A special episode of STORIES FROM THE BORDERLAND by Michael Bukowski and yours truly appeared in the October 2016 monster-themed issue of Stu Horvath‘s Unwinnable Monthly magazine, available here. In it, we discuss “The Black Destroyer” and “Discord in Scarlet,” two stories by A.E. van Vogt that have spread their influence over almost everything you know.
Many are the reason why Great Weird stories fall into the Borderlands…
Some because the memory of their authors faded after death, the obscurity blanketing them compounded by negligent, mismanaged, or utterly nonexistent estates. Others are lost in the shadows that skirt the ruined Tower of Babel, blocked from potential new audiences by the limited permeability between literary traditions in different tongues. Stefan Grabinski for example has only recently become known outside his own language, while Jean Ray appears to surface in English but once every decade or two, only to submerge again quickly before his full extent is ever glimpsed by le monde Anglophone… Continue reading
The previous installment of Stories From the Borderland examined “The Cactus,” a tale by Mildred Johnson, an enigmatic female author who published only two known stories, both in Weird Tales. This week the author of our featured selection is another mysterious byline from Weird Tales. Allison V. Harding was not only the magazine’s most prolific contributing female author: she was its tenth most prolific contributor altogether, well ahead of many of the magazine’s better known male authors such as Ray Bradbury or Frank Belknap Long. And though we know much more about Harding than Mildred Johnson, she remains in many ways even more enigmatic. She may in fact be The Unique Magazine’s most enigmatic author of all, and its most enduring mystery. Continue reading
“We must make friends with the many-tentacled alien idea.”
—John H. Lienhard, “Medicine and Maggots”
Hardly a week goes by without at least one reference to John Carpenter’s 1982 masterpiece The Thing appearing in my Facebook feed. No other film has wound its way so deeply into the collective psyche of the quirky amorphous Weird Fiction community that comprises the largest single segment of my social network. Although Carpenter’s film is essentially a science fiction film in its elements and a work of horror in its structure, a powerful consensus clearly exists that it constitutes the finest and purest exemplar of The Weird in cinema. Interestingly its closest rivals to this title, Alien (1979) and Phase IV (1974), are also science fiction/horror hybrids. This aspect of The Weird’s manifestation on the screen deserves further exploration…but not right now, not while we have other dark fissures to explore. Continue reading