Monday, October 15, 2012

A Gentle Hell by Autumn Christian





Another slice of stories as part of Dark Continents Tales of Darkness and Dismay series, A Gentle Hell by Autumn Christian showcases a distinctive cluster of four tales – brimming at the edge with what could be termed ‘surrealist’ fiction but devoid of absurdity. Often hard to nail down but somehow more potent for it, this is a body of work very similar to my previous review ... where the story is – at the discretion of the reader – always open to interpretation. The ultimate payoff here is keen insights from the author and elegiac prose.

An almost dystopian alternate reality is the scene for They Promised Dreamless Sleep. Here our narrator reports living in a realm where families consensually hook up to ‘machines’ and are placated in severe and disturbing ways. Shades of 1984 with a domestic twist.

In Your Demiurge is Dead we step into Neil Gaiman territory with the death of a God and the birth of another. Jehovah has washed up – dead – on the Gulf of Mexico. Heralding a new era for humanity is the Triple Goddess. Another domestic setting is instigated with a police investigation into deaths in a large family. Through quirky characters and idealistic insights, we are granted a story that is at once confounding yet absorbing. 

With the The Dog that Bit Her, Autumn delivers what is probably the most unique Werewolf tale you’ll ever encounter. It’s a story about psychological addictions and slavish trust – all given credence by a storyteller who witnesses his wife’s slow decent into what could be termed, unquestionably, a gentle hell.

It is the last tale, however, that is probably the hardest to grant revelation. In The Singing Grass, I imagine artists everywhere will be granted something within the prose to identify with as a writer tries to find her muse. Heavy on metaphor, and (in the end) gore, it somehow serves as symmetry and complements what has come before.

For many, this will be a difficult journey. The often rudimentary formula of ‘story’ has been abolished in favour of flights of fancy that are allegorical or dream like in nature. It is often claimed for horror that it draws on our primitive responses but, as in key moments of this collection, the best stories can owe their power to something closer to the modern surface.

Available now as an eBook. Soon to be available as a paperback from Dark Continents Publishing. 


Saturday, October 6, 2012

Valentines for the Dead by Corrine De Winter






The winner of a Bram Stoker award for poetry a few years back, Corrine De Winter is a name that has – up until now – escaped this reviewer entirely. A quick perusal of the authors past achievements and we find a lyrical writer who is held in high regard by the collective tribe. In between reading some of the more commercial fare over the course of a year, I like to seek out those elusive gems – fiction that does not fall easily into any well defined category. Valentines for the Dead - for all its intangible qualities - is an innovative collection that more than satisfies this requirement.

And make no mistake: this is indeed the territory of a poet. From the opening story Halo a reader is granted prose that shies away from the nuts and bolts of story, favouring instead a lyrical voice told primarily in first person. Although the horror can be a little hard to find at times, Corrine keeps it waiting in the wings – a small turn of phrase giving way to an unexpected twist where all that has come before can be questioned. Whether it’s a child who grows up in a house of thaumaturgy and eventually learns to fly – or a jealous sibling who dabbles in fratricide for eternal love – Corrine has a powerful command of language with just enough obscure story to perhaps warrant a second reading. If I could level a certain criticism here, it would be that each first person tale contains a similar voice – with the run-off sometimes confusing. It was difficult, at times, to ascertain where old territory ended and new characters began.

A few personal standouts would include Youth is Wasted – a modern Frankenstein riff where a child pays the ultimate price for an elderly man’s broken heart. Watercolor is delightfully malign, a domestic Village of Damned that, in due course, brings forth new life from death. But taking out the top prize here would have to be Dead Boys – an original blend of fact and fiction centred on the subject of premature death in the realm of rock n’ roll and the individuals who deal with our flesh after expiration.

A short story collection that is mythic, thought provoking (and with just the right twist of gothic) Valentines for the Dead is an accomplished fictional d├ębut from a unique talent.  


Tuesday, October 2, 2012

The Grief School


I'm not sure if I've ever posted news about the publication of this particular novelette. It’s been out for a few months now and – going by the reviews – it seems to have struck a positive chord so far. If you don’t want to purchase the eBook, it will be coming out as bonus material when Dark Continents publish SLANDER HALL in paperback very soon. Watch this space.




http://www.amazon.com/The-Grief-School-ebook/dp/B008GRSF3S

Any reviews for either Amazon or Goodreads are highly appreciated.





Monday, October 1, 2012

ROPE by Martin Livings






When Stephen King first published The Green Mile in serial format back in 1996, it was my first large-scale exposure to the realm of death row in a fictional setting. Not just death row, but the electric chair in particular. Although I don’t know for sure, I’m betting there are reams of genre fiction encompassing this particular milieu: everything from stark legal thrillers in the mould of John Grisham, to frightening serial killer fodder that is the unenvious playground of imaginations such as Thomas Harris and James Patterson. However it was King’s magical yet realist tale - for me, anyway - that finally pushed capital punishment screaming into a kind of collective cultural awareness. Upon the tales completion I’m sure I’m not the only individual whose curiosity was suddenly piqued by the taboo of modern execution – not only the myriad of methods involved but also the untold stories of the lives behind the curtain: the men and women charged with dispensing unfelt and clinical justice to the condemned.

Martin Livings has, no doubt, had similar thoughts.

Our tale is begun at the turn of last century, with Australia’s Fremantle prison struggling to pull itself out of a national convict past. A nameless narrator shares with us the humble beginnings of being a sanctioned serial killer: that of the hangman.  An apprentice from a young age, he is given the responsibility of fashioning his own noose, a rite of passage, that will see him embrace his calling and ultimately being defined by it.

Life itself is a rope with a noose at each end, just like mine.

A short excursion, Martin manages to cram a lot of character study into a very small space, and it’s personally how I like my paragraphs: weighty with exposition and lean on dialogue. In some ways this is partly reminiscent of The Green Mile, whereby story is ultimately foreshadowed by a fiction steeped in sin that leads to a different kind of redemption.

Martin Livings has been traversing Australia’s dark fiction scene for over two decades now, providing dependable tales with a mature rendering of prose. Although short, Rope still manages to deliver something that is unmistakably the author's.

Rope is the second offering from DARK PRINTS PRESS new line of eNovellas.