Re-Reading King: ”Salem’s Lot’

''Salem's Lot' (Doubleday Hardcover, 1975) (First Edition)

”Salem’s Lot’
(Doubleday Hardcover, 1975)
(First Edition)

‘Salem’s Lot by Stephen King

Doubleday | October 1975

My most recent read of ‘Salem’s Lot took place in a variety of settings: under the harsh, cold fluorescents of my office during lunch; under the softer glow of the lamp in my living room; in the bright sunlight on my back porch; and, on a couple of occasions, underneath the lone bulb on that same porch, with night creeping in all around.

It’s a testament to the power of Stephen King’s writing that, in each of those places, he managed to thoroughly creep me out.

I don’t remember how many of King’s books I’d already read when I got to ‘Salem’s Lot the first time – I know I read Pet Sematary first, and after that it was a big blur as I gobbled up everything of his I could find. Looking back at it in its proper place in the bibliography, ‘Salem’s Lot signifies for me the first real glimpse of the Stephen King who would go on to dominate the horror field. It has several of the characteristics that would define the early years of the “Stephen King brand” in my mind; most notably, the pointed, accurate portrayal of a small town and its people, and the use of classic horror tropes in modern settings.

For pure scares-per-page, ‘Salem’s Lot ranks high in that initial bundle of books, the ones that led to King being known as “America’s Boogeyman.” I wasn’t exaggerating up top when I said I got creeped out a couple of times; that rarely happens to me when reading anymore (a side effect, I suppose, of a steady diet of the scary stuff over the years), and I was pleasantly surprised at the power King’s vampires held over me. Danny and Ralphie Glick walking through the woods; Royal Snow and Hank Peters descending into the belly of the Marsten House with a huge, ominously shifting crate; Ben Mears and Jimmy Cody, sitting in a mortuary with Marjorie Glick’s body, and the way her body first begins to tremble and then to twitch underneath its sheet…those are a few scenes that stand out in a book that lives under a dark cloud of dread and tension from the very first page.

Character-wise, it’s always been Ben Mears that I remembered the most. That’s not surprising; he is, after all, the main character and our entry point into the world. But this time around it was Father Donald Callahan who came alive for me. Maybe it was having the full weight of The Dark Tower series, and Callahan’s role in it, behind me this time around; maybe it was the way King introduced a character that sounds like a cliche (Catholic priest with fading faith and a drinking problem) and elevated him into something more. Here is a man who knows he’s begun to coast through life and yearns for something more:

He had been pining for a Challenge….He wanted to lead a division in the army of – who? God, right, goodness, they were names for the same thing – into battle against EVIL….He wanted to see EVIL with its cerements of deception cast aside, with every feature of its visage clear.

'Salem's Lot (Doubleday Hardcover, 1991) (Reading Edition)

‘Salem’s Lot
(Doubleday Hardcover, 1991)
(Reading Edition)

Callahan would get what he yearned for, here in this book and much later, when King picks up the thread of his story in the last three Dark Tower books. In ‘Salem’s Lot Callahan is a man who fails, utterly and completely, in his chosen mission, but knowing that he eventually gets a chance to make things right casts his failure in a whole new light.

I don’t know where I’d rank ‘Salem’s Lot in the overall King bibliography – high, but I’m not sure how high – but among his pure horror novels it reigns near the top. I’ve always had fond memories of reading it, and I’m happy to say revisiting it bore those memories out.

Up next is the book that many consider King’s masterpiece: The Shining.

Re-reading King: The Index
Re-reading King: Carrie

A Halloween Treat from Kealan Patrick Burke

DeadLeavesKealan Patrick Burke is a favorite here in October Country, an extremely talented (and, in my opinion, under-appreciated) writer who combines a keen eye for detail and atmosphere with an innate understanding of the importance of the human element in horror fiction. He’s got a deep catalog of stuff out there, but if I had to recommend my favorites I’d include his update/overhaul of the hillbilly slasher genre, Kin, as well as his excellent Timmy Quinn series: The Turtle Boy, The Hides, Vessels, Peregrine’s Tale and Nemesis: The Death of Timmy Quinn).

Those are all longer works, and they’re all excellent, but Burke’s greatest strength as a writer may be his short story work. So it’s great news indeed that Burke has made a collection of his Halloween-flavored short stories, Dead Leaves: 8 Tales from the Witching Season, available for free from Smashwords through November 1. In addition to stories like “Carve the Pumpkins,” “Tonight the Moon Is Ours” and “The Tradition,” he’s included a list of his favorite books and movies for the Halloween season and a new introduction.

I’ve followed Burke’s writing from the beginning, and I can tell you that this collection is worth a whole helluva lot more than the “nothing” that he’s charging, so please take advantage and check it out. I think  you’ll discover, as I did several years ago the first time I cracked open my copy of The Turtle Boy, that this is an author worth reading.

Interview: In the ‘Madhouse’ with Benjamin Kane Ethridge

One of Aeron Alfrey's insanely detailed 'Madhouse' illustrations.

One of Aeron Alfrey’s insanely detailed ‘Madhouse’ illustrations.

In the middle ages, it was thought that insanity was contagious. Centuries on, we label such ideas as superstitious ignorance. But when John Doe begins to speak after decades of silence, the staff and patients at the Golden Canyon Behavioral Health center begin to realize that behind every superstition lies a horrid truth.

On the night that a vicious sandstorm closes the roads and seals the doors, a plague of madness spreads through the hospital. Two staff members try desperately to hold onto their sanity while searching for the cause – and, hopefully, the cure – of the outbreak.

That’s the premise of Madhouse, the new shared-world horror anthology in the works from Dark Regions Press. The publisher is in the midst of a crowdfunding campaign on Indiegogo, and at roughly 80% funded with about three weeks to go, it seems a good bet that the book will see the light of day in Spring 2015. That’s good news, because with authors like John Skipp, Jeff Strand, Lisa Morton and Scott Nicholson set to participate, it’s likely to be a tasty treat for fans of good horror fiction.

Bejamin Kane Ethridge co-edits the book with Brad C. Hodson, and the two also wrote the framing story that ties all the short stories together. Ethridge was kind enough to take one eye off the funding campaign long enough to answer a few questions for October Country.

October Country: Which came first: the idea to do a shared-world horror anthology, or the plot of Madhouse, which naturally lends itself to existing as a shared-world anthology?

Benjamin Kane Ethridge: Actually the idea to do a shared world insane asylum anthology came first. Brad C. Hodson, my co-editor on the project, took submissions and invited authors to come aboard. We had a scenario for them to use but no plot. After all the stories were completed, Brad and I wrote the meta-plot that would flow throughout.

Who came up with the concept, and what about it stood out as something that would make an exciting book?

Brad and I rendered the concept about the Golden Canyon Behavioral Health Center and the ongoing supernatural sandstorm that has everybody trapped inside. It’s hard to say where one idea started and another began, but we worked well as a team and it came together quite organically.

What was behind the decision to go the crowdfunding route, and why Indiegogo specifically?

Dark Regions has had success going this route. It wasn’t anything Brad and I had even considered when we first started putting the book together. Since Dark Regions uses the campaign also as a pre-order mechanism, Indiegogo makes sense because it delivers the funds at the end of the campaign, whether the funding goal was reached or not. When people contribute to the Madhouse campaign, they are at very least going to end up with a copy of the book. Depending on how funding goes, that copy could have some amazing extra illustrations and other fun things added.

As you began to solicit stories and put the book together, what were some of the challenges you faced? Was it difficult to convince authors to write stories for a book that isn’t guaranteed to be published?

Many of the writers we approached we’d already had solid experiences with before. There were some who were skittish about the project in the first stages, and I cannot say that I blame them. When you devote the time to writing something, it had better be time well spent. Most of our contributors seemed to love the idea so much however that many agreed and turned over stories with little trepidation as to the publishing outcome.

Creatively, what kind of challenges – and advantages – does the “shared-world” format provide you as editors?

Characters are a big factor. Golden Canyon, as a facility, is enormous, and so we were able to afford a large cast. That said though, for the work to feel more cohesive, we had to take some characters and combine them- -especially those characters who seemed to be a certain type, a recurring sort. It was difficult also to weave our meta-plot into other stories without being too intrusive into what the author’s original intentions were. So we had to handle it carefully.

Did you have to turn down stories that were good, but just didn’t quite fit the concept?

There was one story I received that possessed great potential, but didn’t quite hit its mark. The author wasn’t in a good place to revise or restart the story, unfortunately, and so I had to let that one go. Generally we worked with all of our authors to change their stories to fit better into our vision. It was surprising, almost scary surprising, how most of our contributors really had our vibe down however.

How varied in tone are the stories? Is it a mix of quiet horror and more extreme horror, or does the book lean more toward one or the other?

Brad and I purposely tried to arrange our stories in a progression. We took works of quiet horror, such as that of Christopher Conlon, in the start of the book all the way to the frenetic violent wildness of John Skipp near the book’s conclusion. So there’s definitely a variety and it all fits together to create this steep slide into ultimate madness.

I won’t ask you to pick favorites among the stories, but which ones provide a good tease of what we can expect from the book overall – and why?

Erik William’s “Yellow Bug” comes to mind for me. This is most likely because it’s one of the first submissions we received. It really does capture the tone of the larger story at play in a succinct fashion, where personal demons are at war and insanity exploits that war in the worst possible ways.

Want to help push the Madhouse campaign over the top? Visit Indiegogo to contribute.

Review: ‘Buster Voodoo’ by Mason James Cole

large_BusterVoodoo_EbookCoverDixon Green comes from a spiritual family, but not in the traditional sense. A resident of New Orleans, Louisiana, Dixon spent his childhood watching people visit his mother for things like love potions and charms of protection. To Dixon, things like that are part of everyday life, the way Mass or Communion might be for others.

That side of Dixon’s childhood may have been fairly innocuous, but there were some dark swirls thrown into the mix. Take Empty House, for instance, which was pretty much like every haunted house you can find in almost any old neighborhood, except this one was actually haunted. Dixon found that out for himself one day when he went into the house and saw terrible things, visions of a violent past playing out before him. Empty House, they said, was where all the children who’d lately gone missing in Dixon’s part of New Orleans wound up. Empty House, they said, was where Buster Voodoo took them.

Dixon knew some of those missing kids, but only in passing – until the day his sister Marie became one of them.

Buster Voodoo is the monster of Dixon Green’s childhood. Another monster, this one we all know as Hurricane Katrina, comes along in Dixon’s waning years, offering more suffering heaped upon years of fear and anger and regret. Author Mason James Cole brings both of these forces to chilling life in this, his second novel (his first, Pray to Stay Dead, has been re-released by Buster Voodoo publisher Permuted Press). It’s a book that manages to be both vivid and pitch black at the same time; alive with colorful characters and places, and crawling with impending dread.

The book jumps nimbly back-and-forth between Dixon’s past present. Dixon and his sister did manage to temporarily escape Buster Voodoo, but they didn’t exactly live happily ever after. Dixon is wiling away his days as a janitor in a run-down New Orleans amusement park, and Marie is a guest of a facility for the mentally challenged. Even now, in these places, their childhood demon is never far from them.

Hurricane Katrina arrives midway through the book, and for a while it feels like you’ve wandered into a different story, one in which supernatural concerns are swept away by the real-life horror that storm wrought on New Orleans. It’s a horror that Cole, himself a New Orleans resident, knows firsthand, and you can rest assured he’s not using it here for cheap scares or easy atmosphere. It’s tricky business to present real-life horror side-by-side with made-up horror, but Cole pulls it off. Buster Voodoo is a terrifying creation, but what he is and the things he does pale in the face of Katrina’s fury.

There’s a very human heart at the center of Buster Voodoo, and despite all the praise I could heap on Cole’s ability to write tense, nail-biting scenes of horror, it’s that self-same heart that I feel is his best achievement. Cheap shocks thrown at cardboard cutouts don’t stick with you; bad things happening to characters you’ve grown to care about are harder to shake. Buster Voodoo is rich with atmosphere and emotion, and will leave you with plenty to ponder once the last page has been turned.

Re-Reading King: The How and the Why

OldKingsThe How and the Why

I’ve been thinking of doing this for a while now. Been wanting to do it. Hell, I’ve been needing to do it. But other obligations have made it so that I didn’t feel like I could commit to doing it.

Those obligations are gone now. So, I’m going to do it. I’m going to re-read Stephen King.

I don’t know how long it will take. I don’t have a timetable in mind. I’m going to take my time. I’m going to meander. As King has so often tried to teach us – in The Colorado Kid, for example, and perhaps in the entire Dark Tower series – sometimes it’s better to concentrate on the journey, and quit worrying so much about the final destination.* The only thing I have resembling a plan is to start with his first book, Carrie, and read them in order of publication.**

I want to do this because Stephen King is my favorite author. Without him, there would be no October Country. There wouldn’t be the couple of hundred book reviews I’ve written and published, because I may not be as avid a reader if it wasn’t for his books. The ten short stories I’ve published so far wouldn’t exist; nor would the novels I’ve started and stopped and finished and abandoned over time.

I also want to do this because there’s a surprisingly large portion of his catalog that I’ve only read once. That seems unacceptable considering he’s my favorite author. There are plenty that I’ve read multiple times – Pet Sematary and The Shining and Bag of Bones and even the mammoth It – but there are so many more that I’ve only touched once, and I can’t wait to revisit them. Will Duma Key still be as good as I think it is? Is Rose Madder really that bad? Will Bag of Bones still be my favorite when it’s all said and done?

We’ll see.

I’ve debated on whether to write about these, whether or not they really belonged here on October Country. And the answer is: of course they do. This blog is a map – an incomplete one, perhaps, but a map nonetheless – of my reading. My writeups won’t be traditional reviews. They may not make a lot of sense outside of my own personal context. I don’t know if anyone will read them. I hope people do read them, and I’d love for each post to have tons of comments from people sharing their own thoughts and feelings on the book. But this may be too personal a project to elicit much response. This is mostly me trying to get my arms around my feelings about this one writer’s huge body of work.

Hell, it’s mostly me just reading a bunch of books I like and grooving on them. You’re more than welcome to come along for the ride if you so wish.

Now, as King himself said in his foreward to Night Shift:

There’s something I want to show you, something I want you to touch. It’s in a room not too far from here – in fact, it’s almost as close as the next page.

Shall we go?

Re-Reading King: The Index

* It’s a good lesson, too, because if King’s works have a weak point, it’s often the ending.

** I’ll break away from this when it comes to any new releases. Revival is coming out in November 2014, and seeing how I’m starting this in August 2014, I seriously doubt I’ll be caught up to it by November. I also don’t know how the Dark Tower series is going to fit into this. The next time I read those, I want to read them back-to-back-to-back-to-back-to-back-to-back-to-back-to-back. So I don’t know if I’ll do this when I reach The Gunslinger in its place in the timeline, or just tackle those somewhere else down the road. When I know, you’ll know.

Review: ‘Down’ by Nate Southard

DownCover

For me, the hardest books to review are the ones that don’t elicit a passionate response, whether it’s “I loved it” or “I hated it.”
It’s even more difficult when the author in question has written other books that I really enjoyed. Such is the case with Nate Southard, a man whose hard-bitten prose I’ve enjoyed in the past, but whose latest short novel Down left me underwhelmed.

Down, released earlier this year by Sinister Grin Press, follows the travails of the rock band The Frequency Brothers. The band is in the midst of its latest tour and is poised on the edge of superstardom – which, if you’ve read any Rolling Stone article on any band on the edge of superstardom, you know means they are dealing with plenty of inner turmoil. There is drug use and infidelity and insecurity a-plenty, and the pressure is mostly felt by their long-suffering but capable manager, Potter. Potter also has issues at home, and he’s looking forward to this small break in their tour schedule to give him time to deal with his family.

It’s all rock-and-roll business as usual, until their plane goes down.

The crash is a harrowing experience that Southard skillfully juxtaposes with glimpses of the band as they take the stage for their last show, a sold-out gig in Austin, Texas. It’s a breathless first chapter that’s brimming with promise; unfortunately, once the plane is violently grounded, the story is grounded, too.

Southard is trying to put new twists on some old tropes in Down, and I’ll give him props for that all day long. There are some good ideas here, but what seems to be lacking is focus. There’s some kind of savage creature roaming the woods in which the band’s plane crash landed, and it’s picking off survivors one by one. That’s a story we’ve all heard a thousand times, but Southard manages to wring plenty of suspense and shock out of the premise. It’s only when some of the other elements come into play – a mysterious pit filled with human remains; weird, unearthly symbols carved into trees; the slow transformation of some of the survivors – that things get a bit muddy for me.

Southard is a strong enough writer to keep me entertained even when the I’m lukewarm on the plot. (Exhibit A: the line “…nausea kept grabbing him in a slick, wet fist….” which is such a perfect description of that feeling.) Down was not a chore to finish, as so many books are, but I don’t think it’s on par with much of what the author has already produced, and will produce in the future. I don’t know that I’ll ever revisit Down, but the next time something with Southard’s name appears I won’t hesitate to pick it up.

Review: ‘Beware the Dark’ #2 (Special Tom Piccirilli Issue)

Beware-the-Dark-Tom-PicarilliRegular readers of Tom Piccirilli‘s work (of which there aren’t near enough, in my humble opinion) are likely aware of the accomplished author’s ongoing battle with brain cancer (complicated recently by a stroke). Piccirilli is a writer’s writer and has the reputation around the horror community of being a helluva good guy. I haven’t met the man myself, but that reputation is backed up by the deluge of support he received from writers, publishers and fans when news of his illness first spread.

Paul Fry, founder of Short, Scary Tales Publications, was largely unaware of Piccirilli’s work, but when he saw the support the writer was receiving he decided to check it out. He was evidently impressed
with what he saw, as he’s devoted the second issue of his magazine Beware the Dark to Piccirilli – an issue highlighted by three new stories and a nonfiction piece by Piccirilli himself.

Piccirilli’s stories (“At the Mercy of Angry Angels,” “Waste of the Good Stuff” and “How Some of Us Sleep”) work together as a good overview of the themes that run through most of his work; independently, they work as damn fine stories. “Sleep” is particularly powerful, turning a story of astral projection into a touching tale about family, love and sacrifice.

It’s Piccirilli’s nonfiction piece that truly stands out, however. “Meet the Black” is an essay he wrote before – and after – his brain surgery, and it’s as open and honest and raw a look at a man confronting his own mortality and legacy as you’re ever likely to see.

Fry fills out the issue with several tributes to Piccirilli and his work from authors like Jack Ketchum and Norman Partridge. There’s plenty of non-Piccirilli work as well, including an interview with Joe Lansdale, fiction by Edward Lee, T.T. Zuma and Eric Red, and illustrations by Keith Minnion, Alex McVey and others. There’s also the first in a series of columns by Ray Garton called “Writers You Should Be Reading” – I wrote a similar column (by which I mean a column exactly like this, with the same title!) for the late, lamented FEARnet, and I look forward to seeing how my tastes and choices match up with Garton’s.

All in all, Beware the Dark #2 is a darkly beautiful package. It’s not overly-designed (a real problem with some genre publications, particularly horror publications), the copy is presented in clean, easy-to-read fashion, and the contents are well worth the twelve bucks it costs in the U.S.