Archive for the ‘News’ Category

drp

Dark Recesses Press

Hi everyone,

I’m pleased to announce my new role as Executive Editor for Dark Recesses Press, owned and run by publisher Bailey Hunter.

DRP has brought me on board to help with a little bit of everything, and I’m looking forward to the challenge.  There are some upcoming projects at DRP that I’m very excited about, and which I plan to be up to my elbows in.  Keep your eyes peeled for forthcoming DRP news!

http://darkrecessespress.com/2017/02/welcome_simon_dewar/

Thanks,

Simon

 

I just sent this to Books of the Dead Press via email and will be sending it to their last-known mailing address via registered mail.  I have also decided to post this here to ensure that the message is recieved.

—–

Dear Roy,

I’m writing to you to express my sheer frustration and bewilderment at the lack of communication over the last few months.  I’ve tried contacting you several times and have not received any response to my attempts at contact since October 1.

 I signed Suspended in Dusk 2 with you on September 12, 2015.  On July 4, I gave you a fully-edited, triple proofread manuscript of an anthology featuring stories from some of the best names in the business.  You told me that the book would be released “in a couple of months”.  On October 1 2016, you told me the book would not be released until Q1 2017. The author contracts have now expired  and publication of Suspended in Dusk 2 with Books of the Dead is no longer feasible.  The headlining authors such as Stephen Graham Jones and Damien Angelica Walters have resold their work elsewhere and they would not re-sign with Books of the Dead Press given a year has gone by and the anthology was never published. This hasn’t just tarnished your reputation, it has tarnished my reputation and credibility as a professional editor to some of the best names in the horror fiction business.  I have already emailed you about this, and it is coming up to 3 months since your last email to me.
To make matters worse, your website has disappeared too and I’ve been fielding emails from the writers published by BOTD who are trying to work out if BOTD even exists anymore and what is happening with their books which they’re not getting royalties for  but which are still being sold on Amazon etc.  

In addition to the failure of Suspended in Dusk 2, each royalty payment I’ve received from Books of the Dead for Suspended in Dusk has been progressively closer to the “no later than 160 days from the end of the period” stipulated in my contract.  It has now been 168 days since the end of Q2 and I still have not received payment, as per the aforementioned paragraph of the contract.

I have lost faith in Books of the Dead Press to adhere to and fulfil the contract for Suspended in Dusk 1 and the contract for Suspended in Dusk 2 has been made completely redundant by the lack of communication and action from yourself which has resulted in the lapse of all the author contracts and the sale of their fiction to other markets. The virtual disappearance of your presence in social media, the disappearance of your website and the disappearance of royalty payments within the contractually agreed time period leaves me no choice as to my actions. I regret to say that I am—without delay and on the basis of there being no “notice of default and right to cure” clause in the contract requiring me to grant you time to correct this—reclaiming my rights to both Suspended in Dusk 1 and 2.  I will be requesting that Amazon remove Suspended in Dusk from their site and I will send you this as a letter via registered mail to the one address that ANY of the books of the dead authors have for you:

 

Books of the Dead

c/o James Roy Daley

742 Pascoe Crt.,

Oshawa, On,

Canada, L1K 1S9

 

I will also put the contents of this letter of this letter on my blog, in the hope that you have received this message. 

I don’t know why you’ve disappeared. Maybe you’ve had some life or health problem that you needed to take care of. It happens to all of us and I genuinely hope you’re well—but I can’t do business with you and I need to take my work to someone who is visible, communicative, is paying as per my contract and who actually has their hand on the tiller.

Sorry it had to be this way,

 

Simon Dewar

 

good times

The last couple of weeks have been interesting with all the goings-on regarding RJ Cavender, PS Gifford, HWA and the traumatic podcast by Brian Keene with guest Kelly Laymon, and posts by authors such as Tim Waggoner, and author/editor Michael Bailey.

I’ve checked out on all of that, seriously struggling to give a fuck about any of it beyond a generalised and helpless kind of sadness and concern for Kelly Laymon and the other affected victims of sexual assault and fraud.  Whether people are being nice or naughty, treating each other well or poorly, whether they’re having fun or not, whether they’re being successful or failing… It’s freaking great to not know about it, and more importantly to not give a fuck about it either.

monkees

A corollary of that is, I’m taking a well-deserved break from social media.

man

I’m not quite The Man who Walked Away from Facebook (no one has stolen my horse yet!!), however stepping off the merry-go-round has allowed me to become far more productive.  I’m aware of some things that are going on in the horror/writing world and am maintaining some level of contact with some people. If you feel you need to speak to me, email me.

Note: I have no updates on the RJ Cavender scandal.  No further news from Indiegogo than that they’re investigating whether the campaigns. RJ Cavender’s Indiegogo campaign site are still live. I have received no word from Stanley Hotel or Winchester mystery house and no response to the long emails I sent both.  Well, I threw that shit at the wall and it seems like nothing has actually stuck, so I’ve turned my attention to other things which are more interesting and better for my mental health.

In the last week:

  1. I’ve sent edits to 3 authors for Suspended in Dusk 2.  I have a small number of edits left before proof reading begins and I finally compile the final manuscript and send it to Books of the Dead Press.
  2. I have sent three lots of edits, and 1 manuscript assessment and suggested markets for story submission, to people who bought edits out of the StokerCon or Bust fundraising campaign for Marni Molina.  Marni is probably at Las Vegas or landing there now, ready to enjoy a weekend away, maybe learn some things, catch up with old friends, network with new ones.
  3. I have written several thousand words of an essay on nailing the start of a new short story.  The essay will be published in the next few weeks and will include quotes from some fantastic authors and editors and my own general spin on things.
  4. I have received my royalty statements letting me know that I’m still selling roughly 750 (mostly ebook) copies of Suspended in Dusk a quarter.  This is encouraging because, I’m quite proud of that book; there’s lots of great stories in there; I’m very happy that some of the less established authors are getting “exposure” (heh.) to a wide reading audience via my book—one that was released in 2014! (Note: The publisher did also pay them money.)
  5. I feel like I’ve levelled up a bit with my editing or have certainly attained a greater amount of confidence, especially in asking authors to make changes that I feel are necessary for a story. Ultimately, this is good for both me and the authors.

I’m super pleased with this new direction and I’m happy that Suspended in Dusk 2 is moving more swiftly towards its final published state.

Good times, great (lack of social media) company.

SiD 2 Title2

Hi everyone,

I’ve been waiting for a while release the table of contents for Suspended in Dusk 2 but all the contracts are in and my hands have been unshackled.  There were a couple of changes to the line up. Unfortunately, Mercedes Yardley and Nikki Guerlain wont be joining us due to other commitments. I do very much hope to work with them both soon on future projects.  As sad as that is, there are some fantastic new additions to the line up whose work I am thrilled to be including in the anthology.

So, without further ado, and in no particular order,…

Suspended in Dusk 2 – Table of Contents

  1. Introduction by Angela Slatter
  2. Deadman’s Road by Joe R. Lansdale
  3. The Mournful Cry of Owls by Christopher Golden
  4. The Immortal Dead by JC Michael
  5. That Damned Cat by Nerine Dorman
  6. Another World by Ramsey Campbell
  7. Angeline by Karen Runge
  8. Mother of Shadows by Benjamin Knox
  9. Love is a Cavity I Can’t Stop Touching by Stephen Graham Jones
  10. Crying Demon by Alan Baxter
  11. The Sundowners by Damien Angelica Walters
  12. Still Life with Natalie by Sarah Read
  13. Riptide by Dan Rabarts
  14. Dealing in Shadows by Annie Neugebauer
  15. There’s no light between floors by Paul Tremblay

Editing continues apace and I’m looking forward to receiving some cover art soon, which I’ll no doubt share in due course!

This book features a few Easter eggs for readers too:

Mother of Shadows by Benjamin Knox is a continuation of the story from the original Suspended in Dusk anthology, A Keeper of Secrets. Ben and I worked hard to ensure it reads very fine as its own standalone tale, but readers of the first anthology should be enjoy the continuation of this story.

In what is becoming a Suspended in Dusk tradition, I’ve included a story which is dark yet also quite humorous, Nerine Dorman’s That Damned Cat.

Lastly,  there are several fantastic art pieces by the incredibly talented artist Aaron Dries,  which will appear exclusively in the paperback version of the anthology.

I am very happy with how this book is shaping up and I know there will be something for all horror readers and readers of dark fiction within these pages.

 

Simon Dewar

 

 

White Supremacist on the Bram Stoker Award Jury – #RileyGate2016

The last few weeks have rocked the horror fiction community.  David A. Riley, posted on his blog that he was a  juror for the anthologies category of the Bram Stoker Awards. This lead to the discovery by some that  he was a  white supremacist.  I believe the issue was first noticed and raised by author Daniel Braum.  The horror community came out strongly on social media. There was a lot of “this is a slippery slope” arguments flying around and a lot of “You can disagree about a lot of things, but you have to draw the line at actual Nazis”.  Many called for him to be stood down. The HWA board decided that this type of action was not within their by laws and David Riley offered to step down which was accepted.  There was a lot of talk about this, and the event lead notable writer Brian Keene to sever all working ties with Horror Writers Association and HWA members over the incident. (Brian’s boycott itself was received with varying levels of support and ire within the horror community.)

The way I saw it was:

  1. Was David A. Riley a white supremacist/nazi?  Yes. A one time chapter leader of the National Front, there was evidence as recently as 2011 of him supporting white supremacy groups and racist ideology in blog post and comments on articles. Lots of people have written about it. (Refer to some of his statements here and here, and here.)
  2. Had he repudiated his views publicly?  No. By the time he’d offered to step down he’d started issuing various “but I bought something from a coloured person once”/”have a coloured friend” statements, but no actual repudiation of fascist or white supremacist ideology.
  3. Did Riley have any influence in the awards process whatsoever? Yes.
  4. Did his views them bring into question his ability to fulfil these duties without bias? Yes.
  5. Was his presence has a juror distracting from the award itself and bringing the award into disrepute?  Yes.

Personally, I was pretty pissed that David Riley was not stood down by the HWA, rather he (according to his own words) offered to step down and this was accepted. I think that’s a subtle distinction here that is important.  The HWA should’ve removed him from his office, if not because they disagree with his politics, if not because there was provable bias on his part – they should’ve done it on the basis that his continued position on the jury distracted and detracted from the awards and thus could not be continued.  I think Nick Mamatas made an interesting number of observations about the HWA’s ability/inability to do this.

I do have sympathy for HWA President Lisa Morton and the HWA Board generally on this particular issue which came out of left field. Most people know nothing about Riley even though his repugnant views had been highlighted a year previously when he was briefly involved and then fired from Weirdbook.  I also feel that given t his kind of issue had likely not occurred in recent years there was probably an lack of understanding on the part of the HWA Board on how to deal with such an incident.  I would like to note that I while I did not officially complain about David Riley to the HWA (Daniel Braum and Allyson Byrd et al had that well in hand), I did make a number of suggestions directly to Lisa Morton. These suggestions included a “root and branch” review of the Stoker tules and the HWA by-laws, so that they’re coherent and clearly give the HWA necessary powers to remove problematic people from committees and juries etc, with a minimum of fuss.   While I agree with Nick Mamatas that its a private volunteer org and the fact that roles were conferred upon people there is an implicit power to remove them from that role, etc…. It’ll all make it easier next time if this kinda stuff is clearly down in black and white.

Could this incident have been handled better by the HWA? Yes.  There should probably some analysis and discussion within the organisation about what is the best method to address issues and what is the best method by which to deliver those addresses and statements. Is social media he best place for that?

Do I hate on Lisa etc for perhaps bungling the matter slightly, particularly with the initial statement? No. People are human, with all that entails.  Having said that, it didn’t look like the board was really aware of all its options and it did not look good for the president to issue a statement that other board members characterised as inaccurate in comments under that statement.  Do I think that the statement seemed a bit hypocritical given the fact the HWA had launched a Diverse Works committee, aimed at highlighting the work of people of colour, LGBTI authors, etc? Yeah I couldn’t shake that feeling.

Was I outraged at amount of “slippery slope” / “free speech” / etc arguments made by a lot of people commenting on the thread?  Yes. It was particularly outraged. And blocked a few of them.

Do I find it encouraging that large numbers of people raised their voices and spoke about this issue? Yes that was great. I feel these voices fair outweighed those who would harbour a white supremacist in the name of free speech.

Is there room for improvement here (change to rules, bylaws, etc) and obvious things that can be done to prevent if rom happening again or to ease the resolution of an issue like this were it to happen again? Yes, and it’s up to the board to take action on that.

Am I hopeful that this wont happen again or that systems will be put in place to allow more effective and responsive governance in such another nightmare scenario?  I’m hopeful.

 

 

Stay tuned for Part II

 

Hi Everyone,

I’m selling some short stories edits as perks to fund raise for Marni.  She’s a single mum and mother to a special needs child. We’re trying to give her a weekend off to recharge and help restart her writing career by sending her to StokerCon in Vegas.  I’m offering 4 short story edits. Stories up to 7500 words.  I’ll do two full editing passes on the manuscript,  both developmental and copy edits. I’ll provide an overall manuscript assessment and advice on what might be suitable markets for the story.  I will edit this as though it as a story going into an anthology that has my name on the front.  I’ll edit any genre, although I do specialise in Horror.

marnz

Please be generous and consider donating and picking up some sweet perks.   Kerri-Leigh Grady, a former editor at the romance press Entangled, is also offering *fantastic value* novel length edits for stupidly low amounts.

We’re not in this to fleece anyone or make a squillion dollars, we just wanna get this lovely hard working Super Mum a weekend in Vegas for herself.

https://www.generosity.com/education-fundraising/stokercon-or-bust

Super excited that Karen Runge’s debut short story collection is coming out soon from Concord Free Press. I’ve been lucky enough to beta read most of the stories. This will be a fantastic and challenging read — for many readers, it’ll be a real affront to all that is right and proper.

Congrats Karen!

More info here at her blog:
https://karenrunge.wordpress.com/2016/02/10/debut-short-story-collection-coming-soon/

world-fantasy-awards-flickr-640x480

 

Originally I thought to write a piece regarding the change of the WFA from a bust of Lovecraft to something different, but I realised there just so much to talk about that it can’t be tackled in just a few hundred words, hence the “Part 1” in the title.  In coming days, I hope to post a follow up to delve into things a little further. I think this is a worthy and timely topic for discussion and hope that I have something of value to add to that discussion.

A couple of weeks back,  folks that run the World Fantasy Convention came out and stated that they’re no longer going to use the a bust of author Howard Philips Lovecraft, designed by artist Gahan Wilson, for the World Fantasy Award.

As first reported by Locus Magazine:

David G. Hartwell, co-chair of the World Fantasy Convention board, announced during the 2015 World Fantasy Awards that the current award trophy is being retired after this year.

The trophy, known informally as the “Howard,” is a bust of author H.P. Lovecraft designed by Gahan Wilson. In recent years, many writers, editors, and readers in the field (notably World Fantasy Award winner Nnedi Okorafor and nominee Daniel José Older) have called for the trophy to be changed, considering Lovecraft an inappropriate choice for the award due to his racist views. A design for the new trophy has not yet been announced.

Indeed, on November 10, Lovecraft biographer and editor, ST Joshi released the text of an letter he sent to David G. Hartwell, Co-chair of the World Fantasy Convention board:

I was deeply disappointed with the decision of the World Fantasy Convention to discard the bust of H. P. Lovecraft as the emblem of the World Fantasy Award. The decision seems to me a craven yielding to the worst sort of political correctness and an explicit acceptance of the crude, ignorant, and tendentious slanders against Lovecraft propagated by a small but noisy band of agitators.

I feel I have no alternative but to return my two World Fantasy Awards, as they now strike me as irremediably tainted. Please find them enclosed. You can dispose of them as you see fit.

Many authors have spoken, some more vociferously than others, about the need to change this award in several years.. including WFA winners Nnedi Okorafor, Sofia Samatar and others.

In the field of literary criticism there is a device known as the Implied Author (as opposed to the Author).  This Implied Author v.s Author relationship was referred to by T.S Eliot in his essay Tradition and Individual Talent, as “The Man Who Suffers and The Mind which Creates“.  The Man Who Suffers (i.e the Author)is the real life human being, the guy out there paying the bills and buying his hayfever medication from the pharmacy, raising his kids and working a day job.   The Mind Which Creates (i.e the Implied Author)  is the sense that we as readers get of the author and their personality,  or perhaps their views, or even their hopes and dreams.  This is a giant bone of contention between formalists of which T.S Eliot was one (i.e literary theorists and critics concerned with the form of a text) and those who seek to view the text through a more wider biographical lense and to take into account the time and place and the circumstances of the author before and during the time the work was written.

Ever the formalist, T.S Eliot wrote:

The analogy was that of the catalyst. When the two gases previously mentioned are mixed in the presence of a filament of platinum, they form sulphurous acid. This combination takes place only if the platinum is present; nevertheless the newly formed acid contains no trace of platinum, and the platinum itself is apparently unaffected; has remained inert, neutral, and unchanged. The mind of the poet is the shred of platinum. It may partly or exclusively operate upon the experience of the man himself; but, the more perfect the artist, the more completely separate in him will be the man who suffers and the mind which creates; the more perfectly will the mind digest and transmute the passions which are its material.

What Eliot is getting at here is that there is, particularly in the best of writers, a separation between the person of the writer and his creative mind, so that an author who might be a miser, or a complete jerk, or recluse can write stories and characters that are generous, and loving and outgoing. And vice versa!  Sure there are obvious exceptions to any rule, … a writer who is a jerk might write a mean story full of jerk characters, which mirrors his own life and experiences completely, but there is enough truth here that we can rationally recognise it.

Notwithstanding its lack of scholarly fides, I’m using wikipedia’s definition of the implied author here because, frankly, I like it.

The implied author is a concept of literary criticism developed in the 20th century. Distinct from the author and the narrator, the term refers to the character a reader may attribute to an author based on the way a literary work is written, which may differ considerably from the author’s true personality.

Author Saul Bellow once observed that it was not surprising, with all the revision that goes into a work, that an author might appear better on the page than in real life.

I love that last part. It’s so true. It’s like reading Orson Scott Card fiction and then reading his political views. Or listening to Eric Clapton play, before you find out he’s a big racist jerk.

Anyway,  lets take a look at HPL, shall we? Who was the Implied Author presented to us on HPL’s page?  Who was Lovecraft “the man”?

Lovecraft, the man, was a nervous recluse who, after his father died of syphilis in an insane asylyum, was raised by his mentally ill mother in Providence, Rhode Island.  He had extended periods of mental breakdown. He was an atheist and enamoured with science although was unable to pursue science as a serious academic study when he dropped out of highschool before graduation (on account of his poor mental health). He was a racist and held a lot of objectionable views. He briefly married a Jewish woman who later left him and he moved back to providence to live with his Aunts.  His views, which I personally find completely puerile and repulsive, are well known and extremely well documented owing to the fact that HPL was an amazingly prolific letter writer. He exchanged correspondence with a wide variety of figures, including notable writers of his time and those who would come along to be greats in their own right, including Clark Ashton Smith, Robert Bloch etc. You can read more of his biography here and here.

Lovecraft viewed the Anglo-German (Teutonic) race as the pinnacle of evolution. He viewed southern Europeans and Asians as inferior races.  He held the deepest contempt for Blacks and Australian Aboriginals which he considered little more than animals, incapable of creating their own civilised societies and civilizations.  He considered America to be the Anglo-Saxon civilization transported to another continent and improved through a more democratic political environment, but sharing the same values, qualities and roots as that of its Western European forebears. HPL hated multiculturalism and insisted that only a small number of non-whites be admitted into the United States or the nation would come to ruin, although, interestingly, he held there to be some value in other non-white cultures as long as their people stayed in their own countries and separate from white civilization so as not to retard the progress of Anglo-saxon/teutonic civilization.  In various of his letters he foresaw the need to “get rid” of non-whites from America should they ever come to threaten the stability and Anglo-Saxon fabric of  the nation. One or two comments that he made were very close to, if not actually, calls for ethnic cleansing. For the purposes of brevity I’m not going to post all the text from his letters, but if you’re unaccustomed to his views, you can read about his views and read discussion of his views herehere, here, here, here, and all over the internet.

Now that we’ve examined The Man Who Suffers/Author… let’s inspect The Mind Which Creates/Implied Author.

One need only make a close reading of his works to see his xenophobic loathing for any non-white and non-western European people in fact permeate the content and form of his written work.  The Shadow Over Innsmouth, is a tale of degenerate creatures crawling out of the sea and mating with human beings, was basically just a projection of his fears about immigration, inter-racial breeding,  multiculturalism etc. In which the narrator is exposed to the degenerate invaders and, at the end of the story, learns that he has their blood too and lapses into an almost religious kind of ecstasy, in just the same way that Lovecraft accuses non-whites of in many of his tales.  See here for a close reading of some of the text.  Lovecraft almost always introduces non-white characters, multiculuralism generally, inter-racial marriage and inter-racial sex, non-English languages ,etc… in terms of scorn, derision and in a wholly dehumanising fashion.

Charles Baxter rightly comments:

Racism is not incidental to Lovecraft’s vision but is persistent and essential to it. Ethnic minorities and monsters are, for him, often interchangeable. In his stories it is not unusual for a character to undergo a transformation into a creature from whom all humanity has been leached out, turning him into a foreign-seeming thing, an immigrant, whose attributes are both unpredictable and repellent.

A classic example of this is from  The Horror At Redhook, with its descriptions  of  New York’s multicultural society and the obvious implication that non-whites are destroying the city:

The population is a hopeless tangle and enigma; Syrian, Spanish, Italian, and negro elements impinging upon one another, and fragments of Scandinavian and American belts lying not far distant. It is a babel of sound and filth, and sends out strange cries to answer the lapping of oily waves at its grimy piers and the monstrous organ litanies of the harbour whistles. Here long ago a brighter picture dwelt, with clear-eyed mariners on the lower streets and homes of taste and substance where the larger houses line the hill. One can trace the relics of this former happiness in the trim shapes of the buildings, the occasional graceful churches, and the evidences of original art and background in bits of detail here and there—a worn flight of steps, a battered doorway, a wormy pair of decorative columns or pilasters, or a fragment of once green space with bent and rusted iron railing. The houses are generally in solid blocks, and now and then a many-windowed cupola arises to tell of days when the households of captains and ship-owners watched the sea.
From this tangle of material and spiritual putrescence the blasphemies of an hundred dialects assail the sky. Hordes of prowlers reel shouting and singing along the lanes and thoroughfares, occasional furtive hands suddenly extinguish lights and pull down curtains, and swarthy, sin-pitted faces disappear from windows when visitors pick their way through. Policemen despair of order or reform, and seek rather to erect barriers protecting the outside world from the contagion.

Other examples from his fiction compound the impression we get of his racist views.    Take the description of the black boxer in Herbert West: Reanimator as one example:

The negro had been knocked out, and moment’s examination showed us that he would permanently remain so. He was a loathsome, gorilla-like thing, with abnormally long arms which I could not help calling fore legs, and a face that conjured up thoughts of unspeakable Congo secrets and tom-tom poundings under an eerie moon.

There is no doubt that Lovecraft was a racist of the highest order and that his personal views he held influenced his fiction writing to the point that they (fear of the other/unknown/etc) are one of its central aspects.   He certainly fails T.S Eliot’s test for who is “the most perfect artist”, because it would seem that here was very little or no separation between his personal and creative spheres.  In Lovecraft’s case, The Man Who Suffered WAS the Mind Which Created. 

So what do I think?

I’m honestly so damn tired of people being outraged about everything all the time. So sick of everyone having some cause to champion. It sets my teeth on edge, even when I agree with why they’re outraged. (Largely because I don’t like people generally, and I’ve got enough of my own problems and can rarely handle worrying about the problems of others). My inner misanthrope, who may also be my inner privileged white misogynist, sometimes wishes everyone would just shut the the hell up. I try very hard, however, to recognise this as a character flaw and as objectionable and pray the better part of myself and logic prevails.  Therefore, I understand that things that don’t affect me or that I could care less about, do affect others and they do care about those things.  I can put myself in someone else’s shoes.

I’m white (anglo-celtic stock with a spattering of Western European)  but my lovely wife is of an arab background. Our inter-racial marriage and our three beautiful daughters would probably be the kind of “hybrid filth” that Lovecraft mentioned in The Horror at Red Hook.  So I can sympathise with Nnedi Okorafor when she said:

Anyway, a statuette of this racist man’s head is in my home. A statuette of this racist man’s head  is one of my greatest honors as a writer. A statuette of this racist man’s head sits beside my Wole Soyinka Prize for Literature in Africa and my Carl Brandon Society Parallax Award (an award given to the best speculative fiction by a person of color). I’m conflicted.

I can also relate to Usman Tanveer Malik who mentioned in one Facebook comment words to the effect that Lovecraft is hardly representative of “World Fantasy” and that awards should be something that is inclusive of people if wants to market itself as the “World Fantasy” award.  Which, ultimately, is probably the most important aspect here. In my opinion, the World Fantasy Award should be an award that should not be anglo-american centric.

Indeed, as Lenika Cruz mentions in The Atlantic:

On some level, Joshi’s frustration is understandable. The nebulous field of weird fiction wouldn’t be the same if it weren’t imbued with the spirit of Lovecraft’s strange, dark creations. And the question of how much to separate a cultural figure from his or her personal beliefs has always been an uneasy one. But Joshi’s claims are myopic. Lovecraft’s removal is about more than just the writer himself; it’s not an indictment of his entire oeuvre. The change is symbolic but powerful—it’s a message to the next generation of writers, artists, and editors that they belong in the genre of science fiction and fantasy.

With this in mind, I largely support the move to change the WFA from a bust of Lovecraft to something different. I don’t think Lovecraft is representative of world fantasy, even if I do love his stories ..(if not for him, Jack Ketchum [who’s mentor Robert Bloch was actually the protege of HPL] and Stephen King, I may not even be a writer). If Lovecraft’s bust had been the World Horror Award, I may (tentatively!) have been less supportive as he’s clearly a towering figure in horror genre, even if he was an odious racist. But fantasy? No way.  As the shit-stirrer par excellence (yet amazingly talented and knowledgeable author and editor) Nick Mamatas mentioned recently, while we view Horror as a distinct genre (which leads many of us to question HPL’s suitability to be linked to the award), if anything, it is more appropriately  a sub-genre of Fantasy in general. I can’t help but feel that if we follow this line of logic and view HPL’s work as part of a Fantasy sub genre, he’s still a just single author from a sub-genre and hardly, in my opinion, representative of the genre as a whole.

I suggest we all take a collective chill pill. Whether you think the so-called “Social Justice Warriors” are not worth Lovecraft’s literary fingernail or not (like Vox Day), changing the appearance of the award doesn’t take away from the achievements of Lovecraft.  Nor, does it change his effect and stature in fiction. Nor will it mean less people will read Lovecraft.  It doesn’t take away from fans, authors or editors who like Lovecraft of write or edit Lovecraftian fiction — most of you are great people and those writers and editors amongst you are extremely talented individuals. Beyond that, you can’t insult the dead. HPL seriously doesn’t care (he’s dead) and his place in literary history is assured.  Those who want the change have their opinion (which is a legit concern to them and many others), and you have yours. You can lobby the World Fantasy Convention with your own views on the matter if you want, as can authors or fans of any other persuasion.

So, I say, let’s just make the award an elf, or a dragon, or a unicorn or make it a plaque and not a bust or idol of something at all — and then can we just get on with the business of writing, reading and enjoying new fiction. 

Update:

Since I drafted this post a whole bunch of stuff has gone down, including ST Joshi’s wife yelling at an author and saying he’s now blacklisted from any press where Joshi works, not to be over-shadowed by Joshi coming out and saying Ellen Datlow is immoral and that she’s opportunistically released lovecraftian works while backstabbing his corpse by seeking to get the “Howie” replaced as the WFA bust.    You can find some of this on Joshi’s website.  As far as I’m concerned, this is beyond the pale and I think ST Joshi owes Ellen a public apology.  Wow. You crossed the line, dude. Sit down.

I am writing a supplementary post delving into greater detail regarding some of the issues surrounding this current furor which I believe to be quite pertinent to the discussion, namely that of free speech, tradition, privilege and his legacy and effect on current race discourse.

Hi everyone,

Suspended in Dusk is now out in paperback format. I know a few people were hanging out for a paperback copy rather than ebook version. You can log on to amazon now and order a copy!

For those of you who haven’t heard of or already read the anthology, it’s a horror and dark fiction anthology featuring an introduction by Bram Stoker Award winner and World Horror Convention Grandmaster Jack Ketchum, and stories by:

Ramsey Campbell, John Everson, Rayne Hall, Shane McKenzie, Angela Slatter, Alan Baxter, S.G Larner, Wendy Hammer, Sarah Read, Karen Runge, Toby Bennett, Benjamin Knox, Brett Rex Bruton, Icy Sedgwick, Tom Dullemond, Armand Rosamilia, Chris Limb, Anna Reith, J.C. Michael.

Amazon link:

http://www.amazon.com/Suspended-Dusk-Ramsey-Campbell-ebook/dp/B00NIE6E2S/

In conjunction with a 5 year anniversary sale from Books of the Dead Press, the anthology is currently selling for 99c on Amazon.com.  http://www.amazon.com/Suspended-In-Dusk-Ramsey-Campbell-ebook/dp/B00NIE6E2S/ref=zg_bs_157061011_2

Please consider checking out the other Books of the Dead titles many of which are free or reduced to 99c. There are some fantastic books by amazing authors. You wont regret it.  http://www.amazon.com/s/ref=ntt_athr_dp_sr_2?_encoding=UTF8&field-author=Books%20of%20the%20Dead&search-alias=digital-text&sort=relevancerank

I’ve been busy of late doing promotional work for the anthology and along with the sale this has achieved some success.  For a while at least Suspended in Dusk was the no.1 best selling #horror anthology on Amazon.com.  This is great news for the authors whose stories are within the collection.

 number1

There have been a few good reviews of Suspended in Dusk of late. My personal favourites were the review on Lurid-Lit.com and one of the reviews on Goodreads.com

But besides the buckets of gore, blood, creep and crawl these stories present smarts. There are morals hidden beneath the piles of bodies and in back of the winding spirits; modern parables all for our times that set this collection above most of the recent anthologies being hawked today.

This is a solid investment of your time and eye sight.

1. http://www.lurid-lit.com/2014/12/book-review-suspended-in-dusk-edited-by.html

The cover is exquisite. The editor did a good job selecting the content authors, and the editing is of high-quality. The roster contains talent from all over: Australia, UK, US and South Africa, which has a healthy pulse of fresh voices. Overall, I suggest this to any horror author, because chances are, there’s a story within tailored to your liking. As Jack Ketchum states in his introduction—”You’re in good hands here.” More from Simon’s editing desk, please. Call me greedy.

2 . https://www.goodreads.com/review/show/1065595300?book_show_action=false&page=1

In coming days we should have news of the print run of Suspended in Dusk. I know there are a few people out there at least who are hanging for a paperback version, in which case you’ll be able to pick one up in the early new year. I’ll update with more info when it’s available,

Other News:

I am currently in the process of planning the next project and will have news in coming days once it’s all be ironed out with the publisher. Hopefully will have news early next year.  I can only hope that project #2 is as well received as Suspended in Dusk has been. What a privilege this has been for my debut editing gig.

Wishing everyone a Happy Christmas, Hanukah, or holiday season.