Hat tip to @[email protected] for the original post.
arotrios
joined 1 year ago
cross-posted from: https://lemmy.world/post/6407593
Link - From the nihilistic absurdity of Thomas Ligotti to the heavily science-fictional chills of Jeff VanderMeer’s Annihilation, the cosmic horror of today continues to tell tales of a vast, indifferent, and even carnivorous cosmos, through new lenses and fresh new perspectives.
Here are a few of the best cosmic horror books from exciting writers new and old—both those who were writing before Lovecraft appeared on the scene, and those who have come after.
What is cosmic horror? As a writer whose own work is often at least adjacent to the subgenre, it’s a question I’ve been asked in columns and podcasts and panel discussions more times than I can count. Sadly the answer, all too often, ends up sounding a lot like that old chestnut about pornography, that we “know it when we see it.”
American writer H.P. Lovecraft, in one of his copious personal correspondences, summed it up as follows: “Now all my tales are based on the fundamental premise that common human laws and interests and emotions have no validity or significance in the vast cosmos-at-large.” So, basically: Universe big; humans small.
While he is often considered the godfather of cosmic horror, Lovecraft was far from the first person to practice the subgenre, a fact that he (frequently) attested to during his own lifetime. In fact, his nonfiction opus Supernatural Horror in Literature is a catalog of other writers who, in Lovecraft’s estimation, were doing fine work in the field before he came along.
Nor did the tradition end when Lovecraft died. Plenty of other talents have carried cosmic horror into ever newer horizons, even as scientific reasoning—which forms much of the backbone of Lovecraft’s cosmicism—has advanced far beyond anything he was ever exposed to.
Social justice, too, has advanced enough to cause readers to recognize Lovecraft’s own racism and xenophobia.
From the nihilistic absurdity of Thomas Ligotti to the heavily science-fictional chills of Jeff VanderMeer’s Annihilation, the cosmic horror of today continues to tell tales of a vast, indifferent, and even carnivorous cosmos, through new lenses and fresh new perspectives.
At the Mountains of Madness
Sure, I just spent several paragraphs arguing that Lovecraft is far from the alpha and omega of cosmic horror. But this wouldn’t be much of a cosmic horror primer if we didn’t include at least one Lovecraft book.
When it comes to classics of cosmic horror, they don’t come a lot more classic, or a lot more cosmic, than this timeless tale of arctic exploration and new vistas of human experience. It's equal parts a love letter to scientific exploration, and a horrified warning of the dangers inherent therein.
The King in Yellow By Robert W. Chambers
One of the things that makes Lovecraft’s work stand out in a crowded literary field is that—decades before the Marvel Cinematic Universe or Stephen King’s fictional version of a haunted Maine—his tales all occupy a shared universe, linked together by the names of beings, books, places, and people. Lovecraft wasn’t the first to do this, however.
In fact, when Lovecraft was only five years old, Robert W. Chambers published The King in Yellow, a collection of tales linked together by the eponymous play and the similarly-named entity at its heart.
The stories not only found their way into Lovecraft’s own Mythos, but that of plenty of other writers and artists over the years, including the creators of the HBO series, True Detective.
The House on the Borderland By William Hope Hodgson
British author William Hope Hodgson wrote across a wide variety of genres, and many of his best stories deal with the sea. However, perhaps his best-known and most cosmic work is this 1908 novel.
It tells of two men on a fishing trip who find a journal in an old ruin which, in turn, tells the story of a recluse who lives alone with his sister and dog in the titular house, which has a sinister reputation and which seems to abut some sort of interdimensional nexus.
Malpertuis By Jean Ray
Often called the “Belgian Poe,” Jean Ray’s many, many, many stories and books (under an equally bewildering array of pseudonyms) were often pivotal in the European tradition of the fantastique in literature.
But his tales of gothic, supernatural, and cosmic horror have been vanishingly hard to come by in English for some time, until the recent series of books from translator Scott Nicolay and Wakefield Press, which have begun to release many of the author’s tales in translation for the first time.
Latest is the novel-length Malpertuis—which has previously been available in English, and was even adapted into a 1971 film featuring Orson Welles—a rare gem of gothic cosmicism begging to be rediscovered by a contemporary audience.
Volk By David Nickle
That’s enough dusty old cosmic horror, though.
I said up above that plenty of contemporary authors have brought this tradition into the modern day, and this 2017 novel from David Nickle is an excellent example.
Subtitled “A Novel of Radiant Abomination” and set during World War II, this sequel to Nickle’s Eutopia has been called “a critical and sharp demolition of Lovecraft’s own romanticization of eugenics” as well as “spooky as hell” by author Cory Doctorow.
Cthulhu's Daughters By Silvia Moreno-Garcia & Paula R. Stiles
Originally released as She Walks in Shadows, under which title it won a World Fantasy Award, this anthology of all-new fiction by women authors tackles Lovecraft’s complicated legacy and carries Lovecraftian cosmic horror into the modern day.
It features tales by some of the leading voices in contemporary weird and cosmic horror including Molly Tanzer, Wendy N. Wagner, Selena Chambers, Nadia Bulkin, Gemma Files, Premee Mohamed, Angela Slatter, and many others!
The Fisherman By John Langan
This modern-day epic of cosmic horror won a Bram Stoker award. The book is an absolute jaw-dropper, mashing together a wide array of literary elements and styles into a novel that feels at once timeless, classic, and modern.
The cosmic vistas are as unforgettable as anything that has delved into the borderlands (not to put too fine a point on it) of human experience since Hodgson’s House on the Borderland.
(Full disclosure, Word Horde—who published this volume—also published several of my collections, but I don’t get any kind of kickbacks or anything for recommending this. I just love John Langan’s work.)
The Secret of Ventriloquism By Jon Padgett
Up above, I mentioned Thomas Ligotti, some of whose best-known works of cosmic nihilism have recently been released under the Penguin Classics imprint. For something in the Ligottian vein from a newer but equally exciting voice, check out Jon Padgett’s debut collection.
Padgett was not only in charge of the Thomas Ligotti fan site for many years, making him something of an expert in this brand of intoxicating cosmic horror, but he’s also a lapsed ventriloquist, so you just know he’s got some creepy stuff up his sleeve.
Annihalation by Jeff VanderMeer
Fans of the cosmic horror film genre might be familiar with the critically acclaimed film adaptation starring Natalie Portman and Oscar Isaac, but the book is even better. Winner of the 2014 Nebula Award for Best Novel, Annihilation tells the story of Area X, which has been cut off from the rest of civilization. Every expedition into Area X has ended with wildly different ends. The first group to return spoke of an Edenic landscape, but many of the groups who followed died along the way.
The group readers see in Annihilation, which is the first volume of Jeff VanderMeer's Southern Reach trilogy, is the 12th expedition. The group is made up of four women tasked with mapping and observing Area X. They know to be on their guard, but nothing could have prepared them for the discoveries they make (and the surprises that follow them into Area X).
The Immaculate Void by Brian Hodge
Even the gods have reason to fear in Brian Hodge's The Immaculate Void. Told in dueling points of view and timelines, the story follows Daphne and her brother Tanner. Due to Daphne's childhood trauma, she's a pro at running away and disappearing. Tanner has plenty of practice at catching her, but this time, something's different. This time, it's not just about what (or who) is missing, it's about what terrifying presence has decided to make its presence felt at last.
Perhaps the real horror story involved with The Immaculate Void, however, is in trying to find a copy to read. On his blog, Hodge says that difficulties with his publisher have led to the book's scarcity. You probably can't just go into a bookstore and find a copy. Currently, the best means of procuring the work are by trying the audiobook (link above) or by contacting the author directly.
Chills By Mary SanGiovanni
Look, sometimes cosmic horror can get a little … esoteric. Every now and then you just want a nice, quiet story about a bunch of ritual murders in a small Connecticut town caught in the grips of a snowstorm, as cultists attempt to call up unspeakable things beyond human understanding. It’s okay. We’ve all been there.
Fortunately, Mary SanGiovanni, whose work F. Paul Wilson has called “a feast of both visceral and existential horror,” has us all covered with this police procedural meets occult crime tale.
It takes advantage of the snowbound isolation, paranoia, and claustrophobia that was used to such beautiful effect in John Carpenter’s The Thing.
The Gone World by Tom Sweterlitsch
Here's what The New Yorker's review had to say about The Gone World by Tom Sweterlitsch: "I like to be freaked out and mystified simultaneously. The Gone World, a gory time-travel thriller, does both in surprising ways....Inception meets True Detective, but it also contains elements of Solaris, Interstellar, Twin Peaks, Minority Report, and even Stargate. To all this, it adds some innovative time-travel shenanigans."
While those are some amazing comparisons for any book, bestselling author Blake Crouch's praise of The Gone World is even more impressive. “I promise you have never read a story like this.”
The novel follows Shannon Moss, who is part of a clandestine division of the Naval Criminal Investigative Service. When a Navy SEAL's family goes missing in western Pennsylvania, Moss is assigned to investigate the crime. Things only get weirder when she discovers that the missing SEAL was an astronaut whose ship is assumed to be lost in Deep Time. The novel plays with both epic scale and intimate, human moments in a way that can be unusual (and powerful) for cosmic horror.
Uzumaki By Junji Ito
Lots of incredible cosmic horror has been finding its way into sequential art in the last few decades, and no list of contemporary cosmic horror would be complete without the work of Japanese manga creator Junji Ito.
Possibly his magnum opus—and in many ways his most cosmic tale to date—is this bizarre and haunting tale of a small town that becomes slowly obsessed with the shape of the spiral, a shape that seems to bend not only the minds of the townspeople, but the fabric of reality itself.
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cross-posted from: https://kbin.social/m/13thFloor/t/509859
At dawn he arose and stepped out onto the patio for his first look at Alexandria, the one city he had not yet seen. That year the five cities were Chang-an, Asgard, New Chicago, Timbuctoo, Alexandria: the usual mix of eras, cultures, realities. He and Gioia, making the long flight from Asgard in the distant north the night before, had arrived late, well after sundown, and gone straight to bed. Now, by the gentle apricot-hued morning light, the fierce spires and battlements of Asgard seemed merely something he had dreamed.
The rumor was that Asgard’s moment was finished, anyway. In a little while, he had heard, they were going to tear it down and replace it, elsewhere, with Mohenjo-daro. Though there were never more than five cities, they changed constantly. He could remember a time when they had had Rome of the Caesars instead of Chang-an, and Rio de Janeiro rather than Alexandria. These people saw no point in keeping anything very long.
- from Sailing to Byzantium by Robert Silverberg, on page 178
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cross-posted from: https://kbin.social/m/13thFloor/t/403415
The Third Man is a 1949 British film noir directed by Carol Reed, written by Graham Greene and starring Joseph Cotten, Alida Valli, Orson Welles, and Trevor Howard. Set in postwar Vienna, the film centres on American Holly Martins (Cotten), who arrives in the city to accept a job with his friend Harry Lime (Welles), only to learn that Lime has died. Viewing his death as suspicious, Martins elects to stay in Vienna and investigate the matter.
The atmospheric use of black-and-white expressionist cinematography by Robert Krasker, with harsh lighting and largely subtle "Dutch angle" camera technique, is a major feature of The Third Man. Combined with the iconic theme music by zither player Anton Karas, seedy locations and acclaimed performances from the cast, the style evokes the atmosphere of an exhausted, cynical post-war Vienna at the start of the Cold War.
Greene wrote the novella of the same name as preparation for the screenplay. Karas's title composition "The Third Man Theme" topped the international music charts in 1950, bringing the previously unknown performer international fame; the theme would also inspire Nino Rota's principal melody in La Dolce Vita (1960).[citation needed] The Third Man is considered one of the greatest films of all time, celebrated for its acting, musical score and atmospheric cinematography.[5]
In 1999, the British Film Institute voted The Third Man the greatest British film of all time. In 2011, a poll of 150 actors, directors, writers, producers and critics for Time Out ranked it the second best British film ever.
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cross-posted from: https://kbin.social/m/13thFloor/t/497764
In spite of its ominous literary associations, 1984 proved to be a rather quiet year for SF. There were no major scandals like 1983’s infamous Great Timescape Fiasco, no SF lines driven into oblivion by corporate greed and shortsightedness, no major editorial shakeups … but if you looked closely enough, in the right places, you could see the foundations of the genre’s future for the next decade or so being quietly laid down.
- from the introduction by Dozios
Your question intrigued me, so I had to go and take a look. It looks like Heinlein isn't published in many anthologies, possibly because he was an editor of one himself (according to Wikipedia):
The science fiction writer Robert A. Heinlein (1907–1988) was productive during a writing career that spanned the last 49 years of his life; the Robert A. Heinlein bibliography includes 32 novels, 59 short stories and 16 collections published during his life. Four films, two TV series, several episodes of a radio series, at least two songs ('Hijack' by Jefferson Starship and 'Cool Green Hills of Earth' on the 1970 album Ready to Ride and as the b-side of a single by Southwind) and a board game derive more or less directly from his work. He wrote a screenplay for one of the films. Heinlein edited an anthology of other writers' science fiction short stories.
He also fell out of favor in the 80s to large extent:
After a seven-year hiatus brought on by poor health, Heinlein produced five new novels in the period from 1980 (The Number of the Beast) to 1987 (To Sail Beyond the Sunset). These books have a thread of common characters and time and place. They most explicitly communicated Heinlein's philosophies and beliefs, and many long, didactic passages of dialog and exposition deal with government, sex, and religion. These novels are controversial among his readers and one critic, David Langford, has written about them very negatively. Heinlein's four Hugo awards were all for books written before this period.
I think that all of these factors combined to his exclusion in Dozio's anthologies. By that time, Heinlein was already considered one of the three holy men of the Golden Age of Sci-Fi (Clarke and Asimov being the other two), so I'm not surprised he didn't make it into these volumes, which were focused on the new talent of the time.
7
cross-posted from: https://kbin.social/m/13thFloor/t/491274
Here's the cream of the crop: short stories, novelettes, novellas by science fiction writers already well known and awarded for their high-quality work in science fiction. These are writers like Poul Anderson, Joe Haldeman, Tanith Lee, George R. R. Martin, Robert Silverberg, James Tiptree, Jr, Vernor Vinge and Gene Wolfe.
Here also are writers who are newer to the field, but just as excellent, including high-powered talents such as Greg Bear, Jack Dann, Jack McDevitt, Pat Murphy, John Kessel, Rand B. Lee, Pat Cadigan, Kim Stanley Robinson, Bruce Sterling, and Dan Simmons. Altogether there are 250,000 words of great science fiction; twenty-five stories by twenty- four authors. These are the stories that will be nominated for the Hugo and Nebula Awards this year, the stories that years from now people will still be talking about.
The Year's Best Science Fiction was a series of science fiction anthologies edited by American Gardner Dozois until his death in 2018. The series, which is unrelated to the similarly titled and themed Year's Best SF, was published by St. Martin's Griffin. The collections were produced annually for 35 years starting in 1984.
Depends on what your definition of "worth" is, and whether or not you're sober. Animation wise, for the time, it was groundbreaking, and led to the LOTR contract for Bakshi, if I remember correctly. The script is heavy handed, a clear product of both Fritz the Cat and 70s attitudes at the time (particularly towards women), and is more an allegory than a real fantasy work. Think Piers Anthony in the illustrative style of Boris Vallejo with a bunch of Elf Quest and Cool World thrown in. It's not a subtle film, and you can tell the precise moment where they ran out of production money.
But it does have enough fun scenes to make it worthwhile enough to spark up a bowl for, and it makes for excellent background visuals if you're hosting a rave.
@[email protected] - I felt the same - I couldn't put them down as a kid. It's definitely got some 70s era prejudice in how it was written, and in the strict cultural divisions based on race and religion that it portrays, but I never felt that it was overtly or deliberately racist - rather the author portraying a barbaric world ruled by gods who were very close at hand and fiercely protective of their people. I still get chills remembering the god Mara wailing in the ruins for the slaughtered Maragor.
That's one of the reasons I posted the source material as available (free) downloads as well - Day has come under criticism before by Tolkien scholars. I personally found most of his mistakes and liberties in this work to be minor, but I'm not a Tolkien scholar. Nonetheless, the work has a unique artistic touch that regardless of its accuracy, brings the novels to life in a way that surpasses later catalogues, and it was responsible for getting young readers of my generation interested in reading them.
I've always dug it because it was one of the first explorations of a successful invasion from another species, and it was an excellent scifi deconstruction of colonialism, one that was groundbreaking for the time it was written (right before WWII).
If you need it in other formats, this link has a great selection of free alternatives - you can filter by your preferred file format. There's a azw3 version here that should work with Kindle.
Another great one - here's a link to get a free .pdf copy if you're looking to add to your library:
https://annas-archive.org/md5/ae962cb11c50e00ecdc2b50d2d813b54
I agree, Still Life is the stronger novel. I usually choose Cowgirls as the work of his to to introduce new readers to, as it's more accessible and lighthearted, but Still Life is where Robbins really shows his chops.
Here's a link to a free copy (.pdf download) from Anna's if you're looking for one: https://annas-archive.org/md5/85333852ce8e0b37dc4918f59cfb5bb1
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Sorry - these are all table top games.