"On 15 September, 2016, Little, Brown & Company announced a new book by James Patterson and Derek Nikitas, entitled The Murder of Stephen King. On 22 September, 2016, it was announced that this work would be withdrawn, because the authors "didn't want to cause Stephen King or his family any trouble." (www.thewrap.com)."
I had already been thinking about the ways in which the figure of the horror writer was used in works of horror fiction, from S.K.s various avatars to depictions of Mary Shelley. The saga of this aborted book crystalised these thoughts into another wildly ambitious research project, that led to me finally watching a whole episode of Quantum Leap. Trust me: real horror writers wear muslin.
Electronic copies of Midnight Echo #12 may be acquired here or even here.
The inspiration for this work was very simple. I was reading the original King In Yellow tale cycle by Robert W Chambers-- you know, the one that predates Lovecraft and has nothing to do with the mythos at all-- in the grip of a mild fever.
"A paradox awaits their eyes,
A courtier in beggar's guise.
A ragged, jagged, mad array
and yet suggestive of the day
when I, perhaps, was much like them.
A most ingenious strategem!..."
Demonic Industries is an initiative by some literary-minded folk including my fellow Theatre of Blood alumni Irving Gregory. It stages readings, performances and lectures "...exploring the erotic, exemplum and extraordinary around us." These take place on Sunday evenings at the old Temperance Society hall, 122 Smith Street, Summer Hill, Sydney. Like everything else in the inner city, it has been converted into a quirky bar.
In keeping with the theme, I will be performing "The Kite", "The Cat's Cortege" and "The Necromancer's Question". I may reprise "Tattered Livery" from Conflux 13, if there is time. So come along, and you will also catch "What the Caretaker Saw" by an as yet unknown presenter!
Editor Charles Danny Lovecraft, compositor David E. Schultz and designer David Schembri all did a wonderful job with this release, which has been described as "...a rich, eccentric miscellany of dark music, skilfully crafted and strangely wrought." (Ann K. Schwader) and "...a carnival of life's cruel and grotesque side, with much pageantry and dark laughter." (K, J. Bishop). It includes such oddities as the Rhysling-nominated "The Kite" and "The Soldier's Return", as well as "The Feast of Mistrust", which has been described as "an involuntary epic" (me, in the instalment I wrote for the Blood and Spades column in the HWA newsletter). The entire Predation City triptych, consisting of "The Bat's Boudoir", "The Cat's Cortege" and "The Rat's Repast". Perfomance pieces, such as "The Torturer's Confession".
Nicely illustrated, if I do say so myself, including an interview and a bibliography that was comprehensive at the time, I am still as pleased as punch with this volume. In fact, I'm going to share with you the very first poem it includes.
The DEAD leave no token
But DECAY and fade:
Shall our bond be broken
By this new DECAYed?
O lest our lives resume
DeluDEAD and faDEAD,
I declare this volume
to be DEAD DECAY DEAD.
Should you wish to explore, http://www.preapress.com/books.php?