Interview: Simon Strantzas talks Aickman's Heirs

Robert Aickman's fiction is often referred to as "strange fiction" instead of "weird fiction."

Whether or not you're a fan of labels, they do exist even if they best serve consumers. What are the defining characteristics of strange fiction as opposed to weird fiction? Do the two ever overlap?

I wrote a whole essay on this topic for Nightmare magazine last December, so I urge anyone with an interest in this topic to visit that site and read the thing. The truth of the matter is these terms are in many ways unimportant. Horror, Weird, Strange, Dark Fantasy—whatever dark fiction is written, someone will come along and classify it. The thing is, these terms are to a large extent meaningless—the genre is so fluid that there really are no firm dividing lines between them. Some stories wholly occupy one space, some multiple. That's how it should be. But, that said, I did write an essay explaining differentiating the two. Why? Because I feel that it still serves an important purpose. Not to chop up, categorize, and sub-genrify Horror, but instead to identify some of its most pervasive and interesting threads. By understanding how the genre works, I feel we can better understand the genre itself. As writer, that understanding is a powerful tool.

But, your question. I suppose it's unfair to direct readers elsewhere, so the crux of the difference (to my mind; yours may differ) is this: the Weird seems to be primarily an American-led movement, and the Strange European-led. The Weird is concerned with the effect on us of the extra-planetary, and the Strange the effect of our internal world. This is due to a large degree on the mindsets of the two peoples as a whole, the Americas staring at the stars and exploring, the Europeans gazing at their shoes and reflecting. 

I think it's safe to say that many horror and weird fiction fans have at the very least heard of Robert Aickman, and with new, affordable editions of his work published in the last few years many have had the opportunity to read his fiction. What sets Aickman's works apart from his contemporaries and those who came before him? 

Aickman followed in a less-travelled line of ghost story writers whose concerns were of the ambiguously internal. His precursors were writers like Onions and, most specifically, de la Mare, but unlike them he had the influence of modern psychiatric thought and philosophy to bolster his beliefs. Using them, he was able to fashion his thoughts on sexuality, poetry, and dream-logic into something wholly unique at the time it was written. And, still to a large part, it's remained so. Aickman is difficult to imitate, precisely because what he wrote was so uniquely born of his own personality. Not many writers can claim such singularity.

What does Aickman and his work mean to you? How has Aickman influenced not only your work, but the weird/strange/horror fields? What current authors are currently carrying on his legacy?

Aickman has been immensely influential on my own work by showing me how much of a story can be intuited by a reader by only the scarcest of clues. Forming narratives that exist on a different plane than the page is fascinating, though the danger one faces is some readers are unwilling to follow along the entire way. This evokes confusion and frustration, but if I've played my cards right, never a sense of aimlessness.

Aickman's work was heralded by only a select few for a number of years, but I feel that tide is turning. "Aickman's Heirs" being, I hope, of the first of many to champion him. What effect this renewed interest will have on the genre remains to be fully seen, but already we're seeing writers picking up the baton. No one is writing quite like him, of course, but we're seeing strong threads in the work of Steve Rasnic Tem, Ramsey Campbell, Lynda Rucker, Daniel Mills, and Terry Lamsley. To name but a few.

Aickman's Heirs is your second time editing an anthology, with Shadows Edge being your first, with a third coming in the form of The Year's Best Weird Fiction Volume Three. What have you learned from editing? Is this something you enjoy and will revisit?

I've learned that editing is a challenge that demands one's full attention, and that there is little more exciting than the discovery of new talent. But all that time takes its toll, and the more I edit the less time I have for my own work. Some writers may consider it a fair trade, but I'm disinclined to agree. I think my own fiction has been under attended to for some time now, and I hope to remedy that over the coming year.

For the readers who have yet to read anything by Robert Aickman, what are five essential stories that they should start with and why? What makes these stories special?

My favorite perhaps is "The Inner Room", a tale unlike any others in its mystery and symbolism. But it's very oblique, and not where I'd send a new reader. Instead, perhaps I'd point them to my first Aickman tale: "Ringing the Changes". It's perhaps the most straight-forward of his work, yet still maintains that sense that there is more beneath the surface than immediately clear. Or, perhaps I'd direct them to "The Swords", a dazzle of sublimated sexuality, one that's in turn funny and disturbing. It doesn't go in the direction one might expect, though like great fiction, it's conclusions are inevitable. Since I'm naming the popular tales, I might as well suggest "The Hospice", which revels in its bizarre nightmarishness and dislocation. And, finally, a personal favorite: "Marriage", a story about the pull of love and lust.  

There are so many more that this, though, that I could recommend. Aickman was absolutely fantastic, and I'm quite pleased to have this opportunity to help highlight his work by showing how its influenced this new generation of writers. 

Thanks for your time!

The thanks are all mine.

Review: Aickman's Heirs edited by Simon Strantzas

Robert Aickman is a name that many readers of horror/supernatural/weird fiction have probably heard before. He didn't have a huge output of fiction in his time as a writer (I believe he wrote 48 or so stories that were published) but the stories he did write have long since established his name in the genre's history.

Aickman's fiction is most often referred to as "strange stories" instead of weird fiction or horror. His stories are less about the weird crossing over into reality as they are about reality and strangeness being intertwined. Even the most mundane objects or conversations found in his stories are laden with the strange, and his stories often utilize dream logic. One of his most well-known stories, The Hospice, serves as a prime example, and reading the story is akin to playing voyeur to someone's dream. Subtle is also a key word when it comes to Aickman. Much of the dread and unease from his stories comes across in a quiet, subtle manner, and often include liberal doses of dark humor.

These stories have influenced many writers over the years, and one among them is author Simon Strantzas. It was actually Simon Strantzas and Daniel Mills who pointed me in Aickman's direction years ago, and for that I am grateful.

It's also fitting that the man who introduced me to Aickman's work is the editor of the anthology I'm reviewing, Aickman's Heirs. I couldn't think of a better editor for this project, and ever since Shadows Edge I've been eager to read another anthology with Simon behind the helm. And oh boy, was the wait worth it.

Aickman's influence is explored in fifteen stories from some of the finest working authors. Brian Evenson's "Seaside Town" is an excellent choice to kick off the anthology. A man set in his ways gets dragged on a vacation with his girlfriend, and what follows is an excellent example of how to quietly and slowly build up dread.

Richard Gavin's "Neithernor" comes next and, as usual, is a standout. Gavin is a master of creepy stories, and this one ranks up there as one of his most unsettling.

I'm familiar with John Howard, although I haven't read him until I read his story "Least Light, Most Night." I now plan to seek out more of his work. The story itself concerns a man reluctantly accepting his coworker's invitation to a social gathering, and then it gets weird.

I'm most familiar with David Nickle due to his great novels, but the man can write some stellar short fiction as well. "Camp"is about a newlywed couple on a camping trip, and Nickle deftly hands the creep factor.

D.P. Watt's "A Delicate Craft" sees an immigrant worker taking up an unlikely hobby, and Nadia Bulkin's "Seven Minutes in Heaven" explores a small American town with a secret.

Michael Cisco's "Infestations" has a woman struggling with personal demons return to her home city to clean out a deceased family friend's apartment. Dread and paranoia infest the story.

Lynda E. Rucker's "The Dying Season" is perhaps my favorite story in the anthology. A couple spends time in a trailer at a leisure resort during the off season when they meet a young couple staying somewhere nearby. Rucker's story is brimming with subtle unease, and haunted me long after reading it.

Michael Wehunt's "A Discreet Music" stays closer to home, as a grieving widower is changing while confronting truths about himself. John Langan brings the strange into a strip club with "Underground Economy" while Helen Marshall's "The Vaults of Heaven" takes place in Greece as a British archaeologist is brought on to do some work on a few ancient finds.

Malcolm Devlin's "Two Brothers" is a sad story about growing up, while Daniel Mills writes the most subtle story of his that I've read, "The Lake." Growing up is also a major part of his story, as past events shape who we become. "A Change of Scene" by Nina Allan is the longest story in the book, and like some stories before it concerns a vacation gone wrong. The anthology ends with Lisa Tuttle's "The Book That Finds You" which is an eerie tale concerning a woman and her obsession with a certain obscure weird fiction writer.

The fifteen tales paint a powerful landscape of the strange, the subtle, the uneasy, and at times the darkly humorous. Strantzas's sophomore editing gig couldn't have been any better, and I'm sure this anthology will find it's way on many Best Of lists at the end of the year.

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.

Review: Burnt Black Suns by Simon Strantzas

Burnt Black Suns is the fourth collection from modern weird fiction maestro Simon Strantzas, and will definitely be a strong contender for horror collection of the year. Strantzas is one of the finest, and I've yet to see him publish a weak collection of fiction. Instead, with each collection his skills continue to grow and flourish.

With Burnt Black Suns we see Simon at the top of his game, weaving memorable weird tales which are sure to unnerve and horrify readers. Simon's characters come from all sorts of backgrounds, many dealing with loss or their own insecurities as their worlds slowly transform around them. He works well with emotions, and his characters' anxiety can acutely be felt by the reader. The dread in these stories is palpable, and the buildup and pacing is excellent.

The collection opens with On Ice, a story which uses its arctic setting to great effect. The story is full of suspense as a group already fraught with tension braves the elements on a scientific expedition. Once it becomes clear that they are not alone things take an even darker turn.

Personal loss takes the forefront of Dwelling On The Past. A man's grief and guilt over his daughter's death haunts him as he infiltrates a native protest and finds himself face to face with a different  kind of horror.

Strong as a Rock is a tale of two very different brothers still dealing with the death of their mother. Their opposite personalities create a sense of friction, although a brotherly love also shows itself. This story is an excellent example of the author's fascination with thin places, and as the story goes on reality becomes less and less concrete.

Simon is a longtime admirer of Thomas Ligotti, and pays homage to him with By Invisible Hands, which first appeared in Joe Pulver's The Grimscribe's Puppets. This was one of my favorites from that anthology, and Simon deftly crafts a story of an old, anxious, confused puppet maker who receives a summons from a mysterious Dr. Toth. The entire story has a dreamlike quality to it, and the puppet maker seems to be far removed from the world, almost living in a separate reality.

One Last Bloom is another story of scientific discovery gone wrong, giving it some common ground with On Ice and Thistle's Find. The main character is an egotistical, bitter young man, full of jealousy for his better looking, well-liked co-worker. This is another story while the dread is ratcheted at an excellent pace, and watching the unlikable main character squirm is rather enjoyable.

First appearing in Joshi's Black Wings series, Thistle's Find is a story of Lovecraftian mad science. The down on his luck narrator attempts to find help in an eccentric old neighbor from his youth, but Dr. Thistle is no Doc Brown, and it isn't long at all before our narrator realizes that the doctor and his experiments may not be as harmless as he once thought.

Beyond the Banks of the River Seine is a story written for a King in Yellow tribute anthology, and masterfully uses some of the tropes without crossing into pastiche territory. The narrator isn't the most reliable, or likable, but is an excellent voice to tell the story.

One of my favorite stories in the collection, Emotional Dues, follows a painter who approaches a rich buyer directly, cutting out his art dealer. The painter is full of pent-up emotions due to an abusive father that he channels into raw, abstract paintings. This is another story full of tension from start to finish, and full of creepy characters, such as the wealthy and mysterious Rasp, and the skulking Nadir.

The collection ends with the excellent novella Burnt Black Suns, easily the highlight of a very strong collection. The story deals with loss of such a profound nature, and is about a man and his pregnant girlfriend arriving in Mexico to hunt down his son, who was taken by his ex-wife two years prior. Simon does an amazing job of painting an impatient, grieving father, torn between his missing son and his girlfriend and unborn child. The setting is top notch, with the oppressive atmosphere further upping the tension, all leading to an earth-shattering climax.

Burnt Black Suns is an excellent collection of fiction, from an author who is constantly upping his game. I have no doubt that this will be one of the strongest contenders come award season, and shouldn't be missed by any fan of literary weird horror.

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!!!!

Review: Beneath The Surface by Simon Strantzas

Simon Strantzas has become one of the leading writers of weird horror, and along with Richard Gavin, Ian Rogers, and a few others he is proof that Canada has much to offer in this genre.

Beneath The Surface is Simon's first collection, and the fourteen stories found within each stand strong as an example of his dark talent. Several of Simon's influences can be seen throughout the stories, and include such famous names as Lovecraft, Ligotti, Aickman, and Cronenberg. His love for the numinous is also quite plain to see, and it is no surprise that the author of this book went on to edit an anthology about thin places.

Many of the stories feature loners and outsiders as protagonists, often caught in a bleak world. A Shadow In God's Eye opens the collection. The protagonist feels empty, and in searching for spiritual satisfaction comes in contact with a shady religious group. There's many good things to say about this one, and Simon paints a picture of a bitter man who experiences a few horrific moments. It Runs Beneath the Surface also features a withdrawn main character. The man has a career in social work, which has drained him and left him a cynical husk of a man. His anxieties about the city's filth start to manifest when a new client comes to the office. Both of these tales were instant favorites.

The Constant Encroaching of a Tumultuous Sea is a surreal story that is reminiscent of a nightmare, which is what it was based on according to the author's afterword. A Thing of Love features a reclusive writer who is still grieving over his dead mother. Hints dropped about an incestuous relationship gives the story an uncomfortable feel from early on. When the writer receives a mysterious package, things only get creepier.

Off the Hook, another instant favorite, revisits the theme of a filthy city. The city is plagued by constant rain and foul odor due to a garbage strike. A grumpy librarian finds a strange notebook, and starts to hear a ringing in his ears that just won't go away. Combined with a few other surreal scenes, the story has a terrifying climax. More to Learn is a short tale concerned with a man rebelling against the creature within him.

Another favorite, Behind Glass, combines Lovecraftiana with Ligotti corporate workplace horror, making for an unsettling story set in a creepy office building in a creepy part of town. Following is In The Air, a beautifully dark tale of a grieving widow looking for closure.

You Are Here takes place in a fictional, abandoned version of Toronto's PATH. This version of the underground "shopping mall" is very atmospheric. It reminded me of the story of Orpheus, in that the main character enters the underworld on a quest. This man's quest to fix himself only leads to terror in what amounts to be a highly effective horror story. The Autumnal City is about a man in a city where everything continues in the same manner. The man seeks freedom, and has glimpses of a mysterious woman that he thinks can lead him to being free.

The Wound So Deep is a revenge story featuring much body horror. Another favorite, this one follows a man who is picked on by coworkers, and at their insistence embarrasses himself by asking out the female member of the group. He is hurt so deep that his hurt begins to manifest itself in a physical, vicious way. Thoughtless continues with the body horror. A girl who finds herself incapable of feeling agrees to try a radical, mostly untested new drug. After her injection her arm begins to change and she enters a state of delirium. I loved the ambiguity of the story. Was the woman really experiencing true events and seeing past the veil into the true world or was she just having a delusional episode?

Leather, Dark and Cold involves a book that opens the door to so much more. An impressionable student helps a man he admires steal the book, but is horrified by the events that occur. Years later, the man comes back into his life. Drowned Deep Inside of Me is an interesting weird tale and a good choice to close the book. The city is gripped by an unnatural darkness, and a troubled man waits through it with his neighbor and her daughter. Not everything is explained explicitly, but from hints and events it becomes clear by the end that the narrator has a deep darkness within him as well.

Strantzas is one of the modern masters of the weird horror tale. His first collection explores urban horrors, and the horrors within us all with just the right amount of Ligotti bleakness and cosmicism to satisfy any horror reader. Like the best horror, everything is not always explained and ambiguity is sometimes used quite often. An essential volume to any weird horror collection.

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