Fascist Ghosts Part Two

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The second instalment of my three-part essay on racism and portrayals of far right politics in British horror fiction is now live at WWAC. This time, I am focusing on the rise of the National Front in the 1970s and how it was represented in the work of two horror writers – the anti-fascist James Herbert, and the NF candidate David A. Riley.

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Power Rangers (2017)

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I went to see the new Power Rangers film. It’s about as good as you could reasonably expect a Power Rangers film to be without drastic departures from the source material.

Hmm, that’s not really the stuff hot takes are made of. Bear with me while I try to dig a little deeper…

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Fascist Ghosts Part One

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For some time now I’ve been working on an essay at WWAC about racism and portrayals of far right politics in British horror fiction; the thing became do long that I had to split it into three instalments. Part one has just gone live, and is something of a prologue: while the later instalments will focus on the postwar far right, the first part looks at racial dehumanisation in pre-war horror and the question of whether horror is an inherently reactionary genre. I hope that my readers will find something of value there.

Pulp Revolution vs. Extreme Horror

And here we have what is likely the only piece of John C. Wright/Tim Miller crossover fan art that will ever be drawn.

At this point, I’ve blogged multiple times about the intersection (or lack thereof) between the Sad/Rabid Puppies campaigns and horror fiction. I find it genuinely interesting that horror fandom never had an equivalent to the Puppies or to Gamergate, and since those movements peaked about two years ago, I doubt that horror ever will have such a thing unless a future generation starts the cycle anew.

Right now, I feel like taking another look to try and see what might have inoculated horror against the culture war (if you can forgive the mixed metaphor…)

One of the outgrowths of the Puppy campaigns is the so-called Pulp Revolution. This movement is based on the argument that mainstream publishers are preoccupied with political preaching and literary pretension, causing science fiction and fantasy to lose the vitality and straightforward storytelling of the pulp era. But now, thanks to Kindle direct publishing, indie authors can relight the flame and attract readers turned off by the tosh that big publishers are trying to foist onto them.

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April 2017 Belladonna Issue Now Available!

2017-04-14 11.58.34It’s the middle of the month, so time for another helping of Belladonna nagazine!

This issue features interviews with actress Sarah Booth, Raw director Julia Ducournau and Channel Zero‘s Nick Antosca, while Guest Honey Samantha McLaren treats us to an article about menstruation in horror films (hello, Carrie!) Plus, all the usual celebrations of monster movies and slasher trash.

For my part, I’ve contributed reviews of Jim Campbell’s At the Shore and Valiant’s Britannia, along with a feature on monster toys and the moral controversies that tend to arise from these devilish playthings.

All available for purchase at the official site, Magzter and MagCloud.

On Amazing Stories Issue 4, and Something From the Vaults

FelineLightMy latest Amazing Stories retrospective is now live, looking back at issue 4 from July 1926.

Amongst the material in this edition is a letter from George Allan England, one of the authors who contributed to issue 1, which I found quite interesting in light of recent ideological disputes within SF. I did include an excerpt from the letter in my article, I thought that it was worth reprinting in full without comment as a historical specimen…

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