Interview: Simon Strantzas

Simon Strantzas is one of the most impressive voices in the weird fiction genre, proving himself time and again as an author, and last year as an anthology editor. He has four short fiction collections under his belt (Beneath the Surface, Cold to the Touch, Nightingale Songs, Burnt Black Suns) and one edited anthology (Shadows Edge). I recently reviewed his new collection from Hippocampus Press, Burnt Black Suns. Previous reviews of his collections can be found here and here, and a previous interview can be found here.

Thanks for taking the time to talk to me Simon.

It's my absolute pleasure. Thank you for having me!

This month marks the publication of your fourth short fiction collection, Burnt Black Suns. How does this collection differ from your others? If you were to sum up each of your collections in one sentence each, what would those sentences look like?

BURNT BLACK SUNS was crafted, from the beginning, to be a sort of sequel to my first collection. That book, BENEATH THE SURFACE, found its inspriation primarily in the works of Thomas Ligotti, with threads of Lovecraft, Lieber, and Aickman woven through. I've always been pleased with its focus on a particular mode, but not as enthused with the book's reception from some corners. On occassion, the book was criticized for being too consistent in its bleak tone, so I thought I might try to revisit the idea, only with something more reflective of where I am as writer a decade later. BURNT BLACK SUNS shifted in focus a bit while writing it, but I managed to maintain its exploration of the sort of weird fiction I most enjoy, while finally showing curious readers what my work is like on a bigger canvas.

Summing up the previous collections is difficult, because they each have their own flavour. If BENEATH THE SURFACE was Ligottian bleak, then COLD TO THE TOUCH was Aickmanesque in its subtlety. NIGHTINGALE SONGS was perhaps a hybrid of the two, but one where my individual voice, I think, started to emerge over my influences. BURNT BLACK SUNS, thus, finally feels wholly me at this point in time.

While all of these stories are entirely your own, several of them pay homage to weird fiction maestros of the past, most notably Lovecraft (Thistle's Find), Ligotti (By Invisible Hands) and Chambers (Beyond The Banks of the River Seine). Two of these appeared in tribute anthologies. Do you find it more difficult or restraining to write a story for an anthology of the sort?

Well, considering "Thistle's Find" first appeared in a Lovecraftian book, I argue it, too, is part of a tribute (though Lovecraft's work has become so pervasive we tend to forget this). But your point is taken. I don't find it terrible different to write for anthologies of these sorts because I don't concern myself too much with playing in anybody's wheelhouse. I don't write pastiche or mimicry. Instead, I find something in the writer's work that speaks to me, and I simply explore it. Other than a few trappings, I like to think one might read any of these stories and not immediately make the connection that they were written as tributes. I hope they stand on their own. If anything, I find it less interesting to write toward themed anthologies. Unlike a tribute book, which offers a range of a writer's inspirations to draw from, a themed anthology often has one focus, and writing something that not only entertains but also doesn't have its central mystery ruined by the nature of the book can often be tricky.

What attracts you to writing not just horror, but more specifically weird fiction?

For me, there's always been a dark beauty to the horrific. It's a genre of images, which makes it a perfect vessel for themes and metaphors. Horror is capable of telling story that encompass the full range of the human condition, and often its fantasy element allows it to do so in a more direct way than non-genre fiction can manage. The weird—insofar as I define it—deals with the sort of philosphical underpinnings that appeal to me most. The twin ideas of the malignant outer and the unknowable other. Weird fiction simply interests me more than much of general horror fiction, and other than its sister sub-genre, the Strange, it's where I want expend the bulk of my energies exploring.

What are your thoughts on the current state of weird fiction? Some say we are in a golden age. Do you agree or disagree with that sentiment?

I think it's far too early to be making sweeping statements. What I can agree is that, for the moment, weird fiction is gaining attention in the North American market. We're seeing it with the canonization of Lovecraft, with television shows like True Detective, and the rise in authors working in this section of the genre. But it's not a universal thing. Travel to Britain and Europe, and I think you'll notice the Strange is leading the way in revitalizing the genre. I imagine this only makes sense, based on the general temperament of the Americas versus Europe. We tend to like our grostesqueries on display, not hidden behind a curtain. I feel blessed to be working alongside so many writers who are writing in this so-called "weird wave", and even more so that many of them are my friends. It's a fabulous time to be writing.

Do you have any plans to write any novel length fiction or do you foresee yourself staying with the shorter form for awhile?

As I write longer pieces, I begin to see how a novel might be forged, but I'm not convinced I'm the one to do it. That said, I will admit that though I haven't yet conquered the short story to my satisfaction, after more than a decade working in the form I've begun to get curious about what else is out there for me to do. It also doesn't escape me that despite the higher notice short fiction has been recieving as of late, the novel still rules the publishing world, and if I want to move beyond where I am now, it's likely I'll need to have a few novels under my belt. Unlike earlier in my career, the idea of this does not fill me with dread, though who knows what time will bring. I suspect before I retire, I'll have written at least one. But it won't be soon.

There are many recurring themes in your work. Liminal places, characters suffering from grief or loss. What about these themes, and others that you revisit, are important to you?

I don't think I truly know, or would want to. There is something in my mindset, regardless of how practical it can be day to day, that hungers for the unknown, that wants to imagine another place where the worst of our world comes from. Perhaps it's simply my way of trying to understand a random universe—ascribe meaning through otherworldly sources, attribute the hand of fate to ill-meaning gods. But along with this, I'm fascinated with the minutae of personal existenace, and how those outer forces affect it. Author T. E. Grau once refered to what I wrote not as cosmic fiction, but as micro-cosmic. That strikes me as good a description as any for what I do.

Besides being one of the genres finest authors, you've also proven yourself as a fine editor with the wonderful Shadows Edge. Do you plan to edit any more anthologies?

Thank you, but I hardly did much with SHADOWS EDGE. The truth is that if you get a good enough group of writers involved, your own work is fairly minimal. Luckily, I was able to coerce a few ringers to write me the sort of fiction I like to read. That others may have liked it, too, is lucky. Satisfying, but lucky. As for editing another book... well, I have hopes to do another next year, but that will be my last. I really don't enjoy the editing process all that much, and would rather focus my energies on writing my own work than editing another's.

Thanks for your time Simon, it was a pleasure.

The feeling is more than mutual.

Giveaway: Shadows Edge edited by Simon Strantzas

Earlier this month I reviewed Shadows Edge, an anthology exploring the concept of "thin places", edited by author Simon Strantzas. I had tons of good things to say about the anthology. Later that same day, I posted an interview that Strantzas was kind enough to grant me, where he illuminated the ideas and concept behind the anthology.

Now, thanks to Gary Fry at Gray Friar Press, I have a paperback copy of Shadows Edge to give away to one lucky reader.

How to enter is simple. Send an e-mail to contest@[NO SPAM]arkhamdigest.com making sure to remove the [NO SPAM] filter. Use the subject SHADOW and be sure to Include your name and snail mail address in the e-mail. I will do a drawing next Friday, and contact the winner by e-mail, posting the book out immediately. I also encourage readers to like the Facebook page so they can stay tuned for more giveaways!

Good Luck!!!!

Interview: Simon Strantzas

Earlier today I posted a review for Shadows Edge, an anthology of thin places edited by weird horror author Simon Strantzas. The book was excellent, and Mr. Strantzas was kind enough to do an interview with me, where he discusses his fascination with these thin places.



JS: First things first, I'd like to thank you for taking the time to answer a few questions.


SS: It's my pleasure, Justin. I very much enjoy The Arkham Digest and am pleased you enjoyed this book.


JS: Shadows Edge is an anthology that's built around the concept of thin places. For unfamiliar readers, how would you best describe what constitutes a “thin place”?



SS: Thin places are best described as the intersection between worlds. If you can imagine there exists realities that coexist with our own, these are spots where the barriers between have worn so thin that one bleeds into the other. We often, merely by living, stumble into places where we feel everything is a bit ... off -- when our gut tells us that even though everything looks normal, there is something more going on. We usually discount such sensations, but what if we are wrong to do so?


JS: Where did your fascination with these “cracks in reality” begin? What is it that attracts you to  this type of fiction?


SS: I suppose I've always felt there was more to reality than meets the eye. Since I was a child I've seen the world not as it appears, but as a mask for something more. I've not always understood this, of course, and could certainly never have expressed it in words, but whether from a keen sense or an over-active imagination I've always felt there were machinations occurring that were hidden from all but a select few. I imagine you may be right that it is my primary reason for being attracted to this sort of fiction, and explains my general disinterest in commonplace horror tropes like serial killers and vampires. I enjoy fiction that places certain intellectual demands on me, that make me question everything, that confirm my suspicions about reality's inherent falsity.


JS: What are some examples of what you would dub essential reading for anyone interested in further exploring the idea of thin places?


SS: Some tales that have affected me over the years in this way include Arthur Machen's "The White People", Algernon Blackwood's "The Willows", L.A. Lewis's "The Tower of Moab", and Thomas Ligotti’s “Vastarian.” There has been a steady stream of horror fiction from the beginning that has explored this sense of frisson, and if I can humbly suggest it, any of the authors contained in SHADOWS EDGE would be a great place to start.


JS: Stories about thin places mean stories that are going to have quite an emphasis put on the setting. Was this one of the main things you looked for in the stories?


SS: The nice thing about filling your book with great authors is not having to worry about looking for much of anything. They already understand the importance not only of atmosphere, but of balancing it with everything else. So, no, I didn't actively look for atmosphere. What I looked for is that sense of otherworldliness edging the proceedings. If I sensed that frisson, I knew the author was on to something that would fit well into the lineup.

JS: Everyone can name at least one place that gave them weird vibes, or made them feel uncomfortable. Real life thin places. What are some of these “thin places” that you yourself have encountered?


SS: I don't think I could pin it down to one specific place, because for me it's always been more about moments. I suppose, if I had to describe my notion, it's that these are not fixed places, but rather ever-shifting. They can be anywhere and everywhere. We have lived so long this way that unless these places are particularly evident we simply block them out when we encounter them. But what if we didn't? What if we kept our eyes open for them, always vigilant, always searching? Would we then discover that the borders between worlds were thinner than we thought? That stepping from here to there was as simple as turning left instead of right?

JS: I must say, Shadows Edge is quite an impressive anthology, made even more so by the fact that it marks your first time editing. With the knowledge gleaned from your first outing what are some words of advice you could give to aspiring editors/anthologists?


SS: The biggest lesson I learned is that the book you set out to make is not the book you will make. Even authors you count on to zig will often zag, and your concept and vision will need to remain plastic to some degree if it will ever get off the ground.

Other than that, my advice for future editors is the same as my advice for anything. Figure out what you want to say, and don't be afraid to stand up for it, even if its uncomfortable. At the end of the day, you are the captain of the ship, and only you can sail it home.

JS: Building on the last question, can readers expect to see any more Strantzas-edited anthologies in the future?


SS: Only time will tell. I do have a few more ideas up my sleeve; the only question is whether I am able to devote the time.


JS: Once again I must thank you Mr. Strantzas. 


SS: And, once again, thank you for having me.


My review of Shadows Edge can be found HERE.

Shadows Edge can be ordered HERE.

Review: Shadows Edge edited by Simon Strantzas

Simon Strantzas is a name that weird horror fans should be familiar with. To date he has had three excellent collections published: Beneath the Surface, Cold to the Touch, and Nightingale Songs. Shadows Edge marks Strantzas's first foray into the realm of anthology editing. According to the afterword, the idea for this book has long been fermenting in the dark depths of the Canadian author's mind. This month marks the end of the long wait, and Strantzas's dream project will be shipping within a few weeks.

Shadows Edge is an anthology dedicated to exploring the concept of thin places. These are spots where the barrier between our world and another world is thin enough to allow a parting of the veil. The place that just doesn't feel right, the place where a shadow is not just a shadow and things may or may not be hiding in the corner. Breaks in reality. These are the types of places that Strantzas is interested in. He has assembled fifteen authors, many of which should be known to regular readers of weird horror, for the purpose of taking readers on a tour of these shadowy, in-between places. I admit I was rather taken by the theme of the anthology, and was quite looking forward to digging into this one. With this in mind, it's safe to say that Strantzas and crew delivered the goods quite admirably.

The anthology opens with Prologue: The Nineteenth Step written by Strantzas himself. This short piece of fiction keeps the horror vague, and serves to set the stage nicely. A couple move into an old house with the intent to flip it for a nice return, but it isn't long before they notice something odd about the staircase. What is initially a curious observation quickly becomes a source of real terror. The ability to take something as mundane as a staircase and turn it into something so ominous is something only a master can pull off, and it's a shame Strantzas's wonderful opener has to be so short.

Joel Lane's Echoland follows a young musician named Diane and her growing obsession with a land glimpsed  during a childhood bout with fever. She joins with two other men who have also glimpsed the mysterious place (all during close calls with death), and together the three of them decide to do whatever they can to reach the city. The story follows their growing obsession with reaching the city and their descent into a drug-filled, sedentary lifestyle. It's a moody tale, and by the end it becomes clear that sometimes finding what we seek is not always a cause for celebration.

Michael Cisco writes The Penury, a strange tale of two childhood friends and their reunion. Cisco's writing is strong, and the story is not as straightforward as some of the others in the book, but is quite rewarding with rereads. Cisco is definitely not a writer for everyone, but his masterful way with words makes for an enjoyable read.

Tinder Row is a fine example of Richard Gavin's style of weird horror. Gavin has an easy style of writing and a wicked imagination which are both on full display here. Reid returns to his hometown only to come across a woman from his past, now a derelict. Taking pity on her, Reid coaxes her to lunch, but feels trepidation when she requests to be dropped off at Tinder Row, a dead-end street by the town's viaduct. The street has become as derelict as the woman, and Reid sticks around long enough to see if there's any validity to the local legends surrounding the place. The horror strikes true, and Gavin sets the stage well with the decrepit section of town. Definitely a favorite.

Daniel Mills is an author who has been featured on The Arkham Digest before, and for good reason. Typical of Mills's tales, The Falling Dark takes place in the past, and centers on a lonely man who has a bit of an obsession with a neighbor girl. It's quite a superb tale, with moments that are quite intense, and more going on under the surface of things.

The Old Church is a story that should appeal to anyone who finds it uncomfortable to attend church services. Gary McMahon takes readers to a church service which at first glance seems pretty normal. As the main character begins to pay attention to his surroundings things start to become altogether more sinister. McMahon is a powerhouse of British horror, and this story is one of the more frightening stories in the anthology. McMahon ratchets the suspense expertly. One of my favorite stories here.

D.P. Watt is the first author in the anthology of whom I am not familiar. After reading ...he was water before he was fire... I am now determined to become more familiar with his work. The story concerns a city man who decides to go camping, which is rather uncharacteristic of him. He becomes enchanted with a certain cove, and it isn't long before the place's magic has a hold on him. Watt's story is masterfully narrated, and shows a rather dark imagination. Another favorite.

False North by Ian Rogers is another story about a man going out into the wild. Some people prefer to go for a drive to clear their head, while some prefer the go for a run. The narrator prefers to go hiking, by pulling over his car and just going off into the woods. False North chronicles what happens when he hikes where he shouldn't. The narrator stumbles across an empty cabin holding nothing but a compass that doesn't seem to work properly. The story is short, chilling, and has an air of mystery throughout.

Lisa L. Hannett is the second author in the book of whom I am not familiar. Morning Passages was definitely an eye-catching story to mark my introduction to her work. The story is confusing, and I'm honestly not sure I can say what exactly happened, but it is written with great skill, and is very disturbing. Hannet definitely made my skin crawl and I look forward to rereading this one and finding more of her work.

R.B. Russell pens what may be my least favorite story in the book. At The End of the World takes place at a carriage house located on a shingle beach. A man's estranged brother returns to England and moves into the small dwelling, where he relates his story during a heavy coastal storm. The story itself is not bad, but compared to the others failed to really make an impact on me.

Within One Ruined Realm is a story by W.H. Pugmire, the prose-poet of the Lovecraft Mythos. As usual, Pugmire writes a dreamy short story that's dripping with gloom. This time around Pugmire brings readers to a certain street in Paris (and a perfect example of a thin place) that any Lovecraft fan should be familiar with. Short, and beautiful.

Livia Llewellyn has the distinction of being the author of my favorite story in the collection. Stabilimentum is a story that seems eerily familiar. Maybe it's the shudders that come whenever I see a spider invading my living space, or Llewellyn's uncomfortable play on apartment living, but this story gave me the chills from the first to the last page. Llewellyn builds the tension from the first moment Thalia notices a spider in her bathroom. As the horror builds it also becomes more and more surreal, and by the time the story reaches it's final moments it has become something else entirely. Excellent.

Some Other You by Michael Kelly features a protagonist suffering from extreme paranoia and depression. Things come to a head when he sees his ex-girlfriend walking with a man who in every way resembles himself. Kelly does a great job of building the paranoia and giving readers a glimpse into the gray, tense world of the protagonist.

Steve Rasnic Tem writes a story that seems touching when compared to the horrors of all the others. Lost in the Garden of Earthly Delights features an interesting narrator who seems unsure of himself. This narrator relates a few strange events that have lately occurred in his life, one of which involves black mold in the shape of his father constantly reappearing in his shower and the other involving his encounter with a homeless man at the shelter he volunteers at. It's an interesting story, and Tem's talent as an author is on full display although the story lacks the horrific punch that many of the others have.

The True Edge of the World takes readers to a misty Scottish island. Peter Bell writes an impressive story of a couple who takes their vacation in a land of ancient mystery, where folklore and myth are based in truth. This was another story which really stood out to me as a great example of a place where the border between our world and another is stretched to the thinnest. Bell utilizes Gaelic folklore to craft his dark tale, and the setting is perfect.

The anthology closes strongly with John Langan's Bor Urus. Langan's story toys with the thin places concept not by looking at the where of thin places, but by looking at the how. The narrator becomes fixated with the idea that the chaos of thunderstorms is when the wall between worlds is breached, and this is when it's possible to glimpse or even cross over into this other place. The narrator has a few experiences and as he grows so does his fixation. After one near encounter he becomes a different man, until a hurricane hits and he finally gets the validation he has always been seeking. It's a powerful story, and another favorite.

These sixteen stories make for a powerful journey into the shadowy corners, the in-between places. Strantzas wisely chose the fifteen authors present in the book to be a part of the anthology, and every one of them brings a worthwhile story to the table. Some of the horrors are more vague than others, but they are horrific nonetheless. A true horror fan should have long ago felt the attraction to the thin places of the world, and therefore can't do without Shadows Edge on their bookshelf. I couldn't recommend this one enough.

Shadows Edge can be ordered from Gray Friar Press: HERE