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From the Editor's Desk ƸƸ ȱ ȱ ǯȱǯȱǯȱ ȱ ȱ ǵƸƸ ȱ ȱ ȱ ¢ ȱ ȱ Ĵȱ ȱ ȱ ȱ DZȱ ȱ ȱ ¢ȱ ȱ ǯȱǯȱǯȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǯ ǰȱ ȱ DZȱ ȱ ¢ȱ ȱ ŘŖŗřǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ȱ ¢ ȱ ǻJason and the Argonauts; Clash of the TitansǼǰȱ ȱ ȱ ȱ ȱ şŘǯȱ
¢ ȱ ȱ ȱ ȱ ȱ ěȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱęȱ ȱ ȱ ȱȈęȱ ȱ ȱ ȱ ȱ ȱ Ȭ Ȭ Ȉȱ ȱ ȱęȱ ȱ ȱ ȱęȱ ǰȱ ¢ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ¢ȱǻ ȱ ȱThe Martian Chronicles and Dark Carnivalǰȱ ȱ ȱ ȱ ȱ ȱ ȱşŗȱ ȱ ǰȱŘŖŗŘǼǰȱ ȱ ȱ ȱ ȱǻ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱFamous Monsters of Filmlandǰȱ ȱ ȱ ȱ ȱ ȱ ¡¢ȱ ȱ ȱ Dzȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱşŘȱ ȱ ǰȱŘŖŖŞǼǯ ǰȱ ȱ ¢ȱ ȱ ȱ ȱ ǰȱ ȱ £ ȱ ȱ ȱ ȱǻI Am Legend; Somewhere in TimeǼȱ ȱ ¢ȱ ȱŞŝǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ǰȱ ǯȱ ǯȱ ǰȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱǻ ȱ ȱ Ȧ Ǽȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ¢ȱ ǰȱ ȱ ǯȱ ǰȱ ȱ ǰȱ ȱ ǰȱ ȱ ǰȱ ǰȱ ȱ ǰȱ ǰȱ ¢ǰȱ ȱ ¢ ǯȱ ȇ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱęȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱǻThe Twilight Zone; Duel; Trilogy of Terrorȱǽ ȱ ȱ ǯȱ ǾDzȱStar Trek) ȱęȱ ȱǻThe Incredible Shrinking Man; Night of the Demonȱǽ ȱ ȱ ȱ ȱ ȱ ¡ ǾǼǯȱ ǰȱ ȱ ȱ ȱ ȱ ȱȇ ȱ ȱ ȱ ȱ ȱ ȇȱ ȱǻ ȱ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ěȱ ȱ ȱ ȱȇ ȱ ǰȇȱ ȱ ȱ ȱ ȱ ȱ ¢ǰȱ ¢ ǰȱ ǰȱ ȱ ǯȱ ǰȱ ȱ ǰȱ ȱ ȱ Ǽȱ ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ȱ ȱ ȱǻ ȱ ȱ ȱ ȘǼȱ ȱ ǯȱ ǰȱ ȱ ǯȱ ǰȱ ȱ ¢ ȱ ǰȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ¢ȱ ǯ ȱ ȱ ȱ ȱ ȱȇ ȱ ȱ ȱ ȱ ȱ ǰȇȱ ȱ ȱ ȱ ȱǻ ȱ¢ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ Ěȱ ǰȱ ȱ ǰȱ ȱ ȱ ȱ Ǽǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ǰȱ ȱ ǰȱ ȱ ǰȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ Ěȱ ȱ ¢ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ Dzȱ ¢ȱ ȱ ȱ ȱ ȱ ȱǻ ȱ ¢ǼDZȱ ȱ ȱ ȱ ȱ Ĵȱ ȱ ȱ ȱ ȱȈ ǰȈȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱǻ ȱ ȱ Ǽȱ ȱ ¡ ȱ ȯ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ Ĵȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ Ȧ Ȧęȱ Ȧ ȱ ȱ ȱ ȱ ǰȱ ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱǻ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ǽǯȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ Ȭ ȱ ¢ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱǻ ¢ȱ ȱ ȱ ȱ ǰȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢Ǽǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȇ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǰȱ ȱ ǯ ȱ ǰȱ ȱ ȱ ¢DZȱ Ȭ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ Dzȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ only ofȱ ȱ ǰȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ¢ ǰȱ ȱęȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ǰȱŘŖŗřȯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ £ ȱ Ĵȱ ǰȱ ȱ ¢ȱ ȱ ǯȱ ȱ £ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ǰȱęȱ ǰȱ ǰȱ ǰȱ ȱ ȱ ȱ ǰȱ ȱ ȱǻ ¢Ǽȱ ȱ ěȱȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱǻ ¢Ǽȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȱǻ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ Ȭ ȱ ǰȱ ȱ ȱ Namelessȱ ȱ
ȱ ȱ ȱ ȱ ěȱ ǰȱ ȱ ȱ ȱ ȱ Ç ȱ ȱ ȱ ǽThe Drowning GirlǾǼǯȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ¢ DZȱ ȱ ¡ ȱ ȱ ȱ ȱ ȱŘŖŗśǯȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱęȱ ȱǻ ȱ ȱ ȱ ȱ ȱ Ǽǰȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ £ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ¢ǰȱ ¡ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ Ȧ ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ȱ ȱ ǰȱ ȱ Ĵȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȱ £ ȱ ǰȱ ȱ ¢ ȱ ȱ ¡ ǰȱ ¢ǰȱ ȱ ǯȱ ȱ¢ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ¢ȱ DZȱ ȇ ȱ ȱ ȱ ȱ Ƿ ȱ ¡ ȱ ǯ *P.S.— ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ¢ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ¢ ǯȱ
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—Jason V Brock Vancouver, WA December 2013
Asked the Soldier, "Who Called Me?" By Yancho Cholakov (Translated by Kalin M. Nenov)
On day ten,
they assumed they had traveled far enough. For a week now, ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ Ěȱ ȱ ȱ ȱ ¢ȱ ȱ naked as the emperor’s favorite forty-second wife. The Holy Soldier, good or bad as you please, leaned against the uneven cross members, which were the color of a lizard or grasshopper, and his vehicle crept beneath him. The children in that part of the machine that looked like a truck body grew literally by the hour. They were really like animals’ cubs, like kids in a manger or puppies in a kennel. It seemed absurd they had never seen a lizard ȱ ȱ ǯȱ ǰȱ ȱ ȱ Ĵȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ a kennel. The Holy Soldier gazed at Tonatiuh, the Mishtecs’ Sun, which hung inside its furnace like an enormous yellow pill inside ȱ Ěȱ ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ £ ȱ his heart. The anguish that was somehow more important and more meaningful than all the reasons for it. The anguish itself, on its own, just like him. The wilderness spread around, with no end, with no colors but its own. It seemed to have emerged from someone’s oneiric ǯȱ ǰȱęȱ ȱ ěȱȱ ȱ ȱ ¢ȱ ǰȱ ȱ ȱ ¢ȱ over the horizon. Here and there, ¢ grew. That hideous ¢ ǰ everywhere, from whose bast the locals made their brown wraps. No other plant. No animal. No bacillus, which was why no one feared contagious diseases, and wounds did not get infected. ȱęȱĴȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ǯȱ ǰȱ ȱ course, an accident or war had ripped away one of your limbs, and ¢ ȱ ȱ ¢ȱĚȱ ȱĚȱ ȱ ǯ A mile later, the vehicle choked and stopped. "Lousy technology!" the Holy Soldier sighed out, and in his voice, there was venom he had not known before. ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ěȱȬ ȱ vehicle needed serious repair if it was to keep moving. And he had
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ȱ ȱ ȱ ȱ Ƿ
¢ȱ ȱ ěȱ ¢ǰȱ ȱ ȱ ȱǻŗŞŝŝȮŗşŗŞǼȱ ȱ £ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ Ȭ ȱ ȱ Ȭ Ȭ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ¢ȱŗŖŖȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ Ĵȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ Ȭ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ȭ £ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ¢ȱ ǻ ¢ȱ ȱ Ǽȱ ȱ ¢ȱ ¡ ȱ ȱ ¢ȱŗŖŖȱ ȱ ȱ ǯȱ
ȱ ȱ ȱ ȱ ȱ ȱ ěȱ ȱ ȱ Ȭ ȱ ǰȱ ǰȱ ȱ £ ǯȱ ¢ǰȱ ȱ ȱ ȱ Ȭ ¢ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ¢ȱ ¢ȱ Ȃ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ Ȭ ¢ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ěȱ ȱ ȱ ȱoneȱ DZȱ ȱ ȱ ǯ ȱ ȱ ǻ ȱ ȱ ȱ Ǽǰȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ȱ Ĵȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ Ȭ ¢ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ěȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ £ ǯ
ȱ ȱ ȱ ȱ ȱŘŞǰȱŗŞşřǰȱ ȱ ȱ ȱ ȱ Ȭ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ
Ȃ ȱ ȱ ȱ ȱ ǯȱ ȱ Ȃ ȱ ȱ ȱŗşŖŝǰȱ ȱ Ȭ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ
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Marc Bilgrey's
"Observations. . ."
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Silver Hairs among the Gold ¢ȱ ǯȱ ǯȱ Ȉ ȱǯȱǯȱǯȱ ȱ ȱ ȱ ȱ ȱ ¢ ǵȈ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȈ ȱǯȱǯȱǯȱ ǵȈ Ȉ ȱ ȱ ¢ ǯȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱCasablanca ǯȱ ȇ ȱ ȱ ȱ ǯȈ ȇ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȈ ȱǯȱǯȱǯȱ ȱ ȱ ȱ ȱǯȱǯȱǯȈ
ȱ ĝ ȱȱ ȱ ȱ ȱ ȱ ǯȱȈ ȱ ȱ ȱȱǯȱǯȱǯȱǵȈ Ȉ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ
ȱ ȱ ȱ ȇ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱęȱ¡ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǯȈȱ ȱ ǯȱȈ ȱ ȱ ȱ ȱ ǯȱ ȱ ǯȈ
ȱ ȱ ȱ ȱ ȱĚȱ ǯȱ ȱ ȱ ȱ ȱ ȱęȱ ȱ ǯȱ Ȉ ¢ȱ ȱ ȱ ȱ ǵȈ Ȉ ǰȱ ǯȱ ȱ ȱ ȇ ȱ ȱ ȱ ȱ ȱ ǯȈ Ȉ ȱ ȱǯȱǯȱǯȱourȱ ǯȈ
ȱ £ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǰȱ DZȱȈ ǰȱ ȱ ȱ ǰȈȱ ȱ ǯȱȈ ȱ ȇ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱǯȱǯȱǯȱ ǰȱ ȱǯȱǯȱǯȈȱ ȱ ȱ ȱ ȱ ȱ ¢ ǯ
ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ęȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱĚȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ǰȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǰȱ ȱ ȱ ȱ ȯ ȱ ȱ ¢ȱ ¢ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ěȱ ȯ ȱ ¢ǰȱ ȱ ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ȱ ǯ Ȉ ǰȱ ȱ ȱ ȱ £ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ǰȈȱ ȱ ǯȱȈ ¢ȇ ȱ ȱ ȱ ȱ ¢ ǰȱ ȱ ȇ ȱ ȱ ȱ ȱ ȱ ¡ ȱ ǯȱ ȱǯȱǯȱǯȈȱ What did we do wrong?ȱ ȱ ǯȱMark . . . his parents . . . they had everything. We loved them. Still do. Why did they decide that nothing was ¢ȱ ȱ ¢ ǰȱ ȱ ¢ȱ ȇ ȱ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ȱ everything from us? Ȉ ȱ ȱ ȱ ǵȈȱ ȱ ȱ ǯȱȈ ǰȱ ȱ ǯȈ ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ¢ ȱ ȱ ¢ȱ ¢ȱ ǰȱ ȱ ȱ ǰȱ ǯȱȈ ǰȱ ǰȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ȇ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ȱ ȇ ȱ ȱ ȱ ȇ ȱ ȱ ȱ ¢ ǯȈ Ȉ ȱ ȱ ȱ ǯȈ ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ Ȭ ǰȱ
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ȱ ȱ ȱ ¢ ȱ ǯȱ ¢ȱ ȱ ȱ Jason V Brock:ȱ ǰȱ ¢ ǯȱ ȱ ȱ ¢ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ Ȃ ȱ ȱ ¢ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ¢ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ ¢ ȱ ȱ ȱ ȱ Ĵȱ ȱ ȱ ¢ ȱ ȱ ȱ ǵ Bryan K. Ward:ȱ ȱ¢ Ƿȱ ȱ ȱ ȱ ȱ ȱ ȱ Ĵȱ ǰȱ ǰȱ ȱ ¢ȱ ȱ¢ ȱ ȱ ȱ Ȭ ȱ ȱ ȱ ȱ ¢ǯȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ Ȧ Ȭ ȱ ȱ ȱ Ĵȱ ȱ ȱ ȯ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ěȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ęȱ ¢ȱ ȱ ¢ȱ Ȭ ȱ ¢ȱ ȱ ȱ¢ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ęȱ ȱ ǯȱǯȱǯȱǯȱ ȱ ȱ ¢ȱ ǰȱ ȱ ǰȱ ȱ ȱ ęȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǯ Brock: ȱ ȱ ¢ ȱ ęȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¡ ǵ Ward:ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ £ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ȱȱ Çȱ ȱ ȱ ȱ ęȱ ȱ ǯȱThe Face of WarȱǻLa Cara de la Guerra) ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ¢ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǯȱ ǯȱ ǯȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ¢ ȱ ǰȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Çȱ ȱ ȱ ȱ ȱ ȱ ǽ ȱ ȱ ȱ ȱ ȱ ȱ Ǿǯ Brock: ǯȱ ȱ ȱ¢ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǵ
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ǰȱ ǰȱ On northern shores, ȱ ȱ ȱ ȱ ȱ ȱ ě ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ǰ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ Ȭ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ǯȱ ǰȱ Ȭ ǰȱ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǰȱ ȱ ǯȱ
—Kelda Crich
ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ DZȱ this dying ȱ ȱ ever ¡ ȱ ȱ ȱ
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Ĵȱ ȱ ȱ ȱ Fantastic Realism in Literature ȱ ¢ȱ ȱ ǯȱ Ȉǯȱǯȱǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȈ ȯThe Morning of the Magicians ȱ ȱ ȱ ȱ ǰȱȈ ȱ Ȉȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱŗşŚŜǰȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ǰȱ ȱ ǰȱ ȱ ǰȱ ȱ Ĵȱ ǰȱ ȱ ǰȱ ȱ ĵȱȱ ǰȱ ȱ Ȭ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ Ĵȱ ȱ û ǯȱ Ĵȱ Ȭ ¢ȱ ȱ ǻ Ěȱ ȱ ¢ȱ ȱ ȱ Ǽȱ ȱ ǯȱ ǯȱ ǰȱ ȱ ǰȱ ȱ ǰȱ ȱ ǰȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱImage, Ěȱ ǰȱ DZ Artists of the Fantastic,ȱ Ĵȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱǻ Ȭ Ȭ ȱ ȱNamelessȱ Ǽȱ ȱ ȱ ȱ ȱ ȱŘŖŗŚȱ ǯ
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ABYSMOIRA By Airika Sneve "Thaaat’s it, honey. Dig it in deeper. Just try to keep the blood ěȱȱ ¢ȱ ęȱ¡ǰȱ ǵȈȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ¢ǰȱ ¢ǰȱ ȱ ęȱ ȱ ȱ ȱ ęȱ ȱ ȱ ȱ ȱ ȱ naked, skinny chest. "You’re such a perv, Ronald," said the scalpel-wielding woman ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱĚȱ ȱ ȱ ȱ Ȃ ȱ torso as she traced the blade in a delicate crimson line from sternum ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ Ĵȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ¢ȱ ȱęȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ĵȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ £¢ȱ ȱ of the cobalt track lighting. On either side of the pair, wall-to-ceiling mirror panels Ěȱ ȱ ȱ Ĵȱ ȱ ȱ ǰȱ ȱ ¢ǯȱ ¢ȱ red-velvet curtains, dark and rich as cyanide cupcakes, intertwined with chains strung like tinsel about the walls. On every spare inch of black-cinderblock wall space hung a dazzling array of masks and erotic torture devices—everything from whips, cat o’ nine tails, ǰȱ ǰȱ ¢ȱ ǰȱ ȱĚȱ ǯ Ronald, the man on the metal table, smiled. "It’s a good thing I am such a pervert, missy," he said in a slow Texas drawl, "or I Ȃ ȱ ȱ ȱ ȱ ȱ¢ ȱ ǰȱ ȱ ȱ ǵȈȱ This prompted a razor-white smile from the woman’s cherry mouth. "Touché," she said, and gazed at Ronald’s bony torso heaving beneath her, at the vein-like tracery of pale-pink scar tissue £ £ ȱ ȱ ȱ ȬĚȱ ȱ ȱ ȱ ȱ ǯȱ She retraced the scalpel along the cross she’d inscribed, then jabbed the blade into Ronald’s navel for good measure. He closed his eyes and moaned. "Well, what do you think, Ronnie? Will that be enough Ĵȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ¢ ǰȱ ǵȈȱ He exhaled. "That’ll do, ma’am." Ȉ ǯȈȱ ȱ ȱ Ȃ ȱ ¢ȱ Ĵȱ ȱ ȱ ęȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ Ĵȱ ȱ ȱ ȱ Ȃ ȱ ¢ȱ ȱ bathroom. Ronald watched her go, listening to the echo of her knife-
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By Shade Rupe ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȯĚȱ ȱ ǰȱ ǰȱ ȱ ǰȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȯęȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱęȱ ȱ ȱ ȱ ȱ ¢ȱ ǯȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱThe Rape of the Vampire ǻŗşŜŞǼǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ¡ ǰȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ Ȃ ȱ Ȭ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ǰȱ ¢ǰȱ ȱ ǯ Ȃ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ¢ǰȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ
This Page: ȱ ȱ ȱThe Nude Vampire. Following Page:ȱ ȇ ȱ ȱ ȱ ǯ
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ÂŽÂ&#x;Â’ÂŽÂ ÂœČąÇČą Â—ÂŠÂ•Â˘ÂœÂ’Âœ Â?Čą ÂŽÂŠÂ›Č‚ÂœČą •Â?Š› By Richard Gavin $20.00; Trade Paperback, 2012 ISBN: 978-1-61498-026-1 Hippocampus Press Richard Gavin is probably the best horror writer in Š—ŠÂ?ŠǰȹŠ—Â?ČąÂ‘Â’ÂœČąÄ™ČąÂŒÂ?Â’Â˜Â—ÂœČąÂœÂ‘Â˜Â ČąÂœÂ˜Â–ÂŽČą Š—ŠÂ?Â’ÂŠÂ—ČąÂŒÂ˜Â—ÂŒÂŽÂ›Â—ÂœÇŻČą ČąÂ?‘Ž–Žȹ we can see in the work of Gemma Files, as well as David and Brandon Cronenberg, is to take characters in a loving relationship and place them in some form of extreme metamorphosis and watch the interplay between love and horror, the familiar and the unknown. Gavin is a well-known member of the Lovecraftian school—particularly the branch of Ramsey Campbell and Thomas Â’Â?Â˜Ä´ČąÂ’ÇŻČą Â’ÂœČąÂ•ÂŠÂ?ÂŽÂœÂ?ČąÂŒÂ˜Â•Â•ÂŽÂŒÂ?Â’Â˜Â—Ç°Čą Â?Čą ÂŽÂŠÂ›Č‚ÂœČą •Â?Š›ǰ will serve to further his reputation. This collection of thirteen tales, most of them excellent, is a welcome addition in the Lovecraftian genre, which sadly has often featured merely nostalgic rehashings of themes created by the master. Of the thirteen tales, the only weak entry is the opening Â?ÂŠÂ•ÂŽÇ°ČąČˆ Čą ŠÂ?ÂŽČąÂ˜Â?Čą Ž›Â&#x;ÂŽÂœÇ°ČˆČąÂ Â‘Â’ÂŒÂ‘ČąÂŠÄ´ČąÂŽÂ–Â™Â?ÂœČąÂ?Â˜ČąÂŒÂ˜Â•Â•ÂŽÂŒÂ?ČąÂ?‘Žȹ›Ž–Š’—’—Â?Čą tales in a meta-narrative, which is not addressed later in the book. However, the strong pieces in the collection are winners. "Chapel in the Reeds" combines the basic Lovecraftian theme of seeing what man was not meant to see and couples it with fears of old age and loss of competence. Gavin completes and extends the Lovecraftian world with his tale "Faint Baying from Afar," which is a follow-up tale to Lovecraft’s "The Hound." His invocation of the horror and wonder of Satan in "A Pallid Devil, Bearing Cypress" is a wonderful tribute to Hanns Heinz Ewers, a macabre writer far too often overlooked in the English-speaking world. (Ewers had the odd distinction of being one of the favorite horror writers of H. P. Lovecraft, Aleister Crowley, and Adolf Hitler.) "King
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