Scott R Jones
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RIP Innsmouth Magazine
0Dismayed. That’s just about the only word I can use to label my feelings regarding the recent news of the demise of Innsmouth Magazine. Dismayed, depressed, and yeah, even a little distraught. (I know it’s nothing to do with anything, but I suffer a little from the superstitious fear that it was the inclusion of my own story, Turbulence, in their recent “wings” themed issue that jinx’d the publication. I know it’s not me; it’s stupid to think it was. I know. But still. Dismayed.) Because folks? Folks, this was one of the good ones. One of the rare cool ones. Of the few weird fiction magazines out there, Innsmouth should have had a better readership, better sales, a bigger following.
A bit of an aside, here: How much does the time and ability to promote – via social media and otherwise – a publication factor into the life and death of that publication? Who can say with any certainty? The fact is, the editors of Innsmouth Mag, like every one of us, have lives, families, and only 24 hours in the day in which to prioritize all their many obligations. With that in mind, it’s easy to understand how a magazine can quickly find itself at the bottom of a pile of Important Things That Need Doing. I contemplate putting the brakes to this little charade-train of mine on the daily, and I don’t do a fraction of the kind of work Silvia and Paula and the IFP gang do. Did.
So, could Innsmouth have had a larger on-line presence? Better promotion? Probably. But then, no one actually needs another non-stop-Lovecraftian-video-chat-&-ice-cream-social-media-circle-jerk, do they? No one needs it, and a publication – certainly a publication of this level of excellence – shouldn’t have to lower itself to that level, devote that kind of time to, say, posting every tentacled thing that comes down the intertubes for the hyuk-harvest they’ll get from their followers. Innsmouth didn’t hold your hand and tell you you were special for liking them. The mag stood on its own merits, and should have survived based on those merits, but there it is. It was the better magazine, but these are not the times for better magazines, maybe.
I mean, OK, just on the surface level, Innsmouth was great (I am already using the past tense here and it pains me) … look at the small sampling of cover designs here!
This is some refined, understated, elegant design, which carried over into the interiors as well. The illustrators chosen were top-notch, and the text, font, and logo decisions were obviously laboured over. The best part? The way these covers don’t scream I’M A WEIRD MAG ABOUT LOVECRAFT n TENTACLES BUY ME! Even though it often was. That’s class.
And speaking of the magazine’s interior, the stories… they were diverse. Original. Beautiful. And actually interesting. The first issue I got a hold of was #5 (October 2010) and bang! first shot out of the box it’s a story by Paul Jessup, The Night We Burned Our Hearts Out, and it was apocalyptic and poetic and chock fulla weird mystery with no easy answers offered and I loved the hell out of it. First story. Bought all the back issues when I was done with #5. And with the very rarest of exceptions, that has been my reading experience with Innsmouth Magazine: quality stories and poetry from all over, from all manner of writers that I would not have been exposed to otherwise. Innsmouth’s editors made consistently cool choices in the weird fiction they published. (In my own small experience submitting my fiction to them, I found Silvia and Paula to be professional, timely, and just generally excellent in their interactions with me. Never once did I walk away from a rejection with a bad taste in my mouth. That’s something.) Hell, I first read Daniel Jose Older in Innsmouth. Anyway. Which is all to say that Innsmouth Magazine was not a fanzine or, worse, a fan-service zine. It didn’t pander or take the easy way out with pastiche. It was literary, goddamnit, in all the good ways (ways I imagine Lovecraft would have approved of, bless his elitist old heart). And it should have lived, should have made some decent coin, at least enough to stay afloat. I’m very sorry to see it go.
All’s not lost, though. I am happy, at least, that Innsmouth Free Press itself will continue to provide online content (reviews and regular columns) and release their excellent anthologies into the future. I’ve only just learned that they will be collecting the Lovecraftian stories of Nick Mamatas in an upcoming antho, The Nickronomicon. Ladies, I’d pre-order that thing now if you had the link ready.
Which is all to say… which is all to say… aww hell. Y’know what? Support the stuff you like, readers. That’s the take-away here. Or… wait. Unless you only like garbage. Then you should probably keep your mouth shut. Just saying. And isn’t that the nub of the problem here? I liked Innsmouth Magazine. I loved it. Loved reading it, loved submitting to it, loved getting printed (finally!) in it, but did I tell enough people? Clearly not. Honestly, I’ve never had a publication I like die, hence this mournful post. Probably because I haven’t liked anything enough before. I liked Innsmouth Magazine and should have said so more often, to more people. NEVER AGAIN.
Support the stuff that you like, that you love. Tell people about it, get them to buy it, buy it for them if they’re resistant for whatever reason. There’s not enough of the good stuff out there, and the stuff that is out there, like Innsmouth Magazine, is getting lost in the wilderness of crap. There’s one more issue of it coming, #15, in the spring. Buy that one, at least.
R.I.P. Innsmouth Magazine. Thanks for doing such a great job and for existing as long as you did, and good luck and good readership in the future to all involved.
Leviathan Rising — Nick Mamatas’ “Love Is The Law” (review)
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There’s a lot of Thelemic hoo-ha in Nick Mamatas’ new noir novel Love Is The Law, and I am fine with that, since for a good portion of the ‘00s I ran with as gnarly a pack of wannabe Crowley-ites and ritual occultists as you could ask for. I’ve had about as much of that as a person can stand, which is to say I get the stuff, and the fastbreeding esoteric patter of narrator “Golden” Dawn Seliger is tone-perfect in this book. You don’t have to get Thelema or understand where Dawn is coming from to enjoy it, which, considering how twisty the oeuvre of the Great Beast can be is a real achievement.
Now, Trotsky and Communism and worker’s revolutions I don’t get as much, mostly due to my being Canadian (socialist utopia, I’m told!) and a woeful lack of education in these matters (as well as the disinterest bred into me by capitalist fear-mongering? Mmm possibly…) but I am fine with that, too, because Love Is The Law is a not a book about Thelema or Communism per se; I’ll borrow from the alchemy here and say it’s a crucible into which Mamatas has tossed those things along with 80s punk aesthetic, family disintegration, drug addiction, murder, conspiracy, a grimoire’s worth of black humour and just a smidge of redemption.
On the surface of it, Love Is The Law shouldn’t work: the above elements too disparate, the suburban Long Island setting too hermetic, and so on. But it’s a crucible, and though the process of reading it is rough in spots — there are some brutal characters here, Dawn’s crack addict father for one, Dawn herself for another — what comes out the other end of that process is gold. It all hangs together beautifully, and watching it happen is as close to storytelling magic as I’ve seen recently.
Dawn is a bleeding edge person, ostracized from society as much for her fierce self-determination as she is for her punk lifestyle or the fact that her family has come apart in the aftermath of her mother’s death. She’s not introduced to magic or communism by her friend and mentor Bernstein, but he certainly confirms her in her beliefs. She is, so far as she knows, his only acolyte. So when he’s discovered dead under mysterious circumstance (mysterious to Dawn, not the police, who write it off as a suicide) she determines to nail Bernstein’s murderer. From the get-go we are given to understand that Dawn is not out for justice. “Justice” is a word that Dawn has freed herself from using the Liber III vel Jugorum ritual: she cuts herself across the stomach every time she uses the word. Bleeding edge. This is a straight-up revenge tale.
Only it’s not that straight-up at all. Dawn’s powerfully Willed path to vengeance draws her ever deeper into a suburb-and-perhaps-worldwide socio-political occult conspiracy. First they’ll take Long Island, then the planet, and They in this case soon includes everyone she knows or thought she knew: Bernstein, her thoroughly nasty father, her dementia-addled grandma, comic book shop owners, metalheads, basement show punks, real estate moguls, Greek matriarchs, and a girl who may be her doppelganger. As it all comes together, Dawn the Outsider, Dawn the Invisible One, is drawn inside, to become the very visible center of a pretty horrific mandala.
It’s enough to take anyone to the lip of the Abyss, and that’s where Dawn goes. Thankfully, she has a friend down there.
Mamatas has done a superb job here, but it’s not going to be for everyone: the sexuality is frank, the relationships (such as they are) brutal, the characters abrasive in their various delusional states. It is a very alive book for all that, all coils and smoke and glowing Tarot significance. And living books get read and read again.
I loved Love Is The Law. It is my Will that you get it, and you can do that here > the publisher, Dark Horse < and here > Amazon (paperback & Kindle editions) < and I’m guessing you can order it from fine book and comic shops anywhere.
A note about format:
One of the reasons I’ve been an almost complete convert to ebooks in recent years is the easy accessibility and portability of the format. I carry a large-and-getting-larger library of titles on my Android device, and am continually surprised that my eyes are still functional. Going in to reading books in this format, I had detractors tell me I’d ruin my vision, something I half believed myself. Hasn’t happened yet, and it’s not going to, because the devices and the ereader apps keep getting better and blah blah blah yeah I’m an ebook booster.
But that doesn’t mean I don’t miss my paper books like hell. I grew up on horror and sci-fi paperbacks I bought at a musty old closet of a bookstore nestled in the wheezing heart of a strip mall and brother, I bought them by the pound.
So when my review copy of Love Is The Law showed up in my mailbox and it was a paperback, and what’s more, a pocket sized paperback? Something I could jam in the back of my jeans, let it get all dog-eared and bent, and whip it out to read some while waiting for the gang down at the corner store? Well, colour me sold. Maybe this isn’t a return to the hoary old days of pulp novels in all their lurid, transient glory, but it feels like it could be.
Sure, I’ll pick up the ebook too, but this copy, just sitting there, has that physical “yeah, I’m a fucking book, what else ya gonna do with me?” imperative that ebooks just do not have. What are you gonna do? You’re gonna read it.
And then you’re gonna jam it back in your pocket and make all your hipster friends jealous.
Funny Little Games: Ross Lockhart’s “Tales of Jack the Ripper” (review)
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I know what everyone knows about Jack the Ripper: Whitechapel serial murderer of the late 19th Century. Five victims, all prostitutes. Taunting missives to the authorities. Some odd, ritualistic elements to the crime scenes. Never caught, and so the bogeyman figure of Jack is shadowed in conspiracy and horror to this day. And that? That’s about it, as far as my knowledge of the Ripper goes. Not what you’d call “in-depth”. I’ve (partially) seen From Hell, but it was around the time I was going off Alan Moore’s work and I was nursing a compound hangover at the time; it may have been switched out for Solaris, which is more friendly to morning-after-regrets.
So I was a little worried when I received an ARC of editor Ross Lockhart’s latest anthology, Tales of Jack the Ripper. Did I know enough about Jack to be able to really enjoy the book? Would I have to be a Ripperologist to dig the subtleties, savour the grim flavour of the thing? I’m glad to report that I shouldn’t have been worried at all, and that any reader coming anew (or relatively so) to the world of Jack the Ripper through this collection is doing themselves a huge favour. There are broad, masterful strokes here but with just enough tasty minutia to encourage further reading.
Down for bloody details and speculation on Jack’s identity? Ennis Drake’s The Butcher, The Baker, The Candlestick Maker, Pete Rawlik’s Villains By Necessity and Stanley C. Sargent’s When The Means Just Defy The Ends are all serviceable tales well told, if a little dry.
The devil for me, at least as far as Jack is concerned, isn’t in the details: he’s in the place where the Ripper legend grows beyond the details. In the shadows. And there were a few standout authors here that really make the collection live, with stories that pulled inspiration from those shadows, the true bogeyman aspects of Jack…
It’s been years since I read any Ramsey Campbell and I was glad to find that time has not diminished his skills. Jack’s Little Friend is a prime example of Campbell’s claustrophobic, harrowing style of cerebral horror, and the final scene of this tale of possession and obsession is truly stomach-turning. It’s subtle, his use of the singular horrific image, but devastating in its effect, as is the way Campbell places the reader behind the eyes of his victim. Look-over-your-shoulder amazing.
The Truffle Pig by T.E. Grau lets a little Lovecraft into the book, and for that I was surprised and grateful. This story is great fun, riffing on the ritualized aspects of the murders, but taking things much further than the standard “Freemasons did it” conspiracy theory, into the realms of the cosmic and deep into the past.
I also enjoyed Abandon All Flesh by Silvia Moreno-Garcia. Jack here is a display in a wax museum, mooned over by a young girl. It’s basically a coming-of-age story but Moreno-Garcia also weaves in Central American myth systems (with their focus on bloodletting and sacred murder) to create a unique perspective on the Ripper legend and a meditation on our fascination with him and his descendants. It’s “Death and the Maiden”, Mexico-style.
I wasn’t sure, even upon reading it twice, how exactly Laird Barron’s Termination Dust related to the Ripper, but frankly, I didn’t care, because (not unlike Campbell’s story) this one is pure Barron: hard-scrabble, terse, monstrous, funny… tough people performing bad works for worse reasons on the frontiers of the continent and the human soul. Which I guess is Ripper territory after all. I wish I could write like Barron; everything he puts out is a class for me, and I’ll be coming back to Termination Dust again and again.
E. Catherine Tobler’s Once November is the ghost story in the bunch and it is a beautiful, heartbreaking look into the lost souls of Jack’s victims. The writing here is superb, and there are interesting spectral mechanics and the kind of poignancy that makes a good ghost story work. Sorrowful and soft, Once November is a great way to close out the collection.
The only entries which fell a little flat for me were from the two Joe’s: Joe R. Lansdale and Joseph S. Pulver, Sr. The set-up for Lansdale’s God of the Razor comes off as a bit of standard E.C. Comics grue and Pulver’s Juliette’s New Toy is… I want to say experimental (ie. daring, innovative) but this prose-poem is essentially a hallucinogenic word-salad with more cleverness than craft in evidence. By the end of this short piece, there’s some hint about a (possibly female) Ripper in space? Dunno. It’s a weird, off-note.
All the stories are book-ended by two poems by the talented Ann K. Shwader, Whitechapel Autumn, 1888 and Silver Kisses.
Editor Ross Lockhart (Book of Cthulhu and Book of Cthulhu 2, Chick Bassist) has done a stand-out job with Tales of Jack the Ripper. This one’s going out to certain names on my Christmas list, that’s for sure. You know the ones. With their “funny little games”. Recommended.
Available for purchase soon from better independent booksellers everywhere and now available through the following online booksellers: trade paperbacks and Kindle editions through Amazon.com, TP and Nook editions through B&N, Powell’s Books, IndieBound, Book Depository, and Kobo ebooks.



















