a tale of a love that was more (more!) than love, a love that made even heaven jealous, the one love that lasts a lifetime . . . albeit a very, very short lifetime. Obviously, the only kind of love I could possibly be destined to have, and currently, um, did not. I was covetous alongside those angels, craving such pure, rare, unprecedented, unadulterated feeling and dying a little inside their immortal souls to know they could not let it exist on the mortal plane. I read the first line out loud to myself, 窶廬t was many and many a year ago,窶 Poe窶冱 Once Upon a Time. And suddenly the strangest thing happened: the poem began singing itself to me in my head.

I had never before composed a song (and likely never will again), but the words of that ballad of true love, tempests, and tragedy had an unmistakable melody that I remember to this day. It was as if Poe Himself sat at the foot of his bride窶冱 tomb and sang to me a song only I could hear, a tune that traveled beyond time. It was sad, that song; I belted it out full voice in empty rooms, a nightingale calling in the night-tide. Perhaps many and many a year ago I had been Annabel Lee, the maiden from a tiny, heretofore-unknown kingdom by the sea, and Poe was my brooding prince. Because of the intensity of our love we could never again cohabit the mortal plane (as all men know). But he could send me the tale of our love through the bond that would always remain between our souls, and I would always carry in my heart this song we made together.

Or not.

Now that I窶冦 grown, I chalk all that up to the silliness of youth, the alien angst we all go through. But I窶囘 be lying if I said that part of me窶蚤 very, very small part窶播idn窶冲 still pine a bit for the Poe I never knew. But I still have our song.

“Ambient Morgue Music” Friday, November 13th, 2009

AMBIENT MORGUE MUSIC
by Richard Howard

copyright ツゥ 2009 / May not be reproduced without permission

(from Weird Tales #354, Fall 2009)

* * *

The best thing about being a reviewer is that you often receive music in the old fashioned way, via a CD through your letterbox. Anyone jaded with this century窶冱 downloading obsession and its associated esoterica of bit rates, compressions and conversions will no doubt be turning snot-coloured with envy at this point. [Oh, the quaint and glamorous life you lead窶ヲ Ed.] Yes, I actually receive music through the post with handwritten covers, illustrations, bribes, pleas, death threats窶ヲ and on top of that, the music is good.

Yes, it seems that only now in the 2030s is the true character of this millennium窶冱 sound finally being heard. It窶冱 early days yet but, for my money, the best stuff is being made right here, in Dublin. I know that looking at most mags these days you wouldn窶冲 know it, but most of this music is being made far away from the hubris of the mainstream music business, by the disenfranchised, who can barely afford to eat, never mind pay a publicity agent. My favourite music of the last six months has, for the most part, arrived unexpectedly in my hallway like a burglar, a begging letter, a Halloween firework.

Ambient Morgue Music is one I look forward to in particular. There have been four volumes so far, arriving monthly, each accompanied with a black-and-white photograph of a corpse and a handful of soil. The track names, listed on the back, speak of bloody revolution, disease and, for reasons that will become clear later on, zoo animals. The music itself is an eerie type of lo-fi ambient; at times it窶冱 hard to make out the music from the microphone hiss, but I presume that that窶冱 part of the aesthetic, the sound of the room putting you right where they want you. It窶冱 beautifully hypnotic, filled with dread and, as I found out this week, truly revolutionary.

The only contact information provided is a mobile phone number and it changes with every dispatch. Since the first Ambient Morgue窶冱 arrival I窶况e been trying desperately to contact the artist or artists, but each time the phone has either been disconnected or I get the generic answering machine drone. Last week I finally made a connection.

窶廩ello.窶 窶尿 thick Dublin accent.

窶廩ello, you sent me some CDs. I really think they窶决e great; would I be able to meet you and have a chat? I窶囘 like to do a piece on them.窶

窶弸eah de CD, ye like it yeah?窶

窶廬 think it窶冱 some of the best music being made at the moment.窶

窶廾kay, which one are you? Whereabouts are ye?窶

窶廬窶冦 living on North Circular Road.窶

窶廣h sure, yer only five minutes up the road. Sure come up now if ye like. Ye know where the Phoenix is. Just gis a shout when yer at the monument.窶

My brain froze for a second. 窶弑m窶ヲ yeah, okay. I窶冤l give you a ring when I get there.窶

Why had I never been to the Phoenix Park before? I窶况e lived on North Circular Road for almost ten years, but I had never turned right upon leaving my house, always left towards Phibsboro. Sometimes if I was walking into the city I窶囘 cross the road and follow the picturesque houses of Oxmantown road, before turning left and strolling through Stoneybatter, towards the River Liffey. Why had I never chosen to take my walk in one of the largest city parks in the world? Come to think of it, why does nobody I know ever talk about it, let alone go there? My head swam with these, and many other questions, as I threw on my winter coat. Leaving the house I turned right, feeling slightly askew.

It was twilight as I made my way up the road. I looked around for something to keep me grounded in what I had come to believe was reality; I fixed on the trees, trying to ignore the colossal monument coming into view. Surely I窶囘 have noticed something of that size at the end of the road I lived on.

I entered the park and followed the winding path to the monument. I took out my phone, but there was no need. He found me. An ordinary-looking young man, smartly dressed but slightly disheveled.

窶彜tory bud?窶 The easy, familiar colloquialism took the edge off the uneasy, illusory feeling that had grown inside me since leaving my house.

窶廩ello, pleased to meet you.窶 I offered my hand and we shook solidly.

He introduced himself as Dessy and then walked away, gesturing that I should follow him.

Reader, in my youth I enjoyed reading the fiction of the fantastical. Future dystopian nightmares, journeys to the stars and magickal conspiracies, I devoured them all. Bearing this in mind, I would have thought that what I窶冦 about to explain would have been that much easier to comprehend. But, for all the reading in my youth of the classics of imaginative fiction, I was still left with nothing to compare with what unfolded over the next hour or so, beginning with the sight that startled me as we stood on top of that hill. On the area around the monument in the Phoenix Park I saw what I can only describe as a shantytown.

My stomach turned in giddy dread. I was so taken aback that Dessy had to let me stand for a while to take it in, my brain processing and reprocessing, programming and reprogramming. It was mind-blowing enough to be standing in a colossal green area in the middle of the city that had been completely erased from my consciousness like an early morning dream, but this threatened to smother my wits altogether. Rows and rows of dilapidated huts as far as I could see were broken here and there by mud tracks. Campfires burned. I could see people, too, going about their business as if following a daily routine. The atmosphere was one that my mind had never experienced, but that my body recalled, something primal and buried. How could this place, situated right in Dublin City, remain unremarked on by society?

I hadn窶冲 much time to entertain such a question, as Dessy beckoned me to follow him and we started down the hill towards the town. I trailed behind him, my head a swarm of ideas. As we got closer I realized that the scene I窶囘 been viewing from the hill was less rustic than I窶囘 first assumed. Everyone appeared reasonably well-groomed and fed; the men, women and children all wore modern clothing; and the children played with toys, handheld games and bikes that placed them firmly in the center of the twenty-first century. The huts themselves, on the other hand, were made from the kind of materials I would imagine have been employed for such purposes for over a hundred years: corrugated iron, tin, loose wood, plastic sheeting, cardboard and old furniture all converged to create the bric-a-brac village we stepped through. I saw a deer being roasted over an upturned shopping trolley and then remembered reading about the deer of Phoenix Park when I was young窶蚤 realization both nostalgic and grisly given the circumstances.

Seeing the flames licking around that beast窶冱 carcass served me well in one way, though, as I began to come to my senses somewhat and my journalistic instincts began to kick in. How did these people get here? Why had nobody ever heard of them? Where was the music made? As we walked further these turned into questions about self-preservation. What did they intend to do with me? Was the music just a ruse to kidnap a member of the press?

We stopped at another campfire. Thankfully this one didn窶冲 contain any recently deceased wildlife, just a handful of men and women warming themselves against the intense cold. Dessy took me to the far side of the fire and introduced me to a man called Sean, who signaled for me to sit down on a cushion by the fire. Dessy disappeared.

窶廸ow, what would you like to know?窶 said Sean, scratching his ample beard and staring right into my eyes.

窶弑m,窶 I stuttered, taking a second to switch fully back into journalist mode, apparent cosmonaut that I窶囘 become. 窶弩ell, how did you get here?窶

The light from a fire has a way of changing one窶冱 appearance at every moment but, at a guess, I窶囘 say Sean was in his mid-forties. I studied his jovial, friendly face as he mulled over the question.

窶弋he government,窶 he said finally.

窶弋hat窶冱 it? The government?窶

窶弋he Olympics,窶 he said, and I fidgeted on my cushion, seriously considering walking away. He must have noticed the germ of my impatience, and he began shaking his head apologetically.

窶廬窶冦 sorry,窶昶 he said. 窶廣fter all, we are the ones who have always known. You are the ones who have never known.窶

I settled back down as he continued.

窶弸ou do remember the Olympics, don窶冲 you?窶 He didn窶冲 wait for an answer. 窶弋wenty years ago that bloody thing came to our city. Thousands of people forcibly removed from their homes to make way for the Olympic village, the new stadium, twelve-story car parks.窶 He spat into the fire at the memory. 窶弩e were promised houses out in the suburbs 窶 well, they call them suburbs 窶 might as well be outer space.窶

窶彜o you sought refuge here?窶

窶彜ome of us sought refuge, others were chased here. We fought pitched battles with the police all the way up North Circular Road. Caused quite a stir at the time. At one point it looked like St. Peter窶冱 Church was going to go up in flames. Don窶冲 know how I would have explained that one to him at the Pearly Gates. Hopefully the pigs found a way to erase it from that document, too. Haha.窶 His laugh turned into a cough and he spat again. The fire sizzled. 窶廾f course some of us were already here, but the numbers were small so nobody really took any notice. Forced removal had been going on since the late nineteen hundreds and those that didn窶冲 want to go usually came here. That caused a bit of resentment at first, because since the newcomers, everybody窶冱 trapped here.窶

窶弋rapped?窶

窶弸es. From what we can gather, it窶冱 some kind of gravity field. If we try to leave it just propels us back. There are only three people in the whole camp that it doesn窶冲 affect. Dessy is one of them. The rest of us can窶冲 even pass the monument.窶

窶廝ut how?窶

窶廬t was the Olympic Games. Every major technological country in the world had an interest in the games running smoothly. The amount of technology Ireland would have had at its disposal would have been unprecedented.窶

窶廝ut what about everyone else窶ヲ outside窶ヲ窶

He just shrugged his shoulders and said, 窶廝ut sure, isn窶冲 it the music you came here for? Come on.窶

We walked until the huts began to thin out, and I got a twitch of recall as in the distance I saw a naggingly familiar sign: DUBLIN ZOO.

窶廬 haven窶冲 been here in窶ヲ窶 I let the sentence trail off, giving in to what now appeared to be a full-scale hallucination. Deciding to jump onto surer ground, I began questioning him about the music as we pushed through the gates.

窶彜o how did you make the music?窶

窶廨as.窶

I shook off his obvious flippancy and persisted with my questioning, 窶廩ow do you record it?窶

窶廴y only inheritance was a suitcase full of microphones. My Dad used to record bands years and years ago. He was always buying microphones. He loved sound, god bless him and not much else窶ヲ I just use them and an old computer窶ヲ窶

I had followed him into what used to be the reptile house.

窶廛on窶冲 worry,窶 he said, switching on a light, 窶徇ost of the animals are long dead. At the height of the battle we released a lot of them and charged the cops. The rhinos and hippos caused the most mayhem, not to mention the big cats. They were all gunned down in the end, of course. I feel terrible about that, but we made the choice. We did what we thought we had to do. Anyway, do you like it? My home studio.窶

I looked around the former reptile house with the same awe that visited me atop that hill. Memories started to awaken, doors unlocked in my brain that someone evidently wanted closed forever. At that point I remembered this place, reader, even if you do not. I remembered the crocodile, the iguana and the snakes but they were gone. Each case had been turned into a recording booth, with microphones hanging from the ceiling; the largest case contained a mixing desk and a computer. Even stranger, though, was when I came in for a closer look at the booths and saw the dead body lying on a slab in each one. Sean saw the look on my face and laughed a maniac窶冱 laugh.

窶廴y instruments,窶 he said.

I couldn窶冲 comprehend what I was feeling, hearing, seeing. Silence seemed the only option that wouldn窶冲 further submerge my flailing sanity. My companion simply smiled and continued.

窶彜ome of us did consider moving in here when we arrived. But then we thought that it would be better used as a kind of mausoleum. Less chance of disease spreading if we keep the dead over here. Then I had the idea of putting my studio in here, and the two ideas kind of eventually meshed together.窶

My continued silence told him I still didn窶冲 understand.

窶廛ead bodies fart. Anybody who works in a morgue will tell you that. All those pipes and organs and valves finally getting to relax after all those years tensed up.窶 He stuck out his tongue and blew a chilling raspberry, letting it echo for a second, before continuing. 窶弋he music you窶决e hearing is basically my recordings of gas being released from corpses. I manipulate the sounds somewhat of course . . . mostly layering them on top of each other. The last CD we sent you was a new experiment I was working on where I窶冦 actually playing the body. I窶况e developed a kind of stopper so I can restrict the flow of air from the body, while applying pressure to certain points. It窶冱 early days yet窶ヲ I don窶冲 think I窶况e even begun to scratch the surface of the potential here窶ヲ I don窶冲 think I窶冦 far off a rudimentary scale, though.窶

I still couldn窶冲 talk.

窶廾h, before I forget窶披 He produced a CD from his coat and put it in my hand. I was in so much shock that I nearly dropped it. He actually had to close my hand around it.

窶弋he giraffe died last week窶ヲ marvelous, elongated movements窶ヲ this is just a rough demo of the stuff I窶况e done with it窶ヲ let me know what you think.窶

Evidently I was too stunned to ask any more questions, so we both made for the exit in silence. We cut through the shantytown and, at the bottom of the hill where it all began, he bade me farewell.

窶廛on窶冲 forget why we do this,窶 he said. 窶廝e sure and let everyone know about us.窶

I managed to force out a 窶yes,窶 and scaled the hill, feeling the force of an electric current through my hair as I passed the monument. Only when I was back on North Circular Road did I begin to feel anything like myself again. I was stunned, jaded, but also excited; my hands clutched the CD so hard it hurt, gripping to the only evidence of the strange things I窶囘 seen that night.

I ran the short distance back to my house and slammed the door behind me. Taking the CD from its cover I placed it in the stereo and sat back in my favourite chair. As the beautiful dread of what will probably become Ambient Morgue Volume Five swelled and drifted through the room, I took out the photograph. It was the first one Sean had appeared in himself. He looks like some strange kind of wizard as he works away at the giraffe, like he窶冱 trying to give it back its life 窶 reanimate it. In a way I suppose he is. It looks primitive and futuristic all at once. Slowly the magnitude of this thing started to hit me. I thought of how inspiring and revolutionary the music I was hearing was. The fact that I now knew the circumstances and conditions under which it was recorded made it all the more fantastic. After the music finished I pressed PLAY again and put it on repeat. I sat at the computer and began typing this article. What started out as a simple opinion piece about underground music gradually turned into the pocket odyssey you窶况e just read. At this point I couldn窶冲 care less if my sanity is in question; just please, track down this morbidly angry music for yourself. It窶冱 simply some of the best sound you will hear this decade, lovingly crafted by someone that the world chose to forget, whose time to appear from the shadows seems to have arrived.

* * *

Richard Howard is a speculative fiction writer from Dublin, Ireland. To date he has had stories published in Electric Velocipede, M-Brane and Loki’s Journal. In 2008 he won the Weird Tales Spam Fiction contest for his story 窶廰et Yourself Look Spiny.窶 He currently resides in Dublin 7 where he writes, studies English, and meditates on the exact moment the humdrum becomes the fantastic.

Weird Tales wins the Hugo Award! Friday, August 14th, 2009

Wow. We didn’t expect this. But there it is: Weird Tales was awarded its historic first-ever Hugo Award on Sunday night as thousands cheered at the 2009 World Science Fiction Convention in Montreal.

Fiction editor Ann VanderMeer and editorial & creative director Stephen H. Segal (pictured above with WT web consultant Matthew Kressel) were there to accept the award for best semiprozine, the category that honors small-press magazines with part-time staffs. Other Hugo winners that evening included Neil Gaiman (best novel, The Graveyard Book), Elizabeth Bear (best novelette, “Shoggoths in Bloom”), and Joss Whedon (best short-form dramatic presentation, Dr. Horrible’s Sing-Along Blog).

From all of us at Weird Tales, we offer our deepest thanks to all those who’ve supported and participated in our work to re-energize the magazine as a leading storytelling venue. From the brilliant writers and artists who’ve crafted these pages with us, to the readers who told all their friends how much they love the magazine these days窶杯his is YOUR award, and we’re honored to have been there to say so.

Ann talks at length about the Hugo experience with her husband Jeff VanderMeer at Amazon’s Omnivoracious blog, where you’ll also find a link to a ton of great pictures by the io9 news crew.

Blasphemous Horrors: No. 236 Tuesday, June 16th, 2009

No. 236: 窶2012,窶 $40.

Weird Tales proudly presents 窶彜teven Archer窶冱 Blasphemous Horrors,窶捐ne artist窶冱 quest to create a new Lovecraft Mythos-inspired painting every single day. And every day, you have the opportunity to buy the original artwork! The pieces are a combination of oil paint, paper, graphite, acrylic paint, scotch tape, and ink; they窶决e mounted on the inside of hardcover book covers and vary in size from 5テ8 to 7テ10 inches. Most are priced at $30 to $50; just email the artist at egolikeness at weirdtales dot net to arrange purchase by PayPal. And you can follow along with the gorgeous creepiness by subscribing to the RSS feed or friending us on LiveJournal!

Blasphemous Horrors: No. 235 Tuesday, June 9th, 2009

No. 235: 窶彜wamp Lights,窶 $40.

Weird Tales proudly presents 窶彜teven Archer窶冱 Blasphemous Horrors,窶捐ne artist窶冱 quest to create a new Lovecraft Mythos-inspired painting every single day. And every day, you have the opportunity to buy the original artwork! The pieces are a combination of oil paint, paper, graphite, acrylic paint, scotch tape, and ink; they窶决e mounted on the inside of hardcover book covers and vary in size from 5テ8 to 7テ10 inches. Most are priced at $30 to $50; just email the artist at egolikeness at weirdtales dot net to arrange purchase by PayPal. And you can follow along with the gorgeous creepiness by subscribing to the RSS feed or friending us on LiveJournal!

Blasphemous Horrors: No. 234 Monday, June 8th, 2009

No. 234: 窶廾ral Exam,窶 $40.

Weird Tales proudly presents 窶彜teven Archer窶冱 Blasphemous Horrors,窶捐ne artist窶冱 quest to create a new Lovecraft Mythos-inspired painting every single day. And every day, you have the opportunity to buy the original artwork! The pieces are a combination of oil paint, paper, graphite, acrylic paint, scotch tape, and ink; they窶决e mounted on the inside of hardcover book covers and vary in size from 5テ8 to 7テ10 inches. Most are priced at $30 to $50; just email the artist at egolikeness at weirdtales dot net to arrange purchase by PayPal. And you can follow along with the gorgeous creepiness by subscribing to the RSS feed or friending us on LiveJournal!


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