‘Tis the spoopy season and Aurelia Leo is having a Halloween sale on many of their books, including preorders for upcoming titles like A Season of Whispers. Check it out!
Earlier this summer, 18th Wall released Sockhops & Seances, an anthology of spoopy stories set in the 1950s. Included is a reprint of my story “The Fishers of Men.”
There is no stopping progress. You may buy a plot of land, build a home, raise a family, join a church, and volunteer for the local PTA—but if the authorities determine someone somewhere else is thirstier than you, they will drown your American Dream with no more effort than turning the spigot counterclockwise.
Due to the relatively high population density in Connecticut, over the years the state created a number of reservoirs to supply water to nearby cities; and because this involved damming rivers, sometimes towns in the valleys were lost beneath the waves. This included the churchyards. They’re still there, under the waters, where the past doesn’t always sleep easily.
“Fishers” originally saw light in 2015 in the UK magazine Black Static. BS doesn’t see wide circulation over here (I’ve never seen it outside certain Barnes & Nobles), so I’m glad American audiences have another crack at catching it.
Averoigne and Its Malcontents. Inpatient Press, a small publisher in New York, has produced a trade paperback of Clark Ashton Smith’s stories set in Averoigne, a medieval French province haunted by vampires and sorcerers. Even better, they’ve published it in the style of the Ballantine Adult Fantasy series from the early 1970s, with the line’s distinctive art and minimalist typography. Ballantine editor Lin Carter published four books of Smith’s work in the series and planned a fifth — Averoigne — but the series was canceled before the book could appear anywhere except the Sandman’s library shelf.
For years I’ve chronicled various attempts to produce the missing fifth volume. In 1995, publisher Donald M. Grant began advertising a hardback edition edited by Ron Hilger, but for decades that book remained vaporware. It finally appeared 21 years later, published by Centipede Press as an expensive collector’s edition that ran only 200 copies. Hilger says a paperback version is forthcoming from Hippocampus Press, release date TBD. Meanwhile in June, Pickman’s Press published their own e-book collection of the stories.
Hilger is none too happy about the Inpatient Press paperback, labeling it a “pirate edition,” an “illegal publication,” and a “fraud” because it wasn’t authorized by Smith’s estate, which is operated by Smith’s stepson. Inpatient informed me, however, that the book is perfectly legal — they used the Weird Tales versions of the stories, which are in the public domain.
Place Settings. I like to listen to podcasts about pirates, vintage RPGs, and 19th-century history, but for awhile I’d been searching without satisfaction for a podcast about utopian intentional settlements. Then, lo and behold, along came Curbed with their series Nice Try! An early episode discussed the Oneida community in upstate New York, which is one of my favorite examples of the utopian arc: what began as voluntary social experiment eventually devolved into a dysfunctional, if not horrific, cult. Not to mention an internationally known tableware company.
Coincidentally over at LitHub, author Caite Dolan-Leach discusses how she used Oneida as a template for the modern-day utopian commune in her new novel. Likewise I used Brook Farm and Fruitlands as models for Bonaventure, the setting for A Season of Whispers — although as far as I know, Dolan-Leach’s book doesn’t involve whispering walls and mysterious disappearances.
Watching the Detectives. CrimeReads has a list of three post-apocalyptic detective novels sure to brighten anyone’s year-end round-up of post-apocalyptic fiction. If, you know, that’s something you do.
No Time to Explain. Over at Fast Company I found some tips on how to be a better storyteller. The big takeaway for me: keep your anecdotes to 90 seconds or less.
Introducing the finalized cover for my novel A Season of Whispers.
From the back cover:
In the summer of 1844, Tom Lyman flees to Bonaventure, a transcendentalist farming cooperative tucked away in eastern Connecticut, to hide from his past. There Lyman must adjust to a new life among idealists, under the fatherly eye of the group’s founder, David Grosvenor. When he isn’t ducking work or the questions of the eccentric residents, Lyman occupies himself by courting Grosvenor’s daughter Minerva.
But Bonaventure isn’t as utopian as it seems. One by one, Lyman’s secrets begin to catch up with him, and Bonaventure has a few secrets of its own. Why did the farm have an ominous reputation long before Grosvenor bought it? What caused the previous tenants to vanish? And who is playing the violin in the basement? Time is running out, and Lyman must discover the truth before he’s driven mad by the whispering through the walls.
Many, many thanks to Aurelia Leo publisher and editor-in-chief Zelda Knight for working so hard to put this incredible cover together. It went through several iterations, each one better than the last, and I couldn’t be happier with the finished product. When I suggested the original concept of “women with great hair fleeing Gothic houses,” she immediately grokked what I meant, right down to the singular lit window in the house.
A Season of Whispers will be available October 2020. You can preorder it at Aurelia Leo’s site.
At the Yankee Institute, I have a brief tout for a new study they’ve published regarding Connecticut’s Jekyll-and-Hyde attitude toward business in the state, wherein corporations are heavily taxed until they threaten to depart — at which point Hartford throws some corporate welfare at them.
Proponents of the tax increases estimated $481 million in receipts from corporations for the two-year period, but in reality the taxes only brought in $323 million — just 67 percent of what they originally projected.
But during that time, the state’s Department of Economic and Community Development shelled out nearly $358 million in grants or loans to businesses to either move to Connecticut or, if they were already here, to stay put.
Many of the recipients of the DECD’s largesse are hardly strapped for cash and the economic incentives from the state did little to keep them from ultimately deciding to relocate.
United Technologies is the latest giant corporation to relocate its HQ outside the state even though they’ve received tax credits from Connecticut.
Meanwhile, HB 7222, which I reported on back in March, has died in committee. The bill sought to expand the power of the attorney general in the name of civil rights but was opposed as an encroachment upon other offices in the state.
My story “Llano Estacado” appears in a new anthology, Wild Frontiers, out from UK-publisher Abstruse Press. The story is an alternate-history Western, in which the main characters are American settlers caught behind the new border after the US loses the Mexican-American War.
The new landowner was Capitan Baltasar Batalla Farias.
“I own all this, everything you see,” he told Tucker and his wife as they stood on their porch. Batalla and his men didn’t even bother to dismount. “You think you owned this land but you never did. You can stay in the house. Only now you must pay rent to me.”
“You son of a bitch — we built this house,” said Tucker’s wife. Her name was Clover.
Batalla and his men laughed. “Do not worry, señora. I would be a fool to come from Mexico City and ignore someone like your husband. Doubtless he knows this land better than anyone. Every playa lake, every blade of grass.” He addressed Tucker: “You can work for me. I will make you chief of my vaqueros.”
Tucker considered the arithmetic. If not, they would have to sell their cattle piecemeal to pay rent. And Tucker and his wife, out there alone, barely made enough as it was to buy the things they couldn’t grow or make.
“I’ll take the job,” he told Batalla.
I wrote “Llano Estacado” six or seven years ago but struggled to sell it. Multiple editors praised it but nonetheless hit send on the rejection e-mail because the story lay in a gray limbo, neither speculative enough for sci-fi anthologies and yet too genre for literary mags. It was, as one editor put it, “just a Western,” and Westerns are almost impossible sales in this century.
Unlike my other trunk stories, I persevered to find a home for “Llano” because every time I read it, I remained convinced it represented my talent at its best. I once read an interview with Clint Eastwood, who said Unforgiven communicated everything he felt about the Western. Well, for me, “Llano Estacado” does the same.
In related news, this morning alternate-history publisher Sea Lion Press posted a glowing review of the 2014 anthology Altered America which included a very nice write-up of my contribution, “Rio Grande:”
Kuhl gives a fascinating and thought-provoking look at what this little city-state might have looked like in the 19th Century, and a rather plausible timeline for its creation. Add in some sharp dialogue, good characterisation and fast-paced action scenes, and it all adds up to a cracker of a counterfactual story.
That’s a nice way to start my Friday! My thanks to reviewer Adam Selby-Martin. You can read more of my thoughts on “Rio Grande” here.