Last April I did an interview with hardcore horror author EDWARD LEE. For those who don’t know, Lee has been writing horror for almost 30 years and is in the forefront of extreme horror. But he isn’t all about gore. His stories include a humor that is often lacking in “splatterpunk” fiction and in recent years, Lee has carved a niche for himself by writing unbelievably entertaining Lovecraftian tales in his patented hardcore style. Each Lovecraft pastiche is more impressive than the last (please see Trolley No. 1852, Pages Torn From a Travel Journal, Haunter on the Threshold, Going Monstering, You Are My Everything, The Innswich Horror, and the upcoming Dunwich Romance).
Edward Lee has been published by Cemetery Dance, Leisure Books, Necro Publications, Bloodletting Press, and Deadite Press. He has also written a few SF novels (Operator B, The Stickmen) and a nonfiction book (The Deaths of the Cold War Kings: The Assassinations of Diem & JFK)
But let’s be honest: his work isn’t for everyone. People who can’t stand explicit gross-out horror will throw down Lee’s books in disgust and leave ignorant Amazon reviews. But for those open-minded folks who are able to enjoy the depravity AND intelligence of Edward Lee, well, it’s heaven on earth.
JK: I hear you’re going to this year’s Killer Con inLas Vegas. If I remember correctly, this is the first convention you’ve been to in a while. Is there anything special about this one?
EL: Yeah, it’s in Vegas. When I attended the first Killer Con, I was flabbergasted by what I can only think of as the “creative terrascape” of the town. I don’t gamble, I barely drink anymore, I HATE shows, but there was some nebulous energy about Vegas that absolutely enthralled me. It has something to do with the atmosphere of the place, the incredible variety of people, the weather, and–sounds crazy–but the sounds of the casinos. It imparted to me some accelerated creative impetus. Don’t know how to describe it and make sense. There’s just something about Vegas that puts me at creative ease and pours tons of ideas into my head. Plus, I really dig the buffets!
JK: What’s your favorite thing about conventions? Least favorite?
EL: There are many favorite things, of course. Foremost, I suppose it’s becoming reunited with friends in the field. The community of horror writers (as well as fans, dealers, etc.) can be likened to an exploded family. You don’t see ‘em very often, but when you do it’s a big deal. My least favorite thing? Having to go back home!
JK: Last time we talked about your love of H.P. Lovecraft. One thing that’s quite noticeable when discussing HPL is the lack of really good adaptations to film. Are there any you think capture the essence of HPL? In my opinion, Dagon comes pretty close.
EL: Yes, Dagon was a GREAT adaptation of, not so much the actual story, but Shadow Over Innsmouth. And in spite of inaccuracies, Corman’s Haunted Palace is a wonderful utility of Charles Dexter Ward; same with Die, Monster, Die for Colour Out of Space. There was also a cool flick called Resurrected, starring Chris Sarandon of Fright Night fame, which provided a notable rendition of Ward. (I met Chris Sarandon at the College Park Horrorfind several years ago. Very cool guy.) Yet another flick called The Shunned House (made in Italy in the early 2000s, I think) was a very interesting incorporation of not only the Shunned House, but also Eric Zann and Dreams in the Witch-House. And we can’t forget Stuart Gordon’s Master of Horror version of Witch-House; a pulp masterpiece. Ah, but the very best HPL adaptation in my opinion is The Call of Cthulhu. Can’t think of the production company off hand (it might have something to do with the HPL Historical Society) but this movie is the most perfect and honest adaptation yet, and better yet, it’s in black and white, silent with word panels, and was made to look just like a movie filmed in the 1920s. It you haven’t seen it, do.
JK: If you could see any Lovecraft story on the silver screen in a big budget film, what would it be? And can you think of any directors who could handle the material and capture the “cosmic horror” of it all?
EL: I keep hearing about del Toro doing Mountains of Madness but, honestly, as much as I like that director, I don’t think that’s the best choice for a big budget HPL flick. It would look too much like The Thing. There’s no “gothic” element, otherwise a necessity for a Lovecraft flick, in my opinion. Personally, I’d love to see a high-production, big-budget version of Colour Out of Space, but of course, it would be best if I wrote the script! And who wouldn’t love to see a quality version of Rats in the Walls? One more? HPL’s unsung short piece He would make a GREAT flick. It would have to be contemporized, of course, and, again, it would behoove the producers to hire ME to write the screenplay.
JK: In your “Infernal” series of books, you have created an intricate netherworld. How do you keep track of all the details? Do you have a notebook with all your creations? Personally I think it would be great if someone published a “Guide to..” your Infernal series.
EL: Well, actually there was something along those lines already published by Necro: Infernally Yours, which is an anthology of stories by other authors based on my “Infernal” mythos. There’s some superb contributions in it, and the whole thing was very flattering to me. The deluxe version came with a “field guide” to much of my Mephistopolean population. GAK was the artist; he did a fantastic job.
JK: What’s your weakness? What distracts you from writing? TV? Sports? Women?
EL: None of the above (through I do write better when the Yankees win.) Personally, I have a weakness for exorbitant food, especially sushi. I smoke but I really want to quit. For a year I cut down to 5 cigarettes a day by using an electronic cigarette; suddenly every aspect of my life was improved and I felt 20 years younger. But then some family crises arose, then the stress built up and bushwhacked me, so I went back to smoking a lot. But I’m gearing up to return to my electronic. These machines really are remarkable for chain-smokers. The one I use is called a Titan Mega 510. It kicks ass. I’ve never been much subject to writer’s block, but sometimes I DO let myself be distracted. Today, for instance, instead of writing I spent two hours on buses to get carry-out Chinese buffet. This place has the BEST spicy octopus salad.
JK: How do you feel about Cthulhu being so ingrained in horror pop culture? There are so many people who eat up the Cthulhu merchandise yet have never read any HPL. Is that a good thing or a bad thing?
EL: It’s not ideal, of course, but it’s still a good thing. Any perpetuation of The Master is a good thing. Most writers of my generation almost universally admit to the influence HPL had on them as writers. All roads truly do lead back to Lovecraft. I always get a chuckle when newer writers scoff that they’re not influenced at all by Lovecraft because they’ve never read him. Little do they know, the authors who DID influence them were, in turn, influenced by Lovecraft. The idea of a horror writer honestly not being in some way influenced by Lovecraft is as likely as a violinist saying he’s not influenced by Isaac Stern or a sculpture saying he’s not influenced by Michelangelo. It’s impossible NOT to be influenced by the closest encroachments to perfection in your field.
JK: Your upcoming book WITCH-WATER is influenced by the works of M.R. James. What about his work attracts you?
EL: I regard James as second only to Lovecraft as the genre’s most important writer. Even though the stories and styles of these two men were quite different, one thing they both did almost identically was CELEBRATE the English Language in their fiction and then subsequently invite the reader to join in on that celebration. I actually re-read James more than I re-read HPL. One time I read The Ash-Tree 12 nights in a row. I’ll bet I’ve read The Stalls of Barchester Cathedral, Count Magnus, Mr Humphreys and His Inheritance, and The Haunted Dolls’ House 50 times. Like with the best of Lovecraft, the best James is not only as good as the first time you read it, the story gets better each time. Though I like Lovecraft’s work more, I’d have to say that James’ work is more entertaining than any fiction I’ve ever read.
JK: In our previous interview I asked if there were any scenes or stories that were so graphic you couldn’t publish. You told us there are two stories you wanted to write but never will…. But you refused to tell us the reason! (Gasp!) Have you changed your mind?
EL: In the presupposition that all things are relative at least with regard to abstraction and the very fiber of the human aesthete, I must say first that I with a great volume of zeal will point out my appreciation of your concerns in this matter; and can say with formidable authority that the answer to your thoughtful inquiry may be arrived at very pithily indeed–lo, that answer would be an indubitable no.
JK: You also mentioned a story idea you had that was influenced by your disappointment with the movie Paranormal Activity. Have you cemented any plans to go through with that? If so, any details you care to share?
EL: Yes, the book–a novel or novella–is part of a 7-book hardcover contract I have with Bloodletting Press, so this isn’t by any means just an idea I’m thinking about. It’s exhaustively outlined and WILL be published. I’m just not sure when. (Oh, by the way, it will be called The Guest House.) I’m tellin’ ya, this book will be so full of gore, sexual indulgence, and sheer incontrovertable diabolism that you’ll be able to hear cacodemoniacal chuckles fluttering up from the deepest trenches of the abyss. This book will make the devil blow chunks, and it will probably make militant feminists put a contract out on me.
JK: What projects do you have coming up? Any surprises? Anything that will shock your fans?
EL: I certainly hope so! My next release is a sequel to Lovecraft’s masterpiece The Dunwich Horror. It’s called The Dunwich Romance, and it details the last week of Wilbur Whateley’s life. I hope I can say with some accuracy that it’s full-tilt balls to the wall. (And Wilbur DOES have sex, LOTS of sex, and I hope that readers will be amused by his para-dimensional genitals and otherworldly semen.) The book after this I’m working on now: Header 3. It’s a hoot. There’s still more good milage to be got out of the idea of getting it on with heads. Not sure which project will follow this; perhaps a hardcore novelization of my short story Haunted House (it’ll be called White House Gothic), a smut-drenched James pastiche which will sequelize, in a sense, his wonderful Haunted Dolls’ House, or maybe The Guest House. I have at least ten projects outlined and ready to go; it’s funny how the older I get (I’m 54 now) the more I fear burning out and going dead on new ideas, but then I get these lightning-bolt like brainstorms of creativity that lead to an overflow of more, if not my best, concepts. I can honestly say–and with great gratitude to God or Yogsothoth–that in almost thirty years of professional writing, I’ve never had more new ideas than I do now, nor have I ever felt this much creative enthusiasm. Now, I’d love to talk more but I’ve got this pile of octopus salad waiting for me.
JK: Thanks for the interview!
To buy Edward Lee’s books on Amazon, go here.
Other sources for Lee:
Necro Publications
Deadite Press
Preorder DUNWICH ROMANCE
To buy Jordan Krall’s books on Amazon go here.
Edgar Oliver is mostly known as a Brooklyn-based playwright and poet but this book shows he has immense talent for prose. It is a brilliant and disturbing look at abandonment, lust, love, isolation, obsession, and alienation. In some ways it reminds me of Lautreamont’s MALDOROR. I plan on buying another copy because there are so many sentences (and whole paragraphs) that are so beautiful, I just have to highlight it for further contemplation. It’s that good.
I’ve been a fan of Current 93 since the last 90s but they’ve been around since 1982. It’s rare that a band that’s been around this long is not only this good but this fresh. I think David Tibet and company have really hit ahigh point with their last few albums. 2009’s ALEPH AT HALLUCINATORY MOUNTAIN is one of the best of their discography both musically and thematically. (the fact that they released a version recorded in mono just adds to their awesomeness)
Jordan Krall (Fistful of Bizarro)
