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OtherRealms Issue 25 Part 13
Electronic OtherRealms #25
Summer/Fall, 1989
Part 13 of 17
Copyright 1989 by Chuq Von Rospach
All Rights Reserved
OtherRealms may not be reproduced without permission from Chuq Von Rospach.
Permission is given to electronically distribute this
issue only if all copyrights, author credits and return
addresses remain intact. No article may be reprinted or re-used
without permission of the author.
The Agony Column
Rick Kleffel
Copyright 1989 by Rick Kleffel
A Special Look at Horror in the Small Press
It's not surprising that horror fiction, which makes so much money for
so few people, is so poorly treated by both publishers and readers of
other "genre fiction". But within the last two years, three of the top
magazines to promote horror fiction -- first, "Night Cry", then "The
Twilight Zone Magazine" and now "The Horror Show" -- have all closed up
shop. The short story is a staple of horror fiction, and beyond big-
name, big bucks anthologies, there's a shortage of places to find it.
Or is there?
The answer is no! You need look no further than the so-called "small
press" to find the "Cutting Edge" of horror fiction. It makes sense.
The small presses -- like Dark Harvest, Scream/Press, MacClay and
Associates, Mark V. Zeising, and the venerable Arkham House -- to name
but a few -- have done wonders for horror fiction books, so it's no
surprise that their equivalents in the magazine publishing world are
doing a lot for horror fiction magazines. What is surprising, is just
how much is being done. I'd happily trade an issue of "Grue", "2AM",
"DeathRealm", "The Horror Show", "Weirdbook", "Whispers" or "Midnight
Graffiti", say, for last year's "Prime Evil", and feel that any them
packs as much punch as the hardcover. And for the price of a single
hardcover, I could buy four magazines. As a collector, I've realized
that the magazines accrue value as quickly as any book, more so, if the
author featured within is or becomes a big name. As an admirer of
horror-inspired artwork, I've found these publications are beyond the
competition of all but the very best and most exclusive of the small
press editions. So, while some old hands and respected names have
dropped off the edge, there's every hope that we horror readers can
save what's left, enjoy the best and the newest, and by our support,
start a new "Golden Age" of horror magazines. It's already started --
only lots of people haven't noticed.
This article is meant to be a "random sample" of what's out there,
specifically, what you can buy at your local specialty shop. (The
sample was biased, of course, by my Southern California Location, but
it's the entertainment capital of the world, right?) For it's only at
your local SF/Fantasy/Horror/Comics bookstore, that you can find most
of these magazines, and it's these people you need to request to carry
these magazines. Once you get a taste, the chances are you'll want to
subscribe, because you definitely can't find these magazines at the
grocery store -- yet.
Tales By Moonlight 11 [*****]
edited by Jessica Amanda Salmonson
Tor Books, 0-812-55371-3, $3.95
What you can find at the grocery store to start your small press search
is this combination of invaluable guide and gut-busting anthology. It
includes two remarkable appendices, "How to Start Your Own Shoestring
Horror Magazine" by "Grue" editor Peggy Nadramia, and "Current Small
Press Horror Magazines". If you want to know everything that's our
there, here's a good place to start. Especially since the fiction
within is so powerful, so packed with with emotion and variety that any
fan of any type of horror fiction, from "quiet" to "Splatterpunk" will
find something by a writer they've never read to totally impress them.
And, they'll no doubt find new types of horror fiction to enjoy. I was
particularly impressed by Salmonson's emphasis on magazines that
specialize in translated fiction, because I've never read anything
quite so amazingly different as Stefan Grabinski's, "The Area",
translated by Miroslaw Lipinski. Also impressive is the inclusion of
older horror fiction by well known writers, giving the collection a
perspective on how well the genre itself ages (very well, it seems).
And, since it's sitting, waiting for you in the grocery rack, you won't
have to go out of your way to get it. But once you do, you'll quickly
find yourself going out of your way to get to the sources it draws from.
After Hours [***]
edited by William G. Raley
21541 Oakbrook, Mission Viejo, CA. 92692-3044
ISSN 1043-3686, $4.00 per copy, quarterly
At issue number three, "After Hours" is shaping up to be a nice venue
for mostly new writers, with a couple of familiar names, and sparse but
effective artwork. It's mostly fiction, with no specific sub-genre
featured or forced. Particularly impressive were "For I Have Sinned" by
Gary David Johnson, "Road L and Resident" by Craig Anthony and "Black"
by Steve Rasnic Tem. "After Hours" leans towards short-short stories,
something the horror genre can do especially well, and that gives this
52 page magazine the ability to include 13 pieces of fiction. The
"Departments" include a brief one-page editorial, "Coffee Shop", an
interview section (this issue featured Chris B. Lacher, editor of "New
Blood" Magazine), Market News and writer's biographies. The look of
this magazine is still somewhat low-budget and amateurish, but happily
very clean. At issue number three, it's still possible to get all back
issues, and as the audience grows, there's every possibility that
"After Hours" can take a place at the top of the field. It's good, but
it's not there yet.
Deathrealm [*****]
edited by Mark Rainey
3223-F Regents Park, Greenboro, NC, 27405
5 1/2" by 8 1/2", BW, saddle stitch, text, $4.00 quarterly
Finding this magazine was for me like finding an unexpected treasure --
it's the best I could hope for, and until I picked it up at the store,
I'd never heard of it. Beautifully illustrated, wonderfully designed,
easy-to-read and look at, this magazine hearkens back to classic look
of horror magazines. The black and white illustrations are occasionally
stunning and always classy. This publication shows what the best of the
small press can be -- more cohesive than anything professional, and
certainly as nice looking. I looked at issue #2, #3 and #9, and while
some things certainly improved, it seems to have been a hard act to
beat from square one. But it's the written content that will win most
readers over. Issue #9 included Joe R. Lansdale's visceral and
disturbing "Pentacostal Punk Rock" and Fred Chappell's literate and
imaginative Cthulu Mythos story, "The Adder". Jeffrey Osier's "Don't
Clean the Aquarium" (Issue #2) began a first-rate urban "Alien" story,
that was effectively continued in "The Dogs" (Issue #3). Editor Mark
Rainey also made the notable contributions "Threnody" and "1, Krall" in
the earlier issues. Also commendable is the magazine's increasing
dedication to horror poetry, a creature whose existence I had never
suspected. While the great bulk of the magazine is fiction, there are
occasional interviews, and very informative small-press horror magazine
reviews. Since you can be guaranteed that this magazine will interest
you, and bet pretty heavy on what is recommended within. Definitely
something nice to put on your bookshelf with all those Dark Harvest and
Scream Press books -- and of equivalent quality.
Fear [****]
edited by John Gilbert
PO Box 20, Ludlow, Shropshire SY8
ISSN 0954-8017, approximately $6.00, quarterly
While this is neither small press, nor American, it's as difficult to
find as anything else, and certainly worth mention. Lot of color, slick
pages, full-page illustrations for horror stories by major authors?
It'd never fly in America, but in England, they're a lot smarter about
this kind of thing. "Fear" is what every horror fan hopes for -- with
reservations. It's big, it's slick, it's splashy, it's -- got a lot of
advertising (genre-oriented, sure), and a whole lot of movie reviews.
Yes, it is something like a hybrid of Fangoria and Twilight Zone, but
let's face it -- there are stories by Nicholas Royle, Ramsey Campbell
and Stephen Gallagher, so it does have quite a bit going for it. It
also has lots of interviews, with people like Peter Straub, Ramsey
Campbell and Stephen Gallagher. As a purveyor of fiction, pure and
simple, it has punch but is lacking in quantity. And while it is in
color, the look tends to get a bit crowded with all those adverts and
pint-size film and book reviews. Still, the overall "British" slant
makes it interesting for the American reader, and a bit chilling as far
as the on-going debate about British film censorship is concerned. Is
horror censorship coming soon to a theater near you? Let's hope not,
but things don't look so hot on this side of the Atlantic. For those
with an overall interest in the horror genre, especially film, this may
prove a must buy.
Footsteps Chapbooks
Footsteps Press, Roundtop New York
Footsteps by Harlan Ellison [***]
The House of Fear by Chet Williamson [****]
51/2" by 81/2", saddle-stitch, 2 color high quality text
Irregular, about $10.00 signed
These chapbooks aren't magazines per se, but they fit right in with
best of these small-press publications. There's one story per book,
signed by the author and the illustrator, and everything is absolute
top-of-the- line. "The House of Fear" shows off Chet Williamson at his
very psychological best and is complemented by the astonishing
illustrations of Douglas C. Klauba. These alone will make it worth the
price of admission. "Footsteps" is a reprint of Harlan Ellison story
first published in "Gallery" magazine (NOT a small press horror pub)
and includes two intros by this always interesting and vociferous
writer. Also available (but unseen by this writer) is Douglas Winter's
chilling "Splatter", illustrated by Harry Morris. Keep and eye out for
"Footsteps" they're definitely worth following.
GRUE Magazine [*****]
Hell's Kitchen Productions,
PO Box 370, Times Square Station NY, NY
ISSN 0897-9707, $4.50, quarterly
Without doubt one of the most disturbing magazines I've ever read, GRUE
is certainly at the front of the line, the top of the heap and the
cutting edge of horror fiction today. With the latest issue, Peggy
Nadramia has reached a new peak, presenting thirteen first-rate tales
of horror that are at times literate and quiet, then stomach-churning,
then experimental and disorienting -- but uniformly of excellent
quality. Also included is horror poetry that will convince even most
hardened skeptic that horror poetry can work beyond your wildest
dreams. This was the magazine that made me realize that this format is
every bit as good as the big-bucks anthologies. Every day I'd both look
forward to and dread the time when I would read the next story -- let
this be a warning to the faint-of-heart. While these stories are very
well written, the content tends towards the extreme side of upsetting
violence and psychology. This is not to say that it is limited to this
type of fiction. Thomas Ligotti contributes his usual atmospheric
ambiance to "The Strange Design of Master Rignolo", and Bentley
Little's "Against the Pale Sand" is so strange that the sexual elements
seem subdued by the surreal surroundings, though no less disturbing.
Still, there are always stories like "Corky's Quickees" by small press
habituee Wayne Allen Salle and David Starkey's "Astronaut" to shock the
reader into teary-eyed numbness. Let's not forget the high-quality
illustrations, which more than do their part to dislodge any bricks in
the reader's instincts of self-preservation. Like "Deathrealm", this is
what nightmares are made of.
The Horror Show
edited by David B. Silva
Phantasm Press, 14848 Misty Springs Lane
Oak Run, California 96069
ISSN 0748-2914, $3.95, quarterly
Although it's been officially declared dead, The Horror Show is still
being published, with a special double issue expected in Spring of
1990, and an annual anthology also being considered. Even better, back
issues are available. This is one of the small press magazines to
feature both writers for the small press (Brian Hodge, Paul F. Olson,
AR Morlan) and big name stars -- in Dennis Etchison and Dean R. Koontz
special issues. While each issue consists primarily wide-spectrum
horror fiction, there are also occasional interviews, book reviews and
sometimes movie reviews. But the emphasis is on high quality horror
fiction. David B. Silva's editorial choices are consistent only in
their excellence, but range from the surreal horror of J.N.
Williamson's "The Gap Nearly Closed Today" to the splatter of Joe
Lansdale. Even better, readers are encouraged readers to look at new
and different talents; the Summer 1989 issue featured stories by and
interviews with four "rising stars" of horror. It's a sure bet that as
these and other writers become better known, and issues of this
magazine will become collector's items. There's still time to buy this
magazine don't lose a chance you may never have again.
Midnight Graffiti [****+]
edited by Jessica Horsting and James Van Hise
13101 Sudan Road, Poway, California 92064
$4.95, quarterly
Midnight Graffiti is poised to take the lead, but hasn't quite done
so. It's definitely different from the other small press leaders, and
it's attracted some major league talent -- Stephen King contributed an
all- new story titled "Rainy Season" to the last issue. But it's young
yet (only in issue 3), and has a little ways to go before it will have
firmly established a look and feel all its own. Still, one can't deny
that the fiction is always first-rate, with big names like King,
Ellison and Joe Lansdale, and new faces like Stephen Boyett. The covers
are beautiful; some folks will want to buy two copies just to frame the
cover of one. But inside, things still look a little iffy, sometimes
busy, sometimes clean. It's probably just a matter of aging, of
settling into a format and feel. And who has time for settling in when
Stephen King writes? Be that as it may, "Midnight Graffiti" is also
notable for the humorous and fact based articles within. Humorous
horror is all to rare, and certainly welcome; the cartoons, the satires,
the "True Facts" columns are quite funny and totally different from
what is found in the rest of the genre. And the factual articles --
those are strictly for folks who like to really be scared. "The Strange
Case of Gary Levinson" told the story of a schlock horror film maker
who strayed into making fake "snuff" videos utilizing the makeup
effects left over from his films. He's serving time now. It's really
creepy stuff, and certainly teeters on the edge of "taste". The
occasional "Art Gallery" features have featured such diverse works as
"The Gallery of Richard Upton Pickman" by Allen Koszowski, a fine set
of black and white prints, to "Too Strange", which lives up to its
title by being the 'Seven dwarves' renditions of John Wayne Gacy,
convicted serial killer. If this won't give you the creeps, you're dead.
New Blood Magazine [***+]
edited by Chris B. Lacher
540 West Foothill Blvd Suite #3730, Glendora, CA 91740
ISSN 1040-4392, $4.00, quarterly
New Blood magazine is a good example of why the horror scene is thriving;
there's lots of good new talent out there, waiting to "break through".
And a lot of established writers, who have more on their hands than
they can fit in their books. The look and feel of the magazine is
excellent, with classic, restrained illustrations, and a simple, clean,
easy to read layout. Like GRUE, the emphasis tends towards the splatter
side of things, but there's always room for the surreal humor of Gary
("The Howling") Brander's "The Dogs". No, not those dogs; the dogs to
which our great country is going. There's also an excellent critical
look at horror by Edgar F. Tatro, something the genre really needs and
really benefits from; not a "horror sucks because..." or "horror is
great because..." diatribe, but a -- shiver -- scholarly look at how
horror works. Interesting, refreshing reading.
2 AM [*****]
edited by Gretta M. Anderson
Box 6754, Rockford, IL 61125-1754
ISSN 0886-8743, $4.95, quarterly
Here's another of the proven forces in small press horror, and they're
still going strong. The bulk of the magazine is fiction, with excellent
poetry, stories by an occasional big name (Kevin J. Anderson, David B.
Silva), and a constant gallery of highly talented new writers. The
emphasis tends to lean towards classic and quiet horror, but there's
always room for something like Jeffrey Osier's "The Face on The
Stairs". The look of this magazine seems to serve as a model for both
"New Blood" and "After Hours"; clean, easy-to-read, well designed
layouts. There are columns for Market News, a nice review section by
various writers and a regular column by the respected J.N. Williamson.
This column combines tales of his writing experiences with off-the-cuff
reviews, and is especially entertaining. Unlike other horror magazines,
there's an "editorial content"; in the latest issue, William Relling
speaks eloquently for gun control. It's a class effort from beginning
to end, well worth the price of admission.
Skeleton Crew [**+]
edited by Dave Hughes
104 Highcliffe Road, Wickford Essex
Approximately $4.95, quarterly
This is a magazine where art is the star; namely, art by head Artist Dave
Cason, whose beautiful covers and interior illos will grab any horror
fan's eye. But once you get to the inside, well, that's a different
story. At least as far as Issue 5, where typos claim 4 of the first 5
paragraphs of a Brian Lumley story. Add to that a dot-matrix style
typeface, and you've got a big minus to balance the big plus of Dave
Carson's artwork. There's some good fiction by newer writers, reprints
of fiction by well-known writers, and a few too many reviews of this,
with a bit too much commentary on that. The inside is somewhat poorly
laid out, and often just plain hard-to-read. Still, there's hope --
with issues dedicated to Ramsey Campbell and James Herbert upcoming,
and artwork by Clive Barker, "Skeleton Crew" may grow up to be
something to be reckoned with. But first take care of those typos!
Curiously, the last three publications alphabetically all blur the line
between "magazine" and "trade paperback anthology". Their release dates
are irregular (with the exception of "Weird Tales"), and two of them
are available in signed, hardback limited editions.
Weirdbook [*****]
edited by W. Paul Ganley
PO Box 149 Buffalo NY, 14226-0149
ISSN 8755-7452 Double Issue, $10.00
Only fiction and poetry, lots of well-known authors, a two color cover
with dust jacket(!), available in hardback edition -- this is another
example of what you'll find when you start digging, and why you should
start doing so now. No major publisher is going to stick out their neck
to publish this kind of fiction and poetry. Even if they do, the
chances are they won't turn out as well as does Weirdbook. Faring best
in the 23/24 double issue are RE Klein, Janet Fox and Brian Lumley,
whose "Dagon's Bell" is yet more proof that the Cthulu Mythos are still
viable in the right hands. Whether you call it a book or magazine, make
sure you buy Weirdbook. And, if you can't find it, pester your local
bookstore about it. After all, wouldn't you like to be able to find
this sort of thing everywhere?
Weird Tales [****+]
edited by John Betancourt, George Scithers and Darrell Schweitzer
Terminus Publishing Company, PO Box 13148 Philadelphia, PA 19101-3418
ISSN 0898-5073, $4.00, quarterly.
When the big names do it, they occasionally do it right. Here's that
occasion. Weird Tales is an example of good taste, great layout, some
chances taken on new talent, some new material by big-name, established
writers, and beautiful, frameable artwork. Like Weirdbook, Weird Tales
is available in hardback, signed/limited editions. When you pick up the
magazine, aside from a slight few advertisements (genre oriented, of
course) you'll find little difference between it and trade paperback
editions of Scream/Press or Dark Harvest books. In the last two issues,
stories of note were Alan Rodgers "Emma's Daughter", Michael F. Flynn's
"Dragons" and Karl Edward Wagner's novella, "At First Just Ghostly". It
doesn't hurt that this magazine is almost always available in specialty
bookstores; but once you've seen, you'll probably want to subscribe.
Whispers
edited by Stuart David Schiff
70 Highland Avenue, Binghamton NY 13905
Approximately $8.00 -- $30.00, irregular
Every cause needs a vehicle, and what better vehicle could the
progenitors of the quiet horror sub-genre ask for than Stuart David
Schiff's Whispers. Like Weird Tales, it's professional through and
through, but far more difficult to find. It's also far more of a
collector's item, and like the two previous entries is really closer to
trade paperback than a magazine. The contributors are well-known, top
selling writers including Charles Grant, Dennis Etchison, and Michael
Bishop, all presenting first-run material. Of note is the art that
punctuates the fiction and poetry; it's what you'd expect in a limited
edition hardcover. In fact, everything about this magazine says
"quality" -- quality with teeth.
By now you should get the idea. There's more than meets you eye at the
supermarket, more than you'll find at your local specialty store. If
you see something new in the world of the small press, look for
familiar names; once you start looking closely, a foreign, barren
landscape can reveal itself to be an ancient graveyard -- full of
freshly buried bodies.
------ End ------
