|
|
Post by ramseycampbell on Jul 16, 2018 13:08:38 GMT
It's a funny fact of today's market that those writers whose works define the quintessential essence of horror are not considered horror writers. Millions of people read Stephen King, but the average King reader doesn't read other horror writers. Dean Koontz's books are filled with the strange and fantastic, yet he vehemently argues against being labeled a horror writer, despite being the first president of this very organization. John Saul thinks of himself as a writer of thrillers; Clive Barker is a master of the fantastic. HWA founder Robert McCammon stopped publishing altogether to avoid being trapped in a box not of his own choosing when the publishing world demanded more horror instead of the historical novel he had so desperately wanted to produce. I should say that apart from Steve King, hardly any of those writers "define the quintessential essence of horror". |
|
|
|
Post by Jojo Lapin X on Jul 16, 2018 13:19:01 GMT
I should say that apart from Steve King, hardly any of those writers "define the quintessential essence of horror". What is the "quintessential essence of horror"? |
|
|
|
Post by Dr Strange on Jul 16, 2018 13:30:33 GMT
I should say that apart from Steve King, hardly any of those writers "define the quintessential essence of horror". Maybe I should have included more of that quote; here's what it says leading up to that part - " ... Why, you might ask, is horror so generally frowned upon by the literary establishment?
The answer to that question lies in the nature of the publishing industry. Back in the seventies, an unknown writer burst onto the scene with a novel called Carrie. The work went on to be made into a wildly successful film, and a new genre was born. The author I'm referring to is, of course, Stephen King. King set the stage for what horror was to become in the eighties and early nineties.
Almost overnight, King's brand of fiction became a multi-million dollar industry. Publishers saw the dollar signs looming before them and charged full speed ahead, making horror into a product. They gave it a specific identity, a specific formula. Writers then popped out of the woodwork, eager to embrace and attempt to duplicate the stunning success of Mr. King.
It was at this point that horror literature lost its identity.
Instead of "evolving, ever-changing," horror became defined -- typecast if you will -- forced to conform to a certain method and a certain manner. Publishers flooded the market with books that matched this formula, giving readers more and more of what they demanded. Hollywood got into the act, making movie after movie with the same basic themes, the same old scares, so much so that today we have horror films that parody these very elements. Before we knew it, horror novels and horror movies had become synonymous. Even worse, it was difficult to tell one horror novel from another, so important had the formula become. A market glut swiftly followed." What I take from that is the suggestion that seeing King (and his imitators) as representing "the quintessential essence of horror" (whatever that means) is why the term "horror" has apparently fallen out of favour with so many authors and publishers - not that King should be blamed for this, just that it's a very narrow view to take. |
|
|
|
Post by ramseycampbell on Jul 16, 2018 13:33:29 GMT
Ah, I see! And sorry I made it look as if the bit I quoted was your own statement rather than one you cited!
|
|
|
|
Post by Dr Strange on Jul 16, 2018 13:43:13 GMT
No problem, Ramsey. I'd also say (and this is just my personal opinion) that there is at least a little bit of a problem with some people always harking back to some "golden age" of horror, who often seem to just take it as read (as it were) that nothing new could possibly be as good - without actually taking the time to find out.
|
|
|
|
Post by ramseycampbell on Jul 16, 2018 14:17:15 GMT
I absolutely agree. It looks to me as if we may be in the midst of a quieter boom than last time, but one that offers a great deal of quality.
|
|
|
|
Post by Michael Connolly on Jul 17, 2018 12:27:03 GMT
|
|
|
|
Post by Michael Connolly on Jul 17, 2018 14:20:37 GMT
I should say that apart from Steve King, hardly any of those writers "define the quintessential essence of horror". What is the "quintessential essence of horror"? Keith Lemon? |
|
|
|
Post by andydecker on Jul 17, 2018 17:42:28 GMT
Interesting infos. Thanks. Good for the estate of Shirley Jackson.
The small press is not for me, though. There is much stuff, but for one thing it is quite an effort to keep track of all these new releases. And it is too expensive.
Don't get me wrong. I am not moaning about too high prices. The mathematics are clear. Small print-runs, high costs, even low or no advances for the writers. But 20 Pounds for a new horror novel or collection? Or even double for one of those idiotic limited editions from outfits like Subtereanean Press? Just to sample a new writer? Which may or may be not interesting? No, thank you. This is not for me any longer.
As far as I am concerned, back then publishers didn't want to associate with the term "horror" any longer because for the general buying public it had become synonymous with movie splatter. Hence Dark Fantasy and all the other nonsense.
|
|
|
|
Post by cauldronbrewer on Sept 2, 2019 21:40:34 GMT
I'm rather in two minds about Ellison. He produced quite a few brilliant short stories and many, many great ones, but he was certainly in love with his own legend, which I think tended to overshadow his work at times; and I certainly found some of stories a bit unpleasant. At the age of 15, I thought the anecdote about mailing a dead gopher to a recalcitrant publisher was hilarious; 40+ years later, I found myself wondering who had the job of opening and disposing that package. I bet it wasn't said publisher - probably some poor secretary. Not surprisingly, many of the obits touched on the never-released "Last Dangerous Visions" project. I'm hoping that some of the unpublished contents can now finally be released in some form, as there are several stories by now long-dead authors (including Tom Reamy and Manly Wade Wellman) that I'd love to finally read. Some news here: Haffner Press is publishing "Not All a Dream," Wellman's story for Last Dangerous Visions, as a chapbook accompanying The Complete John the Balladeer. The only downside is that the two-volume set costs US$90. Haffner's press release includes a few details about the story:
Originally commissioned for the never released anthology The Last Dangerous Visions , “Not All a Dream” opens with poet/politician Lord Byron (1788-1824) musing over the status of his literary canon in years to come. Admiring the lasting legacy of John Milton, Byron accepts an offer to learn the truce place of his works in centuries hence—a nightmare vision gained by traveling into a dangerous future .. . |
|
|
|
Post by helrunar on Feb 6, 2021 14:56:16 GMT
|
|
|
|
Post by andydecker on Feb 7, 2021 13:29:41 GMT
So, after all those years they want to publish this - only with a lot new material, because some of the original stories are either not avaiable any longer or deemed too dated.
I am no Ellison fan, I think him terribly overrated, but even if I was why should I buy this oddity if it got such a heavy make-over?
|
|
|
|
Post by helrunar on Feb 7, 2021 14:42:38 GMT
Hi Andreas, I don't know about Germany, but in the US, J. Michael Straczynski--Ellison's executor and the new editor of this behemoth--is a cult figure along the lines of Neil Gaiman and Georgie Railroad Martin. So, it'll sell well here, especially if JMS includes one of his own stories (which seems likely).
I really liked JMS's writing in the Babylon 5 series. I have never revisited it, but it included some very offbeat motifs and philosophical musings. Really in a different class from the rest of all the franchise oriented SF mass media stuff emitted over here.
Best, Steve
|
|
|
|
Post by andydecker on Feb 7, 2021 17:14:55 GMT
I liked Straczynski's work up to a point. Babylon 5 was a nice destillation of space opera concepts, and it began so well. But the network problems with the last season strangled the concept. Everything important had to be brought to an end in season 4 because it was doubtful if there would be a concluding season, which made a lot of stuff disappointing. Season 5 is like a boring too long epilogue. And Crusade was rubbish from the start.
As a novel writer I thought him nothing special. I read his horror novels and can't remember a word, I loathed his comics after a while. Just like his work with Babylon 5 I thought he often had a remarkably poor quality control, what worked and what not.
I guess he is mostly forgotten in Germany except in some fan-circles. While SF has become part of the mainstream in tv - or the space opera at least -, as a literature it has lost a lot of relevance. But I guess the same is true for America or the UK.
As far as I gathered George Martin is still writing on his next GoT novel which was anounced years ago. I wouldn't be surprised if this ends unfinished. Of course I don't doubt that he could deliver a better ending than the tv series which was truly underwhelming.
|
|
|
|
Post by cauldronbrewer on Feb 7, 2021 19:52:14 GMT
More news about that great White Whale of Harlan Ellison's career, Last Dangerous Visions: So, after all those years they want to publish this - only with a lot new material, because some of the original stories are either not avaiable any longer or deemed too dated.
I am no Ellison fan, I think him terribly overrated, but even if I was why should I buy this oddity if it got such a heavy make-over?
I'll buy it if it includes the Wellman story; otherwise, no. |
|
