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    Black Static #26 Horror Magazine
    Black Static #26 Horror Magazine
    Black Static #26 Horror Magazine
    Ebook213 pages2 hours

    Black Static #26 Horror Magazine

    By TTA Press

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    About this ebook

    Black Static is a bimonthly magazine of horror and dark fantasy fiction, first published 2007. Black Static contains original horror/dark fantasy fiction and illustrations plus horror/dark fantasy related news and reviews of books, movies and DVDs. It is not celebrity oriented. This edition has the text of the print edition but some graphics and advertisements are not present.

    Black Static is the successor to The Third Alternative magazine, which was founded in 1994. When TTA Press acquired Interzone in 2005 it was no longer necessary to publish science fiction and fantasy in The Third Alternative.
    The title and strapline reference 'electronic voice phenomenon' (EVP), the noise found on recordings which some people interpret as the voices of ghosts. The film White Noise, starring Michael Keaton, could more accurately be called Black Static. What makes the title even more suitable is that 'Black Static' is also Paul Meloy's British Fantasy Award winning story from The Third Alternative.

    The Third Alternative was never afraid to push the envelope, and nothing has changed in that regard. Black Static has earned much praise for its style, bravery, editorial and fiction content. Its stories are innovative and daring, never afraid to shock or disturb, yet always entertain.

    The magazine publishes some of the finest Horror writers working today: Christopher Fowler, Afterlife creator/writer Stephen Volk, Lisa Tuttle, Nicholas Royle, Conrad Williams, Tony Richards, Scott Nicholson, Steve Rasnic Tem, Cody Goodfellow, Mélanie Fazi, Matthew Holness (creator and star of TV’s Garth Marenghi’s Darkplace), Michael Marshall Smith, Simon Clark, Graham Joyce, Gary McMahon, Alexander Glass, Joel Lane, to name just a few. Alongside these is a dazzling array of new talent such as Aliette de Bodard, Daniel Kaysen, Shannon Page, Roz Clarke, Ray Cluley, Sarah Totton, James Cooper, Nina Allan, Eric Gregory and many more.

    A unique fiction magazine requires unique presentation and Black Static delivers on this front too, thanks to the extraordinary original artwork of artist like David Gentry and Ben Baldwin along with a design that delights in breaking rules.
    Every issue contains a striking news feature called White Noise, compiled by Peter Tennant. Pete also supplies all the magazine's book reviews in his Case Notes column which often runs to fourteen pages and sometimes includes interviews. Tony Lee reviews the latest DVD/Blu-ray releases in his Blood Spectrum Column. Christopher Fowler, Stephen Volk and Mike O'Driscoll supply thought-provoking comment columns, and every issue gives away lots of free stuff.
    Black Static is published bimonthly, in alternate months to Interzone (we offer a discounted joint subscription to both print magazines). You can subscribe to the print version using the TTA Press website's shop.

    LanguageEnglish
    PublisherTTA Press
    Release dateMar 29, 2012
    ISBN9781476094557
    Black Static #26 Horror Magazine
    Author

    TTA Press

    TTA Press is the publisher of the magazines Interzone (science fiction/fantasy) and Black Static (horror/dark fantasy), the Crimewave anthology series, TTA Novellas, plus the occasional story collection and novel.

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      Book preview

      Black Static #26 Horror Magazine - TTA Press

      BLACK STATIC

      #26

      A magazine of horror and dark fantasy.

      Cover:

      Foreground; crop from Rik Rawling's art for 'The Demon Laplace'.

      Background: from Mark Pexton's art for 'Remains'.

      Black Static

      Issue 26 (DEC 2011–JAN 2012)

      Print edition ISSN 1753-0709 © 2011 Black Static and its contributors

      Published bimonthly by TTA Press

      TTA Press, 5 Martins Lane Witcham, Ely, Cambs CB6 2LB, United Kingdom

      * * * * *

      Website: ttapress.com

      Email: blackstatic@ttapress.com

      * * * * *

      TTA Press on Smashwords ISBN 9781476094557

      First draft v2 Roy Gray

      * * * * *

      Editor: Andy Cox

      Contributing Editors: Peter Tennant, Tony Lee, Christopher Fowler, Stephen Volk, Mike O’Driscoll

      Podcast: Pete Bullock, transmissionsfrombeyond.com

      Twitter + Facebook: Marc-Anthony Taylor, facebook.com/TTAPress

      Events/Publicity/E editions: Roy Gray

      * * * * *

      Retail Distribution: Pineapple Media, pineapple-media.com; Central Books, centralbooks.com

      * * * * *

      Smashwords Edition License Notes

      This emagazine is licensed for your personal use/enjoyment only. It may not be re-sold or given away to other people. If you would like to share this magazine with others please purchase an additional copy for each recipient. If you are reading this magazine and did not purchase it, or it was not purchased for your use only, then please go to Smashwords.com and purchase your own copy. Thank you for respecting the hard work of the contributors and editors

      * * * * *

      To obtain the print edition of Black Static in Europe or North America where your retailer may not stock it please ask them to order it for you, or buy it from one of several online mail order distributors...or better yet subscribe direct with us!

      Subscriptions: Print edition subscriptions available online at ttapress.com/shop

      Note we have some illustrations in this edition and you can see these in colour at http://ttapress.com/1170/black-static-issue-26/0/5/

      Unsolicited submissions of short stories are always welcome. Please follow the contributors’ guidelines on the website.

      * * * * *

      CONTENTS

      NEWS

      EDITORIAL NOTES

      WHITE NOISE - compiled by Peter Tennant

      COMMENT/COLUMNS

      COFFINMAKER'S BLUES - by Stephen Volk

      INTERFERENCE - by Christopher Fowler

      NIGHT’S PLUTONIAN SHORE - by Mike O’Driscoll

      FICTION

      I HAVE HEARD THE MERMAIDS SINGING by Ray Cluley

      illustrated by Ben Baldwin

      THE DEMON LAPLACE by Mark Rigney

      illustrated by Rik Rawling

      REMAINS by Gary McMahon

      illustrated by Mark Pexton

      DIZZY LAND by Andrew Hook

      illustrated by Paul Milne

      THE MONSTER OF VENICE by Carole Johnstone

      REVIEWS

      CASE NOTES - book reviews by Peter Tennant

      books: by Roman Dirge, John Landis, Anne Perry, M.R. James, Brian J. Showers, John Hirschhorn-Smith, G.A. Pickin, Christopher, Kenworthy, Stephen Bacon + Mark West + Neil Williams, Stephen King, Peter Straub, William Peter Blatty, Simon Kurt Unsworth, Alexandra Sokoloff, John Connolly, Sarah Pinborough, Gary McMahon, Adam Nevill, Joel Lane

      BLOOD SPECTRUM - DVD/Blu-ray reviews by Tony Lee

      discs: Umbrage: The First Vampire, Helldriver, Smallville Season 10, The Human Centipede 2, Guilty of Romance, Conan the Barbarian, Frankenhooker, Cowboys & Aliens, Kill List, Super 8, Troll Hunter.

      ENDNOTE TO THE READER – links etc.

      BACKPAGE

      * * * * *

      EDITORIAL NOTES –

      This was the 2011 year end issue so thank you for your support and somewhat belatedly for our E readers; season’s greetings to you all from everybody at TTA Press.

      * * * * *

      SUBSCRIPTIONS We have introduced lifetime subscriptions for the print editions of Black Static, sister magazine Interzone, and both magazines combined. Such long term subscriptions are of great benefit and support to the magazines, so many thanks to those of you who take up the offer. See more at the online shop (ttapress.com/shop)

      * * * * *

      Submissions of short stories are always welcome, but please follow the guidelines on the website.

      * * * * *

      E-Edition (An Apology): Normally an E book version of each new issue of Black Static (and sister magazine Interzone) could be downloaded from Fictionwise. Unfortunately we failed to keep this process up to date and are now, despite recent efforts, an issue in arrears. If this has affected you please accept our apologies and reassurances that we are trying to fix the problem. Keep checking Fictionwise, or Smashwords, for new issues. Thanks for your patience!

      The next Black Static print issue, #27, dated February 2012, had new stories by Stephen Bacon, Simon Bestwick, V.H. Leslie, Jacob Ruby and Gord Sellar.

      Black Static 27 is on sale as this issue (26) is readied for E editions.

      * * * * *

      WHITE NOISE #26

      THE ADVENT CALENDAR

      We hosted a fictional Advent Calendar on the TTA website for the third year running, with a different slice of flash fiction or poetry linked to each day between the 1st and the 24th, and a one in, all in jamboree on Christmas Day itself. Writers who signed up to take part, included Black Static irregulars Daniel Kaysen, Ray Cluley, Alison Littlewood and V. H. Leslie. Go to ttapress.com to check it out and then, if so inclined, visit our forums to give the writers some feedback. At the time of writing there were still places going begging (obviously too late now), so if you’re interested in taking part for full details of how it works refer to my post on the website of 10th November titled ‘Back By Popular Demand – The Advent Calendar 2011’ and watch out for Christmas 2012.

      * * * * *

      CHRISTMAS SPIRITS 2011

      Ghost stories are a fine Christmas tradition, and in recognition of that the good people of Alt.Fiction are presenting Christmas Spirits, an evening of classic ghost stories to get you in the mood for the festive season, featuring a host of Victorian tales designed to chill to the bone, all performed by Sustained Magic Theatre Company. The place to be is Derby Quad, at 19.30 on the evening of Friday the 9th of December, with a repeat performance on Thursday the 15th. The event is suitable for people aged 12+, and there’s talk of book sales, a raffle, mince pies and mulled wine. Tickets cost £9.00, £8.00 Concession and £7.00 for Quad Members, and these events sold out well in advance last year, so booking tickets as soon as possible is advisable. For full details visit derbyquad.co.uk, then click on What’s On followed by Other Events, and scroll down to Christmas Spirits under One-off Special Events.

      * * * * *

      BURYING BRIAN – THE EBOOK

      Back in Black Static #22 I reviewed Burying Brian by Steven Pirie. Well, for those of you who are in love with Kindle and all those other newfangled electronic devices, or would simply like to check it out on the cheap before deciding to buy a paper copy, Burying Brian is now available in a variety of electronic formats. Go to smashwords.com and search on ‘Steven Pirie’. You’ll also find Digging Up Donald, the previous volume in what I’m beginning to think of as ‘the Mudcaster Chronicles’, and free sampler Mrs Mathews is Afraid of Cricket Bats. Be good to yourself this Christmas season, and pick up something for nothing.

      * * * * *

      TICKETS PLEASE

      We’ve mentioned this before, but it bears repeating. Pulling into a bookshop near you shortly will be Hell Train, the new novel by Black Static columnist Christopher Fowler. Inspired by an unknown Hammer film from the 1960s, Hell Train is described by publishers Solaris as a blend of ‘bizarre creatures, satanic rites, terrified passengers and the romance of train travel, all in a classically-styled horror novel that evokes the real-life spirits of this most British of movie studios’. The book is released in the UK on the 5th of January, while lucky trainspotters in the US and Canada can get their hands on a copy from the 27th of December.

      * * * * *

      2012 DELIRIUM BOOK CLUB

      US publishers Delirium have announced the first ten titles for 2012 in their ongoing series of limited edition novella releases. In particular look out for The Men Upstairs by Tim Waggoner, Lords of Twilight by Greg F. Gifune and Thirty Miles South of Dry County by Kealan Patrick Burke. The line-up so far also includes work by Tim Curran, Allan Leverone, Jeffrey Thomas, Lee Thompson, J. G. Faherty, Sandy DeLuca and Ronald Malfi.

      * * * * *

      ALISON LITTLEWOOD

      Black Static contributor Alison Littlewood is popping up all over the place nowadays. Not only has she appeared in our sister publication Crimewave, but in 2012 stories will be appearing in the anthologies Where Are We Going edited by Allen Ashley (Eibonvale Press) and Resurrection Engines edited by Scott Harrison (Snowbooks). That second one also includes work from two other Black Static alumni, Lavie Tidhar and Kim Lakin-Smith. The big news though is that Alison’s debut novel A Cold Season will be released on the 12th of January 2012, one of the first titles from Jo Fletcher Books, the new Quercus imprint. Described as ‘a cross between Rosemary’s Baby and Dennis Wheatley’, it’s the story of a young mother who ‘finds herself pitted against forces she can barely comprehend in a fight to save her son’.

      * * * * *

      CULL

      M. G. Preston’s story ‘Extreme Latitudes’ appeared back in Black Static #16 and was well received. Cull is the title of the author’s first novel, which has just been released in paperback by Austin & Macauley. It’s the story of four horror authors who embark on a trip to deepest France and find themselves trapped in a real life horror story.

      * * * * *

      THE MONSTER BOOK FOR GIRLS

      Edited by publisher Terry Grimwood, this intriguingly titled anthology will be out from Exaggerated Press just in time for Christmas. In a packed Table of Contents, the names with a TTA connection are Rosanne Rabinowitz, Ian Sales, Gary McMahon, Andrew Hook and Gary Fry, while others that might ring a bell include Rachel Kendall, Allen Ashley, Stuart Young and Mark Howard Jones. More details at exaggeratedpress.weebly.com.

      * * * * *

      SANTA CLAWS IS COMING TO TOWN

      Fearful Festivities is the title of the new novel from Black Static contributor Gary Fry, and its release from publisher Screaming Dreams is imminent. Set in the Yorkshire village of Hitherton, it’s described as a ‘heartfelt homage to the classic 'small town' horror novels of the 1980s’ and ‘creepy, shocking and darkly comic, with an ending that might just signal the end of the world’. There’s a discounted price for a limited time, and those who are canny enough to pre-order will get a copy that’s signed by the author and includes a unique spooky Christmas message! For full details visit screamingdreams.com.

      * * * * *

      THE FACELESS

      It’s set in the Lancashire town of Kempforth, where people are vanishing as mist hangs heavy in the streets, and in that mist move the masked figures the local kids call the Spindly Men. It’s the title of the new novel by Simon Bestwick, and it’s released by Solaris in February 2012.

      * * * * *

      IMAGININGS

      In January of next year, NewCon Press will launch Imaginings, a series of short story collections in which ‘each volume will feature the work of a single selected author, bringing together the very best of that author’s previously published but uncollected short fiction, as chosen by the author themselves, plus original stories’. The books will be signed, limited editions available by subscription, and first off the printing press is Cold Grey Stones by Tanith Lee, consisting of eleven stories, five of them original and six previously uncollected. To learn more click on newconpress.co.uk.

      * * * * *

      SPARROWHAWK – THE EBOOK

      Back in the June issue of Black Static, with my usual impeccable timing I reviewed Paul Finch’s Christmas ghost story novella Sparrowhawk. You can still get the book from publisher Pendragon (pendragonpress.net), and there are plenty of good reasons why you should do so, especially at this time of the year. And, thanks to Brentwood Press, you can now pick up a version for Kindle. Just go to amazon, com or co.uk, and do the necessary to find out more.

      * * * * *

      COMPILED BY AND © 2011 PETER TENNANT • SEND YOUR NEWS TO whitenoise@ttapress.com.

      * * * * *

      COFFINMAKER'S BLUES

      by Stephen Volk

      BUS MOMENTS

      When one of the producers of The Awakening, the new movie I wrote with director Nick Murphy, rang to tell me that a test screening had gone well, and that the scare moments were all working, my reaction wasn’t delight but a kind of relief, tinged with deep irritation.

      These spikes of involuntary cardiac activity, usually followed by disappointment, even resentment, have become such a horror film staple now as to be not only predictable but increasingly rather tiresome.

      So why do we keep doing them?

      Beyond being mechanical and immensely irritating, these wearisome devices can, I believe, actually undermine the larger intent of a scary movie, in the way that two characters snogging repeatedly throughout a love story will undermine a more rewarding journey to the moment when they finally do kiss. Similarly, a bad action film that commits to celluloid killing after killing to aggrandize the hero’s exploits serves only to make death, and life, meaningless.

      Yet such bus moments (so called because of Val Lewton’s scene in 1942’s Cat People where a bus pulls up close to camera with a shriek of brakes) are seen by producers, and perhaps audiences, as the very essence of horror cinema. They’ve become, as one TV critic remarked of Alexander Armstrong, ubiquitous to the point of vexation.

      I’m not saying they don’t work.

      Halloween earns its place in any horror pantheon with its pop-up Michael Myers in a Bill Shatner mask. So does Candyman’s impaled psychiatrist. And I’d rate Carrie, with its climb-the-wall coda, as one of my all-time top ten endings. There’s also an argument that says the Big Boo Effect is fundamentally cinematic: one thing that literature can’t come close to emulating, which is why the prose of the likes of Machen and M.R. James aims for the subtler chills of atmosphere and dread.

      It’s when these crashing beats in the story become the be-all and end-all of the people commissioning me, I get peeved. I think because the predictability equates with fun, and fun equates with enjoyment, and enjoyment compromises my real aim: to get under your skin, and stay there.

      Frankly, I think the genre is about more than giving folks a ghost-train jolt to the senses, a bit of mindless manipulation to a music cue so loud you’d jump anyway. But apparently, and surprisingly, Stephen King said that Stanley Kubrick wasn’t a true horror director because he did not construct the Wendy/typewriter all work and no play scene in The Shining as a scare moment – when in fact, as Gary Fry pointed out to me, if he had, it would have made the crucial reveal cheap and terrible.

      To my mind the grotesque and violent climax at the end of Don’t Look Now surpassed its terror moment because the entire enterprise built to it. Alien, too, transcended its baseline shock tactics with an atmosphere of entrapment, hinting of our loneliness in a loveless and vicious universe. Ringu’s Japanese girl crawling from the TV set wasn’t a sudden shock but a slow, grinding slide of something irrational into our cosy vision. We saw it full on, and couldn’t look away, like the sight of the creepy twins in the Overlook Hotel. No gags. No heavy chords of music. No bullshit.

      Classic horror movies, from The Exorcist to The Devil Rides Out, create worlds of tangible anxiety, arenas that represent the externalisation of internal psyches. They are populated by images and ideas dragged from the Freudian depths or the collective sludge. Not market research.

      Kim Newman said recently that David Lynch would be told by producers who listen to focus groups to cut his film a bit differently, put a music stab here or there, to make it more of a horror film – but of course the fact that Lynch doesn’t make horror films in that formulaic way makes them a hundred times more nightmarish. Precisely. No wonder Newman thinks that the best horror films (Apocalypse Now, There Will Be Blood) happen on the edge of horror. Where the formula isn’t anticipated and doesn’t apply.

      Which is why I feel, deep down, that scare moments are in danger of being a total misunderstanding of what a horror film is, or sets out to do.

      But maybe they’re indicative of a wider picture. Good art invites you to consider and some writers or painters, like Rothko for

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