Wednesday, November 13, 2019

20Q7A: An interview with Sam Richard

20 Questions, 7 Answers is an interview series for writers of genre fiction. Each author receives the same batch of 20 questions, but they may only answer 7.

This week's guest is Sam Richard.

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What's your latest book, and how does it differ from your previous work?

I have two latest books that are different in a multitude of ways. The first is my short-story collection, To Wallow in Ash & Other Sorrows, which came out mid-October through NihilismRevised. It differs from my previous work in that it is my first stand-alone book. It's 9 stories, 7 of which were written in the wake of my late wife's unexpected death in 2017. These stories are my grief, shock, and utter confusion as I tried to come to terms with what happened. It's weird and transgressive horror that simply drips with grief. It absolutely marks a change in my writing as the personal aspect is much more pronounced.

The second is The New Flesh: A Literary Tribute to David Cronenberg, of which I am both the publisher (through my own Weirdpunk Books) and co-editor (along with Brendan Vidito). This is a big change in several ways. I co-edited the first two Weirdpunk Books anthologies with Emma Alice Johnson, who also ran the press at that time. The third Weirdpunk Books anthology, Zombie Punks Fuck Off, while I edited it alone, was co-published with Clash books, as I had just taken over Weirdpunk and had no idea what I was doing, haha. With The New Flesh, this is the first Weirdpunk book that I had control of from start to finish and had my hands in every aspect of publishing the book. It is also the first time I've worked on a project with co-editor Brendan Vidito, who has been a close friend for several years and I had always wanted to do a project with. And finally, this is the first Weirdpunk Books anthology that isn't punk-forward. The aim of the press when Emma was running it was very much about having the punk element front and center. For me, I'm much more concerned with the diy punk ethos being the spirit in which the press operates, as opposed to needing to be the central focus. So that's kind of a big change. Barring issues with the proof copy, The New Flesh will be out the week of Halloween.

Do you have any creative endeavors other than writing fiction (art, music, knitting)?

In addition to writing, editing, and publishing, I also play guitar in 2 bands. The first is called Ash Eater and it is my excuse to be in a band with several of my close friends. We play weird, dark, heavy music that we are unable to fully classify. It's like a stew of crusty hardcore and sludge with occasional blackened vibes, grind passages, and catchy weirdo riffs. We've been playing occasional shows around Minneapolis and our demo should be out before the end of the year.

I also play in a band called Daoloth, which is black metal. This was a project that I was working on a number of years ago that got pushed to the back due to life stuff getting in the way. The drummer and I are just starting to get this up and going again with the goal of tightening up the old songs and finally getting them recorded. This is the musical project that will be the vehicle for my grief, as I've kept that aspect largely out of Ash Eater (aside from the name). As best as we can tell, this will likely remain a studio-only project.

Who or what is your favorite movie monster, and why?

This is one of the hardest questions I've ever been asked...

I'm a massive fan of werewolves, despite thinking they're nearly always done poorly. Something about a person reduced to nothing but primal prey-drive and fully rewilded is incredibly compelling to me, so I'm tempted to go with that, but I actually think my true answer is the Ghoulies. Small-creature horror is one of my all-time favorite genres - so much so that I'm currently shopping a novella I wrote in that vein -  and Ghoulies is probably my favorite entry. I guess that makes the actual answer simply, "demons," but Ghoulies are some kind of special demons. And, if I'm forced to get specific, Green Baby (the unofficial name of the small, bald, green Ghoulie that my friends and I use) is probably my favorite of the Ghoulies. So, I guess my answer is Green Baby. But no one would know what the fuck I was talking about if I just said my favorite movie monster was Green Baby.

What happens when you die?

I like how this question could be interpreted generally, like "What happens to us when we die," but is actually super-specific to the interviewee. What happens when I die is the world ends. And I don't mean that to be taken as some kind of ego thing. I think this is true for all of us.

What are your 3 favorite comic books (standalone novels or ongoing series) of all time?

Absolutely and without question, my number 1 is The Invisibles, Grant Morrison's master-work of surreal, conspiracy-laden, radical-politics filled, occult how-to-manual, post-modern art as comic-book. There's nothing like it. Number 2 is probably Alan Moore's Swamp Thing run. Holy fuck is that comic amazing. Poetic, beautiful, haunting. It's just a cut above everything from that era. Number 3 is harder to pin down. I love shit like Charles Burns' Black Hole, Hans Rickheit's Chloe, and Daniel Clowes' Like a Velvet Glove Cast in Iron so I really want to rep some of those weirder 'indie comics', but at the same time I'm pretty sure my 3rd pick is another classic Vertigo title with Peter Milligan's Shade: the Changing Man. This is a comic that not enough people have read and y'all need to get your shit together and check it out. I can't really even put it into words. It's just incredible. I know that there's a ton of rad stuff happening in comics these days (with much of it being written and drawn by a more diverse crowd than the same old 8 white British/Scottish/Irish dudes), but I'm just not as plugged into comics as I once was, so I'm leaning on old favorites.

What is your writing environment like? (Are you out in public or in seclusion? Is there noise? Is there coffee? Do you type on a laptop or write longhand on lined notebook paper?)

I tend to alternate between writing on my couch and writing at my desk. I generally need seclusion, though I can write if someone else is in the room also doing something quiet (like reading or drawing or also writing), so no coffee shop for me; though I will occasionally write at work on my lunch break. If at home, I tend to throw on music that's heavily atmospheric that has no vocals (CryoChamber mixes, The Haxan Cloak, Black Mountain Transmitter, horror scores) and I pour myself a bourbon and grab a beer. Most writing days, I sit and slowly chip away at the first hour or so, once I get past that my productivity tends to increase from there. I generally write on my laptop, though I occasionally scribble shit down on paper and then revise as I transcribe it.

What was your greatest Halloween costume?

One Halloween, a group of my friends and I all made masks like they wear in the original Wicker Man movie and went as a group of Summerisle people. That was a lot of fun. But I think the greatest costume I ever did was with my friend Glenn, who is the other guitar player in Ash Eater. One year, she and I each made costumes that looked like we were members of The Process Church of the Final Judgement. We had black cloaks on, like they would wear, with shirts that had the Processean symbol and the Goat of Mendez sewn onto them. I printed out these little cards that had the iconic photo of Robert de Grimston and made stamps of the Processean symbol and inked them onto the backs. We just handed them out to people at a party and tried to talk with them about joining our group. A few of our friends knew what we were, but I think it was a bit esoteric for most. Either way, I'm super proud of that one.

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Sam Richard is the owner of Weirdpunk Books, the editor of Zombie Punks F**k Off, and the co-editor of both The New Flesh: A Literary Tribute to David Cronenberg and Hybrid Moments: A Literary Tribute to the Misfits. His writing has appeared in such varied publications as Lazermall, Strange Stories of the Sea, Breaking Bizarro, Dark Moon Digest, and many others. Recently a widower, his primary focus is on writing weird, transgressive horror with an emphasis on grief. His debut short-story collection, To Wallow in Ash & Other Sorrows came out Fall of 2019 through NihilismRevised and he slowly rots in Minneapolis, MN with his dog Nero. You can find him on Twitter and Instagram: @SammyTotep and at towallowinash.wordpress.com

Wednesday, November 06, 2019

SuperGhost Lives!

I’m happy to share the news that my first book, SuperGhost, is finally back in print! Here’s the description:

Mad Science, Phantom Limbs, Giant Monsters, and Ice Cream!

Darren Legend is a former construction worker who’s lost his right arm. Michelle Mayfair is a former Olympic runner who no longer has her legs. And Dr. Griffin Rains wants to talk with both of them. He’s a “phantom limb therapist”...who may also be a megalomaniacal mad scientist.

When Dr. Rains assembles a giant ghost-monster from the phantom limbs he’s stolen from hundreds of amputees, the city is in for the most bizarre nightmare it’s ever seen. And it’s up to Darren and Michelle, with the help of a few friends, to stop Rains and the strange terror of the SuperGhost!

So if you didn’t catch it on the original release (or even if you did!), you can now pick up the reissue, featuring a fresh cover (also designed by me), revised/re-formatted text, and an ALL-NEW bonus prequel short story entitled "The Science Fair".

Available NOW in paperback and ebook. Also available via Kindle Unlimited.

Wednesday, October 23, 2019

20Q7A: An interview with Chandler Morrison

20 Questions, 7 Answers is an interview series for writers of genre fiction. Each author receives the same batch of 20 questions, but they may only answer 7.

This week's guest is Chandler Morrison.

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What's your latest book, and how does it differ from your previous work?

My latest book is a modern gothic novel called Until the Sun, and it’s coming out from Death’s Head Press on Halloween. It differs from my previous work in a lot of ways—I’m always trying to do something new and fresh with every book I write—but primarily it’s less “extreme” than I think people have come to expect from me. It deals with some dark subject matter, and there’s a fair amount of gore, but there’s not a lot that would be considered tremendously over the top. There’s kind of this misconception about me that I’m just some shock jock exploitation artist, but that’s really not true. If the story I’m writing calls for extreme material, I’m not sheepish about putting it in. Until the Sun really didn’t call for a ton of that, so I wasn’t going to shoehorn unnecessary nastiness into it for the sake of pigeonholing myself into a certain brand.

What's the best movie, new or old, that you've seen for the first time in the past 3 months?

I’d probably have to say Never Let Me Go. I’m a huge fan of the book, so I’d put off seeing the movie for a long time because I was adamant that no one could even come close to translating the haunting beauty of Ishiguro’s prose onto the screen. I finally caved and watched it a couple of weeks ago, though, and it’s truly magnificent. The novel still reigns supreme, in my mind, but the movie adaptation really nails the tone of the book. It does an amazing job of painting this bleakly beautiful portrait of young people who are resigned to the hopeless tragedy of their existence.

What are your 3 favorite comic books (standalone novels or ongoing series) of all time?

From Hell, Watchmen, and Preacher. Brian Keene told me he believes Preacher to be the Great American Novel of our time, and I’m inclined to agree with him in many respects. While the theme of patriotic nationalism probably won’t resonate with younger readers of a particular sensibility, there’s a lot of things about that story that are so universal that I think a person of any generation would be able to find something to which he or she could relate.

What is your writing environment like? (Are you out in public or in seclusion? Is there noise? Is there coffee? Do you type on a laptop or write longhand on lined notebook paper?)

I have this enormous writing desk that takes up a large portion of the west wall of my apartment, and I do all of my writing there. I always type as opposed to writing longhand, because that’s the only way I can keep up with the speed of my thoughts. I generally require complete silence, so it’s difficult for me to write in public. I also like to light candles (always blood-red, and no less than 4.5 inches in height; I’m very particular about my ritualistic practices), and coffee shops usually frown upon that kind of thing.

If you could share a beverage with any fictional character, who would it be, and what would you drink?

Roland Deschain of Stephen King’s The Dark Tower series, no doubt. That guy’s been through some shit, and I’m sure he could help put my own trials and tribulations into perspective. I’d have a tonic water, preferably on the rocks.

What's the most disgusting thing about the human body?

Oh, man, that’s a tough one. The human body is, I think, an incredibly disgusting organism if you really consider everything that makes us tick. Sure, from a surface level, the body can be very beautiful, but once you peel back just a single layer—or even just look at the surface under a microscope—it starts going to hell really fast. All of those biological processes, all of that skin and meat and fluid that combine into a walking, talking host for innumerable parasites and diseases…yuck. I try not to think about it. Medical stuff, especially, grosses me out to no end. If I had to choose, though, the reproductive system—both male and female—is probably the worst. If you delve into the hard science of it and start pulling out all of those technological terms, you’re left with a horror story that’s infinitely nastier than anything I could ever dream up. The miracle of birth seems a lot less miraculous when you start talking about mucus plugs and the corpus spongiosum. Add to that the cosmic irrelevance of breeding, and it’s a wonder anyone has sex at all.

What’s your secret?

My tan is fake.

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Chandler Morrison is the author of Until the Sun, Dead Inside, Hate to Feel, and Just to See Hell. He lives in Los Angeles.

Wednesday, October 16, 2019

20Q7A: An interview with Sarah Read

20 Questions, 7 Answers is an interview series for writers of genre fiction. Each author receives the same batch of 20 questions, but they may only answer 7.

This week's guest is Sarah Read.

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What's your latest book, and how does it differ from your previous work?

My latest book is my forthcoming collection, Out of Water. It will be released from Trepidatio Publishing on November 1st, but pre-orders are up now! Most of the stories it contains ARE my previous work, so I guess it doesn’t differ much at all, but there are three new short stories and one new novelette in the book. These works are more contemporary than my novel, The Bone Weaver’s Orchard. That one is largely historical thriller, while a lot of these stories are straight horror, often paranormal.

If it was socially acceptable to wear anything as clothing, how would you dress?

I’d love to wear a Victorian ball gown most days, but then there are days that I just want to cut armholes in a sleeping bag and wear that. Or maybe I’d dress like a pirate or a witch or a fairy. Actually, I kind of already do those last three on a semi-regular basis, but I’m a librarian, so it’s encouraged.

Are you most afraid of ghosts, aliens, or clowns, and why?

I’ve never understood the fear of clowns. I find them annoying, but not scary. Aliens, should they ever decide to bother with us, could probably bother with us in such a way as to cause the most grief. But I wouldn’t say I’m afraid of them. And while I love a good ghostly shiver, I suspect ghosts are harmless. Except for when they infiltrate my imagination to the degree that I can’t sleep and then I have cranky days. I suppose I have to say ghosts scare me the most, which is precisely why they’re my favorite trope.

If you could be reincarnated as a sentient but inanimate object, what would you like to be?

I think I would like to be a very fine fountain pen. Then I could keep writing stories, and I think I’d be well looked after. I would also still be covered in ink, so it’s unlikely anyone would notice that anything had changed about me at all.

What is your writing environment like? (Are you out in public or in seclusion? Is there noise? Is there coffee? Do you type on a laptop or write longhand on lined notebook paper?)

My writing is highly opportunistic, so my environment might be anything. Today it was in my car, sitting in the parking lot before my first shift started. Regardless of where I happen to be writing, I do always write by hand, though.

My ideal environment is at my desk in my office, which overlooks my wilderness of a backyard. I’d have my favorite notebook (a Nanami Seven Seas Writer—thin, lined Japanese Tomoe River paper bound with plain black linen) and an array of pens filled with exciting inks. Also, a cup of tea (earl grey with a hint of vanilla, please). My cat asleep on the chair behind me. It would be great if there was a thunderstorm at the time, too. And a few cookies on a plate. Chocolate ones. And, apart from the storm, it would be perfectly silent. Ideal conditions rarely occur, so I’ve learned to write in any conditions.

I think it’s important to write whenever and however you can. Sometimes that means with a broken crayon on the back of an envelope in the pediatrician’s waiting room.

If you could share a beverage with any fictional character, who would it be, and what would you drink?

I’d have tea with Merricat Blackwood. It’s fine, I don’t take sugar in my tea.

What's the most disgusting thing about the human body?

Fingernails. Or feet. No, teeth. No, pus. I think maybe all of it? I’m not a fan. I don’t like anything about the human body and I’m deeply annoyed to be trapped inside one. And constantly alarmed when I’m surrounded by other ones.

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Sarah Read is a dark fiction writer in the frozen north of Wisconsin. Her short stories can be found in magazines like Black Static, and in various anthologies, including Ellen Datlow's The Best Horror of the Year Vol 10. Her novel The Bone Weaver’s Orchard is now out from Trepidatio Publishing, and her debut collection Out of Water will follow in November 2019. She is the Editor-in-Chief of Pantheon Magazine and of their associated anthologies, including Gorgon: Stories of Emergence. She is an active member of the Horror Writers Association. When she’s not staring into the abyss, she knits. Follow her on Twitter or Instagram @Inkwellmonster or support her on Patreon. www.inkwellmonster.wordpress.com

Wednesday, October 09, 2019

20Q7A: An interview with Matt Cardin

20 Questions, 7 Answers is an interview series for writers of genre fiction. Each author receives the same batch of 20 questions, but they may only answer 7.

This week's guest is Matt Cardin.

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What's your latest book, and how does it differ from your previous work?

My latest book is To Rouse Leviathan, a collection of weird and cosmic horror fiction from Hippocampus Press. It differs from my first two collections because it's an omnibus that contains the complete fiction contents of the first two plus a third section bringing together several previously uncollected works. I point out that it contains the "fiction contents" of the first two because my second collection, Dark Awakenings, consisted of both fiction and nonfiction, with the stories in the first half being complemented by three academic essays in the second. The majority of my work explores the intersection between religion and supernatural horror, focusing on the intrinsic religion of horror and the intrinsic horror of religion. The relationship of these things to art and creativity also keeps cropping up. To Rouse Leviathan amounts to a complete expression of everything I've had to say about this up to now in fictional form.

Do you have any creative endeavors other than writing fiction (art, music, knitting)?

I'm a pianist and keyboardist. This has been a central part of my life since I was a child, and I suppose it's linked to my writing. When I was very young, I sometimes said I wanted to grow up to be a writer. I also took to the piano like a duck to water when my mother enrolled me in lessons beginning at the age of eight. So writing and music have been intertwined creative outlets for almost as long as I can remember. I had nine years of classical piano lessons, after which I continued to play and expand my skills on my own. I also got into composing and recording with multitrack equipment. When I was in high school and college, this meant a four-track analog recorder that used standard audio cassettes. Needless to say, the audio quality wasn't very good. Sometime later I graduated to digital gear, which enabled me to really manifest the music I heard in my head for the first time. During the aughts I created an album of original instrumental music titled Daemonyx: Curse of the Daimon. Along with this, I've been a pianist at various Protestant churches, including fundamentalist, evangelical, and mainline -- Southern Baptist, Freewill Baptist, Independent Christian, United Methodist, Presbyterian, Lutheran -- for much of my life, although that's presently experiencing a lull. It has also been awhile since I composed or recorded any music.

Lately I just spend a considerable amount of time playing the piano in private as a kind of meditation. Songs I play repeatedly for this include Satie's "Gymnopédie No. 1"; the main theme from Claudio Gizzi's score for Blood for Dracula (a.k.a. Andy Warhol's Dracula), which I arranged for piano myself from the orchestral version; "The Temperature of the Air on the Bow of the Kaleetan" by Chris Zabriskie; Stephan Moccio's "Dukes"; several of Bach's two-part inventions; deeply pensive arrangements of the church hymns "It Is Well" and "Be Still My Soul" (the latter of which is actually Sibelius's tune "Finlandia"); Yann Tiersen's "Comptine d'un autre été" from the soundtrack to the film Amélie; some interludes from Mannheim Steamroller's Fresh Aire albums; Ludovico Einaudi's "Nuvole Bianche"; Liz Story's arrangement of "Greensleeves"; and a fairly enchanting piano adaptation of Davie Bowie's "Space Oddity" that I found on YouTube and learned as soon as I could.

Who or what is your favorite movie monster, and why?

I suppose I'll have to name Frankenstein's monster. For six years I taught Ms. Shelley's classic novel to high school sophomores. For five of those years, my students and I read the entire book aloud together. I always had three sections of sophomore English, so when you combine that with the several times I've read the novel on my own, including once for a graduate English class devoted entirely to Frankenstein and its literary and historical contexts, I've read it eighteen times. Maybe that's why I've always loved seeing what filmmakers do with it. I find it odd and sad that there has never been a definitive movie adaptation. They all have something wrong with them. But I can tell you that it's a flat-out epiphany for American teenagers when you take the iconic Universal-Karloffian version of the monster, which they've had implanted and imprinted in their psyches since birth, and show them how different it is from the original monster in the book. They're also invariably fascinated when you show them other movie versions that are closer to Shelley's vision, such as Kenneth Branagh's Mary Shelley's Frankenstein with Robert De Niro's sensitive, articulate portrayal of the monster. You didn't ask, but if I had to name the single best Frankenstein movie, well, I couldn't. But if I were asked at gunpoint, I might name the Hallmark Channel's miniseries adaptation. Yes, Hallmark made a Frankenstein movie, and with Luke Goss as the monster, no less. And how ironic that this one seemed so new and almost revolutionary because it adhered more closely to the source novel than any previous version.

Do you listen to music when you write, and if so, what? Is it different than what you listen to when you're not writing?

I tend to listen to dark ambient and classical music when I write. I find this helps to unlock my psyche. I've always responded really deeply to music, and it feels like I can access the writer's trance more easily with the help of it. It can't be music with words, though, unless they're abstract and ethereal like certain kinds of choral music, or like the mesmerizing idioglottic word shapes of a Lisa Gerrard or a Jonsi (Sigur Rós's lead singer). Other favorites for this purpose include Tim Story, Will Ackerman, Jóhann Jóhannsson, David Darling, Bill Douglas, Chris Zabriskie, Ennio Morricone, Arvo Pärt, Denise Young, Clint Mansell, Erik Satie, and the soundtrack collaborations between Nick Cave and Warren Ellis, plus various excellent YouTube mixes full of songs whose titles I'll never know. I generally choose soft music that's profoundly beautiful, melancholy, dark, and/or sinister, or sometimes all of these together. I also enjoy this same type of music when I'm not writing, but at those times it's joined by lots of other stuff. I have a serious hard rock and metal streak reaching back to my teens. Blue Öyster Cult reigns supreme, followed by, in no particular order, Queensrÿche, Rob Zombie/White Zombie, Alien Ant Farm, King Diamond (including his early Mercyful Fate days), Rage Against the Machine, Kongos, and a few more.

What are your 3 favorite comic books (standalone novels or ongoing series) of all time?

The original Secret Wars. Power Man and Iron Fist. And Watchmen. Sometimes these might switch places with The Hands of Shang-Chi, Master of Kung Fu, some of DC's horror comics from the 1970s (The Witching Hour, Unexpected, and so on), and others. I was an absolute comic book junkie in my teens. I collected multiple series, mostly but not exclusively Marvel, and I stored them all carefully in mylar bags after reading them. An investment for the future, you know. When I was 30 years old, my wife and I built a house, and we stored some stuff in the attic before construction was completed and we had moved in. Over the next few weeks, we were robbed three times. Someone got all my comics.

What happens when you die?

You wake up.


What's your secret?

As a person who, whenever someone asks “What do you believe?”, usually identifies himself a a Buddhist Christian agnostic with Jungian, Lovecraftian, Alan Wattsian, and Robert Anton Wilsonian tendencies, I'll aver that my secret may be contained in the words of the philosopher Tripper Harrison, as manifested onscreen by the philosopher Bill Murray: "It just doesn't matter."

This very same same point was given quintessential expression in 1977 at a public lecture in front of two thousand people by one of the major philosopher-sages of the modern era, Jiddu Krishnamurti. Here's one account of what happened (and there are several): "Part way through this particular talk, Krishnamurti suddenly paused, leaned forward, and said, almost conspiratorially, 'Do you want to know what my secret is?' Almost as though we were one body we sat up, even more alert than we had been, if that was possible. I could see people all around me lean forward, their ears straining and their mouths slowly opening in hushed anticipation. Krishnamurti rarely ever talked about himself or his own process, and now he was about to give us his secret! He was in many ways a mountaintop teacher -- somewhat distant, aloof, seemingly unapproachable, unless you were part of his inner circle. Yet that’s why we came to Ojai every spring, to see if we could find out just what his secret was. We wanted to know how he managed to be so aware and enlightened, while we struggled with conflict and our numerous problems. There was a silence. Then he said in a soft, almost shy voice, 'You see, I don’t mind what happens.'"

Eckhart Tolle has also referenced the Krishnamurti anecdote, and he has offered some salient commentary on it: "If some cosmic convulsion brought about the end of our world, the Unmanifested would remain totally unaffected by this. . . . If you remain in conscious connection with the Unmanifested, you value, love, and deeply respect the manifested and every life form in it as an expression of the One Life beyond form. You also know that every form is destined to dissolve again and that ultimately nothing out here matters all that much."

I can't say that I necessarily live in or live up to such an enlightened state of consciousness, especially when I'm still consumed sometimes by the suspicion that our self-conscious existence as human beings is "malignantly useless," as Thomas Ligotti has brilliantly styled it. But my equanimity has indeed increased with age and experience. Sometimes this has not been conducive to authorial productivity. Sometimes, it has led me to fall into long periods of total silence, both inner and outer. Maybe, like Rilke suggested, my angels have also left me on those extended occasions when I've managed to get rid of my devils. I still don't know whether I should consider myself fortunate that they all keep coming back.

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Matt Cardin is a writer, editor, musician, and college professor and administrator living in North Texas. With a Ph.D. in leadership and a master's degree in religious studies, he writes frequently about the intersection of religion, horror, art, and creativity. His books include the weird and cosmic horror fiction collections To Rouse Leviathan (2019), Dark Awakenings (2010), and Divinations of the Deep (2002) and the academic encyclopedias Horror Literature through History (2017), Ghosts, Spirits, and Psychics: The Paranormal from Alchemy to Zombies (2015), and Mummies around the World: An Encyclopedia of Mummies in Religion, History, and Popular Culture (2014). He received a World Fantasy Award nomination for editing Born to Fear: Interviews with Thomas Ligotti. He is also co-editor of the journal Vastarien. His work has been praised by Publishers Weekly, Kirkus Reviews, Library Journal, Booklist, Cemetery Dance, This Is Horror, Thomas Ligotti, Laird Barron, and more. He's online at www.mattcardin.com, The Teeming Brain (his blog), and twitter.com/_mattcardin.