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Editor-in-Chief/ f Art Director Jason V Brock Managing g g Editor S. T. Joshi Design, g , Web,, and Layout y

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Written Contributors

Conttri Co rib ibu buti ting ingg Art rti tist ists/ ts/ Photographers g p

Michael Abolafia Paul G. Bens, Jr. Jason V Brock Sunni K Brock Michael J. Clarke Ross Freedman Sam Gafford Wade German James Goho Andrew Hamlin Michaele Jordan William F. Nolan Gene O'Neill Lee-Anne Raymond Norman Rubenstein Shade Rupe (+ Photos) Jonathan Thomas John C. Tibbetts Demetrios Vakras Kaye Vincent

Jason V Brock (Cover + Misc. Int. Images) Virgil Finlay (Art, pg 112) Lee-Anne Raymond (Art, pgs 120 & 125) Ron Sanders (Art [Above], pg 84) John C. Tibbetts (Photos, pg 9) Teresa Tunaley (Art [Globes], pg 20-21) Demetrios Vakras (Art, pgs 73-77) Cyrus Wraith Walker (Art [Time], pg 104) James Wymore (Cartoons, pgs 42-43)


Speci p iall Th Thankks Leslie Barany H. R. Giger Our Advertisers & Contributors Our Readers & Subscribers PETA


In Memoriam Ray y Bradbury y

This issue is dedicated to hiss guiding spirit. RIP, our recently departed friend Adam Niswander.


Printingg Lightning Source



+ + [NameL3ss] + + (ISSN 2169-1681 [Print]; ISSN 2169-1673 [Electronic]) Print Single Issue Suggested Retail Sale Price: $19.95 USD (Single Issue MSRP: $24.95 USD) and includes the E-book version; prices and subscriptions/ shipping vary by region, and are subject to change without notice. Published irregularly (Biannually: SPRING/SUMMER & FALL/WINTER) by CYCATRIX PRESS: 16420 SE McGillivray Blvd., Ste. 103-1010, Vancouver, WA, USA 98683. Copyright Š2010 and beyond by JaSunni Productions, LLC, and where specified elsewhere in the issue. All rights revert to the authors/artists upon publication. All design elements (including the overall layout and the distinctive NAMELESS logo) are copyright Š2010 and beyond by JaSunni Productions, LLC. Nothing shown can be reproduced without obtaining written permission from the creators. All cover images, whether book, magazine, CD, or DVD, as well as film posters, image captures, promotional images (headshots, behind-the-scenes, etc) and creator photos remain the copyrighted property of their respective owners, and are used herein with permission, or pursuant to Fair Use Guidelines: Every reasonable attempt has been made to contact image and content rights holders, and identify same; if there are inadvertent omissions, we apologize. Go veg: Save your life, and save theirs! Advertising rates available. Discounts for bulk and standing retail orders. Direct all inquiries, address changes, submission queries, subscription orders, and so on to: info@namelessmag.com


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"From the Editor's Desk" Editorial by y JJason V Brock +05+

"The Hungry g y Skull" by Gene O'Neill +13+ "Parting g Shots. . ." Cartoons by y James J Wymore +42+ "Let Me Tell You" by Michaele Jordan +80+ "Memories of Another Age" ‹¢ȹ’Œ‘ŠŽ• ‹˜•ŠęŠ +82+ "Way y Up p When" by Jonathan Thomas +85+

"A Tribute to Ray y Bradbury" y Pieces by William F. Nolan * John ÇŻ ’‹‹ŽĴœ +06+ "Russellmania! Six Weeks with a Devil" Photos/Article by y Shade Rupe +46+ "Echoes off Excess: D rector Ken Russell in the 1980s" Di by Ross Freedman +61+ "Demetrios Vakras: 'I Am: Surreal'" [+Artwork] Interview by y Jason J V Brock +73+

"Selected Poems" by Wade German +116+

"The Outsider: A Sequel q to Poe's 'House of Usher'?" by James Goho +99+

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"Lee-Anne Raymond: y Dark Princess of Imagery g from Down Under" [+Artworrk] k Inte In Inte terv rvie rv iew ie w by y Jas ason on V Bro rock ck k +121 +1 21+ +


¢ Č˜ Š–ȹ Šě˜›Â? Č˜ —Â?›Ž ȹ Š–•’— Č˜Čą * Norman Rubenstein * Sunni K Brock * Michael JJ. Clarke * * Ja J so on V Br Broc ock k * Paaul u G. Be Bens ns,, ns Jr.. * Jr





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The Hungry Skull (A Love Story) By Gene O'Neill

"To all things there is a time, and a season for every –ŠĴŽ›ȹž—Â?Ž›ȹ‘ŽŠÂ&#x;Ž—ǯ A time of birth, and a time to die . . ." —Ecclesiastes 3:3

1. ‘Žȹ ŠĴ•ŽÂ?Š•Žȹ ‹•’—”ŽÂ?Čą Â˜Â—Čą ˜Â&#x;Ž›ȹ Â?‘Žȹ ÂŽÂ?Â›Â˜Čą ÂŽÂ&#x;Ž•ȹ ›Š—Â?Čą Mezzanine near the Ferry Building and twisted in the air, ̊œ‘’—Â?Čą Šȹ ‘˜•˜Â?›Š–ǯȹ ÇŻČą ÇŻČą Šȹ Â–ÂŠÂ—Č‡ÂœČą Â?ÂŠÂŒÂŽČŻÂœÂ?’ěȹ Š—Â?Čą œŠÂ?Ç°Čą ‹žÂ?Čą ÂœÂ?Â˜Â’ÂŒÇŻČą The accompanying announcement explained: "Janos Mirlav has Œ˜–™•ŽÂ?ÂŽÂ?ČąÂ‘Â’ÂœČąĹ˜Ĺ›Â?‘ȹ“ž–™ȹŠ—Â?ȹ ’••ȹ‹ŽȹÂ?Â‘ÂŽČąÄ™Â›ÂœÂ?ČąÂ™Â’Â•Â˜Â?ȹ›ŽÂ?’›’—Â?ČąÂ?Â›Â˜Â–Čą

ÂžÂ–Â™ÂœÂ‘Â’Â™ČąŽ›Â&#x;Â’ÂŒÂŽÇ°ČąÂ›ÂŽÂ?ž›—’—Â?ČąÂ?Â˜Â–Â˜Â›Â›Â˜Â ČąÂ˜Â—ČąÂ?Â‘ÂŽČąÂœÂ‘ÂžÄ´Â•ÂŽČąÂ?Â›Â˜Â–Čąž—Š›ȹ Base Colony to San Fran Shield. After he completes his medcenter screening and medical procedures and recovers in a week, the Company Chairman, One, will present the Company's Medal of Honor Award at a full Shield celebration ceremony. Date and time to follow." 2. I'm illegal. No, no, not that kind of Illegal. I won't be 35 and eligible Â?Â˜Â›Čą Â?‘Žȹ ‘’Ž•Â?Č‡ÂœČą ˜—Â?ÂŽÂ&#x;Â’Â?¢ȹ ›ŽŠÂ?–Ž—Â?Čą Â?Â˜Â›Čą Š—˜Â?‘Ž›ȹ Â?Â˜ÂžÂ›ČŹÂ™Â•ÂžÂœČą years. So I'm not one of those legendary Illegals, the worn-out, Â? ’œÂ?ÂŽÂ?Čą Â?ÂŠÂŒÂŽÂœČą Â?‘Ž¢ȹ ÂœÂ‘Â˜Â Čą ˜Â?Â?Ž—ȹ Â˜Â—Čą Â?‘Žȹ ŠĴ•ŽÂ?Š•Žȹ Š‹˜Â&#x;ÂŽČą Â?‘Žȹ ›Š—Â?Čą Mezzanine. The old ones who have failed the Treatment and are eventually chased down by the Yakuza bounty hunters and their cyber-hounds. Actually, no one I know has ever really seen an Illegal in person. The conventional wisdom is that when they fail Â?Â‘ÂŽÂ’Â›ČąÄ™Â›ÂœÂ?ȹŠÂ?’—Â?ČąÂ?ÂŽÂœÂ? after Treatment they are whisked away by


Russellmania! Six Weeks with a Devil ¢ȱ‘ŠŽȱž™Ž

‘Žȱ›Š—ȱꕖ–Š”Ž›ȱŽ–‹˜’Žȱ‹¢ȱ‘Žȱ’›‘ȱŠ—ȱž••ȱ—Š–Žȱ˜ȱ Ž——Ž‘ȱ •›Žȱ Ž—›¢ȱ žœœŽ••ǰȱ Šǯ”ǯŠǯȱ Ȉ—”•Žȱ Ž—ǰȈȱ ꛜȱ Š™™ŽŠ›Žȱ ‹Ž˜›Žȱ –Žȱ Šȱ Šȱ ǭȱ ’—ȱ ŗşŞŞȱ ŠŽ›ȱ ‘’œȱ ‘¢™—˜’ŒŠ••¢ȱ Š••ž›’—ȱ Š•˜–Žȇœȱ Šœȱ Š—ŒŽȱ ™›Ž–’Ž›ŽȱŠȱ‘ŽȱŽŠĴ•Žȱ’•–ȱŽœ’ŸŠ•ǯȱ‘Žȱꕖȱ’œȱŠ—ȱŽ™’Œȱ˜—ŽȬœŽȱŽ••’—ȱ ˜ȱ‘ŽȱŠ–ŽȱœŒŠ›ȱ’•Žȱ™•Š¢ǰȱŠ—ȱ’—Œ•žŽœȱŠ—ȱŠž’Ž—ŒŽȱ ’‘ȱ’•Žȱ himselfȯŠ•˜—ȱ ’‘ȱŠȱ¢˜ž—ȱ˜•Ȭ™Š’—Žȱ‹˜¢ȱ˜ȱ”ŽŽ™ȱ‘’–ȱŒ˜–™Š—¢ǯȱ ŒŒ˜›’—ȱ˜ȱ‘Žȱ’›ŽŒ˜›ȇœȱ—˜Žœȱž›’—ȱ‘Žȱ˜—œŠŽȱŠŽ›ȬꕖȱŠ•”ǰȱ‘Žȱ ™›˜žŒ’˜—ȱ  Šœȱ –ŠŽȱ ˜—ȱ Šȱ ‹Žȱ ‘Šȱ žœœŽ••ȱ Œ˜ž•—ȇȱ –Š”Žȱ Šȱ ꕖȱ ˜›ȱ



+ + Demetrios Vakras + + "I Am: Surreal" Interview by Jason V Brock Artwork by Demetrios Vakras

My art is "surreal," insofar as it is about making appear as plausibly real that which of itself cannot ever be real. Sometimes the work in question has symbolic meaning. By this, I mean that I have selected Ž•Ž–Ž—Â?ÂœČą Â?Â˜Čą Œ˜—Â&#x;Ž¢ȹ Šȹ ™˜’—Â?ČŚÂ’Â?ŽŠǯȹ Â˜Â–ÂŽČą  ˜ž•Â?Čą Â?Žę—Žȹ Â?Â‘Â’ÂœČą Â?Ž—Â?ÂŽÂ—ÂŒÂ˘Čą that I have toward symbolism not to be "surreal." At other times, there is no meaning in my works. Part of my intention is to elicit a "How did he come up with that?" response. What I paint is governed by what I believe is the necessity of art to be an expression of an idea that is accomplished by great and uncommon technical skill. That is, ČąÂ?ÂŠÂ”ÂŽÇ°ČąÂŠÂœČąÂŒÂŽÂ—Â?›Š•ȹÂ?Â˜ČąÂ?‘ŽȹÂ?Žę—’Â?Â’Â˜Â—ČąÂ˜Â?ČąČˆÂŠÂ›Â?Ç°ČˆČąÂ?Â‘ÂŽČąÂ—ÂŽÂŒÂŽÂœÂœÂ’Â?Â˘ČąÂ˜Â?ČąČˆÂœÂ”Â’Â•Â•Ç°ČˆČąČą

Reconstitution with Spare Body Parts, oil on canvas, 2000

Peripheral Solitude, oil on canvas, 1994

ÂŠÂœČą Â?Â‘Â’ÂœČą Â’ÂœČą  ‘ŠÂ?ČąÂ?Â‘Â’ÂœČą ŠÂ?Â’Â—ČąÂ Â˜Â›Â?ČąÂ–ÂŽÂŠÂ—ÂœÇŻČą ȹŠĴŽ–™Â?ČąÂ?Â˜ČąÂ?Ž–˜—œÂ?›ŠÂ?ŽȹŠ—ȹ "uncommon" technical skill, to depict something improbable that might elicit surprise. My earliest memories of creating art (in the form of drawing) are from the age of four. By about age six, I was drawing animals by Œ‘’•Â?Â›ÂŽÂ—Č‡ÂœČąÂ‹Â˜Â˜Â”ČąÂ’Â•Â•ÂžÂœÂ?›ŠÂ?Â˜Â›ČąŽŠÂ?›’¥ȹÂ˜Ä´ÂŽÂ›ÇŻČąÂ?Â?Ž›ȹÂ?‘ŠÂ?ǰȹ’Â?ČąÂ ÂŠÂœČąÂ?›Š ’—Â?Čą



Way Up When ¢ȱ ˜—Š‘Š—ȱ‘˜–Šœ

ȱ ŠœȱŠȱ•’”ŽȱŠȱ•˜ȱ˜ȱ˜‘Ž›ȱ•’Ĵ•Žȱ”’œǰȱ ȱœž™™˜œŽǰȱ ‘˜ȱ˜ȱŽ¡Œ’Žȱ at planes up in the air and pointed till everyone else looked too, and ‘Šȇœȱ‘˜ ȱ ȱ’œŒ˜ŸŽ›Žȱ ȱ Šœ—ȇȱ•’”Žȱ˜‘Ž›ȱ•’Ĵ•Žȱ”’œǰȱ ’‘ȱ›Ž™Ž›Œžœœ’˜—œȱ to this day. Nine times out of ten, family or strangers would crane their —ŽŒ”œȱ Š—ȱ ž—’˜›–•¢ȱ ›ž–‹•Žǰȱ Ȉ’›™•Š—Žǵȱ ‘Šȱ Š’›™•Š—Žǵȱ ‘Šȱ Š›Žȱ ¢˜žȱŠ•”’—ȱŠ‹˜žǵȈ Some assumed I was pulling their leg, and some that I had a œŒ›Ž ȱ•˜˜œŽǰȱŠ—ȱ‘’œȱ›Ž™žŠ’˜—ȱ˜›ȱ‹Ž’—ȱŠȱ—˜Œ‘ȱ˜›ȱ ˜ȱȈ˜ěȈȱ‘Šž—Žȱ me through twelve grades of school, long after I'd learned to ignore ŽŸŽ›¢‘’—ȱŠ•˜ȱ’—ȱ‹•žŽȱ¢˜—Ž›ǯȱžȱ‘Šȱ Šœȱ‘Žȱ”’—ȱ˜ȱœ–Š••ȱ˜ —ȱ’ȱ  Šœǰȱ™ŽĴ¢Ȭœ™’›’ŽȱŠ—ȱœ•˜ ȱ˜ȱ•ŽȱŠ—¢‘’—ȱ˜ǯȱ›ȱ™˜œœ’‹•¢ȱ‘Žȱ—Žž›Š•ȱ ˜›ȱ ˜Œž•Š›ȱ šž’›”ȱ Šȱ Šž•ȱ ˜›ȱ ŠŽ›’Š•ȱ Ÿ’œ’˜—œȱ Š•œ˜ȱ –ŠŽȱ –Žȱ Ȉ’쎛Ž—Ȉȱ ’—ȱ  Š¢œȱŠ™™Š›Ž—ȱ˜ȱŠ••ȱŽ¡ŒŽ™ȱ–¢œŽ•ǯȱ ȱ’ȱ›Šœ™ǰȱŽŸŽ—ȱŠœȱŠȱŒ‘’•ǰȱ‘Šȱ ’œŠ™™›˜Ÿ’—ȱ›˜ —œȱ›˜–ȱŽŸŽ›¢˜—Žȱ Ž›Žȱ’Ÿ’—ȱ–ŽȱŠȱȈŒ˜–™•Ž¡ǯȈȱ ˜ ȱ Œ˜ž•ȱ‘Ž¢ȱ—˜ǵ ¢ȱ™Š›Ž—œȱ›Š—ȱ–Žȱ‘›˜ž‘ȱŠȱŠž—•Žȱ˜ȱœŠ ‹˜—ŽœȱŠ—ȱœ‘›’—”œǰȱ ˜ȱ —˜ȱ ’Š—˜œ’Œȱ ŽěŽŒǯȱ ‘’•ȱ ™œ¢Œ‘˜•˜’œœǰȱ Šȱ •ŽŠœǰȱ ȱ Œ˜ž•ȱ Œ˜—ȱ ’—ȱ Šȱ Œ˜ž™•Žȱ ˜ȱ œŽœœ’˜—œȱ ‹¢ȱ Š›ŽŽ’—ȱ ‘Šȱ Š’›‹˜›—Žȱ ™‘Š—Šœ–œȱ ‘Šȱ ‹ŽŽ—ȱ Ȉ“žœȱ–¢ȱ’–Š’—Š’˜—ǯȈȱžȱ‘Ž—ȱ˜–ǰȱ’—ȱ‘Žȱ™›˜ŒŽœœȱ˜ȱ‘˜žœŽ”ŽŽ™’—ǰȱ ’—Š••’‹•¢ȱ ˜ž—ȱ ‘Žȱ ‘’Ž¢Ȭ‘˜•Žœȱ ˜›ȱ —Ž ȱ Ž¢Ž ’—Žœœȱ ›Š ’—œȱ ˜ȱ Šȱ —˜Ž ˜›‘¢ȱ‹’™•Š—Žȱ˜›ȱĚ¢’—ȱ˜››ŽœœǰȱŠ—ȱ‹ŠŒ”ȱ˜—ȱ‘Žȱ–Ž’ŒŠ•ȱŒŠ›˜žœŽ•ȱ ȇȱ˜ǯȱ ȇȱ‘Šȱ’ȱ ’‘ȱœŽ•ȬŽ¡™›Žœœ’˜—ȱŠȱŠ›˜ž—ȱŠŽȱŽ•ŽŸŽ—ǯ ȱ Ž ȱ œŠ–™•Žœȱ ˜ȱ ‘’œȱ Š› ˜›”ȱ ŽœŒŠ™Žȱ –ŠŽ›—Š•ȱ ™ž›Žȱ Š—ȱ ›Ž–Š’—ȱ’—ȱ–¢ȱŒžœ˜¢ǯȱ–’œȱ‘ŽȱŒ›ŽŠœŽœȱŠ—ȱŽŠ›œȱŠ—ȱ›ŽŠœŽȱœŠ’—œǰȱ they're a testament to the wondrous antiquity that used to cross my sky. ‘Žȱ™•Š—Žœȱ ȱœŽŽȱ‘ŽœŽȱŠ¢œȱŠ›Žȱ˜•ǰȱ˜ȱŒ˜ž›œŽǰȱ‹žȱ™›˜™˜›’˜—Š••¢ȱŽ Ž›ȱ are pre-jet era among afterimages of more recent history. In my youth, ȱ˜˜”ȱ˜›ȱ›Š—Žȱ•’–™œŽœȱ‹˜›Ž›’—ȱ˜—ȱ‘ŽȱŽ—Žœ’œȱ˜ȱ™˜ Ž›Žȱ̒‘ǰȱ rather as astronomers now regularly delve almost as far as genesis in general. ‘Žȱ‘˜—”’—ȱŠ¡’œȱŠ—ȱ›ž–‹•’—ȱ›žŒ”œȱŠ—ȱ‹•Š›’—ȱ›Š’˜œȱ‹Ž•˜ ȱ my apartment window usually dwindle away when I contemplate the picayune details in otherwise brutȱ›Ž—Ž›’—œǯȱ‘Žȱ—ž–‹Ž›ȱ˜ȱŽ—’—Žœǰȱ ‘Žȱ Œžȱ ˜ȱ  ’—’™œǰȱ ‘Žȱ ̊’›ȱ ˜ȱ Š’•ȱ œŽŒ’˜—ǰȱ ‘Žȱ œ˜ž—Žœœȱ ˜ȱ žœŽ•ŠŽȱ ‹Žœ™ŽŠ”ȱŠȱ—ŽŽȱ˜ȱ—Š’•ȱ˜ —ȱœ™ŽŒ’ęŒœǰȱ˜ȱ™›˜ŸŽǰȱŠȱ•ŽŠœȱ˜ȱ–¢œŽ•ǰȱ‘Šȱ ȱ Šœ—ȇȱ–Š”’—ȱŠ—¢‘’—ȱž™ǯȱ —ȱ–¢ȱŒ˜›—Ž›ȱ Ž›Žȱ‘Žȱȱ–Š’—ŽŽœȱŠ—ȱ



˜Â&#x;ŽŒ›ŠÂ?Â?Č‡ÂœČąČˆ‘ŽȹžÂ?œ’Â?ÂŽÂ›ČˆÇąČą A Sequel to Poe's "The Fall of the House of Usher"? By James Goho

Čˆ‘ŽȹžÂ?œ’Â?ÂŽÂ›ČˆČąÂ’ÂœČąÂŠČąÂ”ÂŽÂ˘ÂœÂ?Â˜Â—ÂŽČąÂœÂ?Â˜Â›Â˘ČąÂ’Â—Čą ǯȹǯȹ˜Â&#x;ŽŒ›ŠÂ?Â?Č‡ÂœČąÂ‹Â˜Â?Â˘ČąÂ˜Â?ČąÂ‘Â˜Â›Â›Â˜Â›Čą ęŒÂ?Â’Â˜Â—ÇŻČą Â?Čą Â’ÂœČą  ’Â?Ž•¢ȹ ›Ž™›’—Â?ÂŽÂ?Ç°Čą Â˜Â—ÂŽČą ˜Â?Čą Â‘Â’ÂœČą ŽŠ›•¢ȹ ™›˜Â?ÂŽÂœÂœÂ’Â˜Â—ÂŠÂ•Čą ÂœÂ?Â˜Â›Â’ÂŽÂœČą Š—Â?ȹ‘ŽŠÂ?•’—ŽÂ?ČąÂ?‘Žȹ›”‘Š–ȹ Â˜ÂžÂœÂŽČąÄ™Â›ÂœÂ?ČąÂŒÂ˜Â•Â•ÂŽÂŒÂ?Â’Â˜Â—ÇŻČąÂœČąÂ ÂŽÂ•Â•Ç°ČąÂ?Â‘ÂŽČąÂœÂ?Â˜Â›Â˘Čą is extensively and variously interpreted: Carl Buchanan, Donald R. Burleson, S. T. Joshi, Dirk W. Mosig, Robert H. Waugh, and others have all studied and commented on the story. All spy the hand of Poe in the tale.1ȹŽÂ&#x;ÂŽÂ›ÂŠÂ•ČąÂ˜Â?ČąÂ˜ÂŽČ‡ÂœČąÂœÂ?Â˜Â›Â’ÂŽÂœČąÂŠÂ›ÂŽČąÂ’Â?Ž—Â?’ęŽÂ?ČąÂŠÂœČąÂ™Â›ÂŽÂŒÂžÂ›ÂœÂ˜Â›ÂœÇ°Čą for example, "William Wilson," "The Masque of the Red Death," "The Facts in the Case of M. Valdemar," and "Berenice." This article suggests that it may be a sequel to "The Fall of the House of Usher." ÂŽÂ?Ž›ȹÂŠÂ—Â—Â˜Â—ČąÂ’Â–Â™Â•Â’ÂŽÂ?ČąÂ?Â‘Â’ÂœČąÂ Â‘ÂŽÂ—ČąÂ‘ÂŽČąÂ Â›Â˜Â?ÂŽČą˜Â&#x;ŽŒ›ŠÂ?Â?Č‡ÂœČąÂžÂ—Â?Ž›Â?›˜ž—Â?Čą castle "rivals Poe's House of Usher as a symbolically potent image" (47). Robert H. Waugh proposed "an antecedent to the Outsider ’—ȹ Â?‘Žȹ Ä™Â?ž›Žȹ ˜Â?Čą ŠÂ?Ž•’—Žȹ ÂœÂ‘ÂŽÂ›ČˆČą (The Monster in the Mirror 145) Š—Â?Čą Â’Â?Ž—Â?’ęŽÂ?Čą Â™ÂŠÂ›ÂŠÂ•Â•ÂŽÂ•ÂœČą ‹ŽÂ? ŽŽ—ȹ Â?‘Žȹ ÂœÂ?Â˜Â›Â’ÂŽÂœÇŻČą ˜ ŽÂ&#x;Ž›ǰȹ Ž››¢ȹ Š—Â?Čą Sederholm do not mention "The Outsider" in their wide-ranging ›ŽÂ&#x;Â’ÂŽÂ ČąÂ˜Â?ČąÂ?Â‘ÂŽČąÂ’Â—ÄšÂžÂŽÂ—ÂŒÂŽČąÂ˜Â?ČąÂ˜ÂŽČ‡ÂœČąÂ?ÂŠÂ•ÂŽČąÂ˜Â—ČąÂ–ÂŠÂ—Â˘ČąÂ˜Â?Čą˜Â&#x;ŽŒ›ŠÂ?Â?Č‡ÂœČąÂœÂ?Â˜Â›Â’ÂŽÂœÇŻČą Â&#x;Ž›Š••ǰȹÂ?‘Ž¢ȹŠ›Â?žŽÂ?ČąÂ?‘ŠÂ?Čą˜Â&#x;ŽŒ›ŠÂ?Â?Č‡ÂœČąÂ Â˜Â›Â”ČąÂ’Â—ČąÂ‘Â˜Â›Â›Â˜Â›ČąÄ™ÂŒÂ?Â’Â˜Â—ČąÂ ÂŠÂœÇ°ČąÂ’Â—Čą part, to "explore new dimensions from 'Usher's' hints about cosmic horror" (69–70). In a fashion, "The Outsider" imagines the aftermath of Poe's story, or at least one possible afterworld. Although sometimes distorted, similar images and themes haunt the stories. Some of the key common images are: the house of Usher and the underground castle in "The Outsider"; the library of Roderick Usher and the "rows of antique books" (DH ĹšĹœÇźČąÂ’Â—ČąÂ?‘Žȹž—Â?Ž›Â?›˜ž—Â?ČąÂŒÂŠÂœÂ?•ŽDzȹÂ?Â‘ÂŽČąÂ›ÂŽÄšÂŽÂŒÂ?’—Â?Čą tarn in Poe's tale and the mirror in "The Outsider"; the wasteland surrounding the House of Usher and the wasteland the outsider travels; an escape from a tomb, and a climactic scene of coming face to face with one's terrifying destiny. The thrall of time and space over humans are thematic links. There is a life-to-death sequence in 1 There are other influences, for example, S. T. Joshi noted Mary Shelley’s Frankenstein. In the novel, the monster is unnamed. It is rejected and causes panic by its appearance, which Dr. Frankenstein describes, “Oh, no mortal could support the horror of that countenance. A Mummy again endued with animation could not be so hideous as that wretchâ€? (61).


Reviews & Analysis Wild Justice Edited by Ellen Datlow Featuring: CaitlĂ­n R. Kiernan, Thomas Tessier, Joyce Carol Oates, David J. Schow, ’Œ‘Š›Â?Čą‘›’œÂ?’Š—ȹŠÂ?Â‘ÂŽÂœÂ˜Â—Ç°Čą˜‹Ž›Â?ŠȹÂŠÂ—Â—ÂŽÂœČąÂŠÂ—Â?ČąÂ˜Â?‘Ž›œ Ash-Tree Press (First E-book edition), 2012 $6.99

Ash-Tree Press E-books By now, Ellen Datlow is a veritable institution within the horror and dark fantasy genres (among others). She is, by far, the most awarded, medaled, and acknowledged editor within these genres, and her achievements would take an entire review (if not a novella-sized essay) to recite. For those readers who are unfamiliar with her name, look her up online and you'll likely realize you know much of her work, if not her name. She has received all these recognitions, accomplishments, and awards over a relatively long career for such a comparatively young woman because she consistently—as in always—delivers an exceptional, interesting, and worthwhile reading experience within the anthologies she edits. She is able to get her contributors to deliver stories that will connect with their readers while seeming fresh rather than something you think you've read a couple times before. ŠÂ?Â•Â˜Â Ç°Čą Š‹•¢ȹ Š‹ŽĴŽÂ?Čą ‹¢ȹ Šȹ •˜—Â?Čą Š—Â?Čą Â?Â’ÂœÂ?’—Â?ž’œ‘ŽÂ?Čą •’œÂ?Čą ˜Â?Čą contributing authors, shows this hallmark for quality within the eighteen stories that make up the content of the Wild Justice anthology. This anthology was originally released back in 1996 as a paperback original, titled Lethal Kisses, and was only released within the UK, so it is unfamiliar to virtually all North American readers. As can now be expected of any Datlow-edited anthology, there isn't any dead weight among the eighteen stories included herein. Wild Justice is a "themed anthology"—meaning that every


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A journal dedicated to the macabre and esoteric. 150+ perfect-bound pages PACKED with original art, reviews, articles, fiction, interviews,...


A journal dedicated to the macabre and esoteric. 150+ perfect-bound pages PACKED with original art, reviews, articles, fiction, interviews,...

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