Tag Archives: Simon Strantzas

Simon Strantzas

I’ve been meaning to post something on the work of Simon Strantzas since I first read his Tartarus Press collection Cold To The Touch in 2010. His most recent collection Nightingale Songs from Dark Regions Press has finally moved me to action.

Strantzas’ work is complicated for me. It cross pollinates and stains and blooms in corners of my mind that some writers never find.

The thing that first impressed me was the attention to character in his work. While not uncommon, it helps to distinguish him among some of the other Weird Fiction out there. You feel for Simon’s characters and experience a clearer sense of their emotions as the uncanny creeps up and shakes them by the shoulders.

In Nightingale Songs Strantzas, makes those revelations and discomfort even more internal. These are stories of anxiety and doubt and fear, as much as they are the fantastical and other worldly. That personal insight is the core of Strantzas’ power. The emotional detail is equivalent to the sensory detail of a world, or rather a specific life, coming unhinged, and it adds so much gravity to the tales. These are quiet stories, that scream in the minds of the protagonist – if that makes any sense at all.

There are a number of standout tales, “Out of Touch,” “Tend Your Own Garden,” “The Nightingale” to name only a few. “The Deafening Sound Of Slumber” particularly resonated with me. This story of an awkward, isolated man working at an experimental sleep laboratory builds to a glorious crescendo. A crescendo, so vivid in its aural details, that when the visual details give shape to events unfolding the image painted is as robust as any I have read.

Getting back to where I started, the places Strantzas finds his stories has always intrigued me, and it’s an area Nightingale Songs really shows his growth. If he hadn’t told these stories no one else was going to, they are his. This voice on the page is unique and has gotten increasingly more so with each collection.

That’s what I’m getting at when I say he has reached corners of my brain that other writers haven’t. The ideas here breach the fences of ideas. They find stories in places where stories maybe would have stayed forever hidden. For my developing, hungry writers brain that is a rare treat.

Mythoscon Recap

Towering, primeval arachnid limbs cloaked within palm trunks, diabolical spores in the shifty guise of citrus fruit, an airport flight path spitting forth chromed Nightgaunts at clockwork intervals and a desk clerk who informed us that in the hotel courtyard we would need not worry about the DEA. (seriously – and for the record, the DEA is about the last thing in the world I worry about.)

Readings I attended:
Wilum Hopfrog Pugmire – Read three sonnets from his forthcoming 37,000 word response to Lovecraft’s Fungi From Yuggoth. Here is some more info on the complete work from Wilum’s site. His presentation was engaging and personal with some entertaining asides, really enjoyable.

Richard Gavin - Richard read The Abject, a new piece slotted to appear in S.T. Joshi’s forthcoming Black Wings II. I look forward to reading this powerful piece in print to fully absorb the atmosphere, powerful visuals and isolation presented in the reading.

Simon Strantzas – Simon read In The Air, A poignant story of grief and loss. from the recent reissue of his first book Beneath The Surface from Dark Regions Press. It was nice to hear this read as I had recently finished Beneath The Surface.

Matt Cardin – presented The Stars Shine Without Me from his collection Dark Awakenings issued by Mythos Books. This tale of alienation, the power of absent minded creativity and corporate horror was one of my favorites from his collection, and was a treat to hear read in person.

Michael Cisco – Michael Cisco is someone I hadn’t read going in, but expected I would like once I had. His reading was the highlight of the convention for me. He read, I believe, Violence, Child of Trust from the anthology Black Wings (I know it was from Black Wings, but I didn’t note if it was from the original or the forthcoming edition). It was nearly a one man show in presentation. The delivery and content were as dramatic and emotional as a I think one person sitting behind a small table could be. He was riveting and the prose infectious, I left there knowing I needed to read as much of his work as I can get my hands on.

Rick Dakan – Rather than a reading, Rick spoke of his process of writing and gathering experiences for his novel The Cthulhu Cult: A Novel Of Lovecraftian Obsession that was funny and impressive in its scope. Check out Rick’s Lovecraftian Obsession Podcast if you haven’t for some nice interviews with the likes of Wilum Pugmire, Laird Barron and others.

Panels I Attended:
Contemporary Mythos Fiction I – Featured Wilum Pugmire, Cody Goodfellow, Robert M. Price and Ann Schwader.  They gave folks like Joe Pulver, Sr. Stanley Sargent & Lin Carter a lot of love in their panel.

Contemporary Mythos Fiction II – This featured Richard Gavin, Simon Strantzas, Rick Dakan and Lois M. Gresh. This was another highlight for me (even at 9am Sunday morning). They dealt with the subtler influences of Lovecraft. Gavin sparked a great discussion by raising Alan Moore’s concept of Ideaspace. This was a discussion I was hoping to hear, and one that made a greater impression on me than simply retreading the Mythos and the minutiae of Lovecraft’s life.

Small Press Panel I & II – I was hoping for a little more vision from these panels. There was more mistrust of technology f than I expected and from some members a feeling that the major publishing houses focus on blockbuster books was a good thing for the small press. I’m not sure I agree with that, particularly that limited (expensive) books will keep their niche safe. There wasn’t a lot of talk about reaching out and trying to grow the small press aside from the Perilous Press folks who seem to have a really good perspective on what they are doing. (hmm – tried to link the Perilous Press site and apparently it’s down)

Personal Highlights:

This was the first Mythoscon, and while I suspect the organizers would have liked a larger turnout, Adam Niswander and his crew put together a great event. Adam was a gracious host, and personally stopped 2-3 times just to make sure my wife and I were enjoying ourselves. It was my first convention and his team made created something memorable.

I was able to speak with some of my favorite authors, each of whom were gracious and tolerant of me… stood next to Ramsey Campbell at the buffet… got to see the original artwork for Laird Barron’s Occultation in person… picked up some great books (Centipede Press’s table was as delectable as I feared)

I left feeling invigorated, inspired, and eager to tell stories. I’m hopeful that some of the acquaintances I made or reinforced will continue, and I’m pleased to have had the chance to see first hand the passion for weird tales is alive and well.

2010 Reading List

I kept track of the books I read in 2010. I hadn’t done this before,  I’m not sure why I started, but I suspect I will continue. It’s not everything I bought or intended to read by a long shot, but here it is. The traditional books are listed separately from the ebooks. I didn’t have a Kindle until mid-September, so that is reflected in the balance.

I’m wishing I’d worked on this post as I went and included a couple lines about each book. Perhaps next year. I wouldn’t recommend all of these, but many I would and several of them quite emphatically. It was a good year for reading.

2010 Books Read

Print Books
1. Song of Kali
by Dan Simmons (Tor Books)
2. Benjamin’s Parasite
by Jeff Strand (Delirium)
3. The Everlasting by Tim Lebbon (Necessary Evil Press)
4. Children Of Chaos by Greg F. Gifune (Delirium)
5. Primitive by J.G. Gonzales (Delirium)
6. Sesta & Other Strange Stories by Edward Lucas White (Midnight House)
A post on White’s excellent “The Tooth” here. Some other great pieces in this collection as well.
7. The Garden Of Hermetic Dreams
Edited by Gary Lachman (Dedalus)
8. Mr. Gaunt and Other Uneasy Encounters by John Langan (Prime)
9. American Gods
by Neil Gaiman (Harper Perennial)
10. Over The Darkening Fields by Scott Thomas (Dark Regions Press)
Posted on the Dark Regions Message Board after reading this one. “There are numerous stories in this collection that have stuck in my craw. Thomas understands people. Through the darkness and oddity, that understanding is perhaps his strongest attribute… Many of the stories are quite short, but his efficiency, clarity and imagination carve the words deep.”
11. The Darkly Splendid Realm
by Richard Gavin (Dark Regions Press)
Here’s an old post on Gavin’s I wrote after reading his book Omens. The Darkly Splendid Realm was a treat.
12. Dark Harvest
by Norman Partridge (Tor Books)
13. Can Such Things Be? Tales Of Horror & The Supernatural by Ambrose Bierce (Citadel Press)
14. Cold To The Touch
by Simon Strantzas (Tartarus Press)
One of the highlights of the year for me. Strantzas is as evocative in his gloom and strangeness, as his authenticity. The character development is excellent, his voice unique and subtle. “A Seed On Barren Ground” is a story that I ruminate on regularly and would place very high on a list of my all time favorites.  The Tartarus Press production value only added to this wholly satisfying collection.
15. The Man On The Ceiling
by Steve Rasnic Tem and Melanie Tem (Wizards Of The Coast Discoveries)
posted on this here
16. The Ginger Man
by J.P. Donleavy (Grove Press)
A loaner from a co-worker prompted by my love of A Confederacy Of Dunces by John Kennedy Toole. I hated this and abandoned it after about 100 pages. I can’t remember the last time I did that.
17. Fragile Things
by Neil Gaiman (Harper Perennial)
18. The Book Of Days
By Steve Rasnic Tem (Subterranean)
posted on this here
19. My Work Is Not Yet Done
by Thomas Ligotti (Virgin)
20. The White Hands & Other Weird Tales
By Mark Samuels (Tartarus Press)
21. Alone With The Horrors
By Ramsey Campbell (Tor Books)
22. Dark Awakenings
By Matt Cardin (Mythos)
posted on this here
23. Occultation
by Laird Barron (Nightshade)
24. In The Hand Of Dante
by Nick Tosches (Black Bay Books)
25. The October Country by Ray Bradbury (Del Ray)
26. Songs Of A Dead Dreamer
by Thomas Ligotti (Subterranean)
27. Beneath The Surface by Simon Strantzas (Dark Regions)
28. Charnel Wine by Richard Gavin (Dark Regions)
(reading now)

Kindle Books
29. Wicked Delights by John Lewellyn Probert (Atomic Fez)
I started a post on this I have yet to finish…
30. The World More Full Of Weeping
by Robert J. Wiersema  (Chizine)
posted about this one here
31. Excavation
by Steve Rasnic Tem (Crossroads/Macabre Ink)
posted on this here
32. A Host Of Shadows
by Harry Shannon (Dark Regions)

Writing Vs. Music: Atmosphere

October is my favorite month. The fires of autumn still hang from crooked branches. The sky is flooded with a crisp blue, unique to fall. It’s a reflective time plump with the magic fumes of decaying leaves. The world and I are more agreeable in October. Fear, mood and setting are recognizable more than any other time of the year. It’s the month of the imagination.

So, what scares you? Is “horror” really even scary? What’s worse, being scared or creeped out? Is there a difference? An orchestral stab, a “boo” moment, are they really scary? What is fear? Not what startles or grosses you out, but authentic guttural dread…

Adjectives associated with fear and darkness appear in a majority of the Gruntsplatter reviews I’ve seen, however, I never once set out to make a “scary” record. I don’t see dark ambient in those terms. The Suspiria soundtrack by Goblin. La-la-La-La… triggered more unease in me than any dark ambient record ever has. Whether anyone noticed or not, my records are social diatribes before they are horror shows. With Gruntsplatter I see the themes and fixation on the creeping dystopia as horrific, rather than horror.

Life when things aren’t right, unsettles me. A guy shouldn’t be singing witch lullabies over prog rock, it’s creepy. It’s not right. The movie Tideland is not a horror movie, but it got under my skin. Creepy, awkward, evocative and soulful. A window into something tragic and not right. Right and wrong are subjective obviously, but it’s those things more than monsters or killers and so many of the tropes of horror that creep me out.

The writings of Thomas Ligotti, Simon Strantzas, Steve Rasnic Tem, Mark Samuels, Richard Gavin and so many others that explore the wrongness in a wrong world, those are the contemporary voices of dread. I don’t worry about demons or serial killers. I worry about that guy on the bus that doesn’t feel right. I turn that thing sitting where it shouldn’t be into something diabolical. The dreams that scare me are the dreams of footsteps behind me from someone not concerned I know they are there. They are the voices in a house I thought was mine right up until I heard the voices. The stranger who says “see you later” and sounds like they mean it. The innocuous things that breach the facade of life.

I think about these things more, the more I write. “Weird tales” more than commercial horror speak in the tongue that resonates with me.  It is the subtleties in life that can go unnoticed, the curious juxtapositions, and the quiet shifts in wind and shadow where the genuine unease lurks. Mystery before bombast.

It’s what I have always tried to do with my music, subtlety and detail. It’s what I hope to infuse in my writing. I think that aesthetic is as much me as anything.

Writing Vs. Music: Limited Editions

I stumbled across this post over at Speculative Fiction Junkie the other day. I would really encourage you to read it, the meat is in the comments section.

The gist of it is that this excellent outlet for small press reviews has gone on hiatus. The reason being:  so many of the books he’s reviewing are released in such limited quantities that by the time the reviews appear they are out of print or nearly so. Many of these limited editions run in the $40-60 range, with deluxe limited editions going for anywhere between $75-$200 +. It can be far more depending on the author and what about it is “deluxe.”

The futility of it should be apparent. He’s taking his free time to contribute to a genre that seems bent on staying obscure. I wrestled with the same feelings many times when reviewing for Worm Gear. I’d get a great release limited to something ridiculous, and know by the time anyone read the review they wouldn’t be able to acquire it. I continued to review that stuff with the hope that people would see the review, jot down the projects name, and when they were able to find a release they might check it out, even if it wasn’t the one that I had reviewed.

That is the argument that Simon Strantzas (a fantastic writer I will have more to say about at another time) makes in the comments. There is value in the exposure, even if  the particular work being reviewed is out of print. His hope is that eBooks will help the obscure or overlooked work happening in the small press to escape the confines of the default limited editions.

This raises a secondary issue for me which is true of both music and books. I buy the limited hardcovers much like I buy vinyl. If I can’t get it any other way I’ll buy it, or if it’s someone I know I will enjoy. . .

Limited edition price tags make it tough to check out new writers when your disposable income is also limited.  eBooks to me are a pale solution though. Practically speaking they are perfect, I don’t argue that. However like an MP3, it’s just not the same. I have always said, and feel myself back pedaling a bit now, that it’s the music or the story that matters, and it does. But…

The experience of reading a Tartarus Press hardcover, like Strantzas’ Cold To The Touch or opening up a lyric book or fold out digipak with great art enhances the experience for me. Glass Throat Recordings is a great example in the music realm. The stories or songs are powerful in their own right, and would still be if written in crayon on a place mat, or played on 8 track, but it wouldn’t be the same.

If it was a matter of  – you’ll never read this story unless you buy the download -  I probably would. There are music releases that are long out of print and impossible to track down I have done that with. I don’t, however, buy MP3′s of releases. I go to the record store and get the real thing. I burn them to MP3′s  for convenience, and the car and so forth, but if the original can be had, I track it down to absorb to complete package.

The underlying, and most discouraging, element here is that there is great work out there going unnoticed, or noticed, but unobtainable. I hope there is a better solution than eBooks, but I don’t see it. I was surprised to find that the limited nature of my records, in many instances, was still a larger pressing than some of my favorite books. Sad.