Showing posts with label classic. Show all posts
Showing posts with label classic. Show all posts

Wednesday, June 10, 2020

The Horror at Martin's Beach

(Original title “The Invisible Monster”)

by Sonia Greene


I have never heard an even approximately adequate explanation of the horror at Martin's Beach. Despite the large number of witnesses, no two accounts agree; and the testimony taken by local authorities contains the most amazing discrepancies. 
 
Perhaps this haziness is natural in view of the unheard-of character of the horror itself, the almost paralytic terror of all who saw it, and the efforts made by the fashionable Wavecrest Inn to hush it up after the publicity created by Prof. Ahon's article "Are Hypnotic Powers Confined to Recognized Humanity?" 
 
Against all these obstacles I am striving to present a coherent version; for I beheld the hideous occurrence, and believe it should be known in view of the appalling possibilities it suggests. Martin's Beach is once more popular as a watering-place, but I shudder when I think of it. Indeed, I cannot look at the ocean at all now without shuddering. 
 
Fate is not always without a sense of drama and climax, hence the terrible happening of August 8, 1922, swiftly followed a period of minor and agreeably wonder-fraught excitement at Martin's Beach. On May 17 the crew of the fishing smack Alma of Gloucester, under Capt. James P. Orne, killed, after a battle of nearly forty hours, a marine monster whose size and aspect produced the greatest possible stir in scientific circles and caused certain Boston naturalists to take every precaution for its taxidermic preservation. 
 
The object was some fifty feet in length, of roughly cylindrical shape, and about ten feet in diameter. It was unmistakably a gilled fish in its major affiliations; but with certain curious modifications such as rudimentary forelegs and six-toed feet in place of pectoral fins, which prompted the widest speculation. Its extraordinary mouth, its thick and scaly hide, and its single, deep-set eye were wonders scarcely less remarkable than its colossal dimensions; and when the naturalists pronounced it an infant organism, which could not have been hatched more than a few days, public interest mounted to extraordinary heights. 
 
Capt. Orne, with typical Yankee shrewdness, obtained a vessel large enough to hold the object in its hull, and arranged for the exhibition of his prize. With judicious carpentry he prepared what amounted to an excellent marine museum, and, sailing south to the wealthy resort district of Martin's Beach, anchored at the hotel wharf and reaped a harvest of admission fees. 
 
The intrinsic marvelousness of the object, and the importance which it clearly bore in the minds of many scientific visitors from near and far, combined to make it the season's sensation. That it was absolutely unique—unique to a scientifically revolutionary degree—was well understood. The naturalists had shown plainly that it radically differed from the similarly immense fish caught off the Florida coast; that, while it was obviously an inhabitant of almost incredible depths, perhaps thousands of feet, its brain and principal organs indicated a development startlingly vast, and out of all proportion to anything hitherto associated with the fish tribe. 
 
On the morning of July 20 the sensation was increased by the loss of the vessel and its strange treasure. In the storm of the preceding night it had broken from its moorings and vanished forever from the sight of man, carrying with it the guard who had slept aboard despite the threatening weather. Capt. Orne, backed by extensive scientific interests and aided by large numbers of fishing boats from Gloucester, made a thorough and exhaustive searching cruise, but with no result other than the prompting of interest and conversation. By August 7 hope was abandoned, and Capt. Orne had returned to the Wavecrest Inn to wind up his business affairs at Martin's Beach and confer with certain of the scientific men who remained there. The horror came on August 8.

It was in the twilight, when grey sea-birds hovered low near the shore and a rising moon began to make a glittering path across the waters. The scene is important to remember, for every impression counts. On the beach were several strollers and a few late bathers; stragglers from the distant cottage colony that rose modestly on a green hill to the north, or from the adjacent cliff-perched Inn whose imposing towers proclaimed its allegiance to wealth and grandeur. 
 
Well within viewing distance was another set of spectators, the loungers on the Inn's high-ceiled and lantern-lighted veranda, who appeared to be enjoying the dance music from the sumptuous ballroom inside. 
These spectators, who included Capt. Orne and his group of scientific confreres, joined the beach group before the horror progressed far; as did many more from the Inn. Certainly there was no lack of witnesses, confused though their stories be with fear and doubt of what they saw. 
 
There is no exact record of the time the thing began, although a majority say that the fairly round moon was "about a foot" above the low-lying vapors of the horizon. They mention the moon because what they saw seemed subtly connected with it—a sort of stealthy, deliberate, menacing ripple which rolled in from the far skyline along the shimmering lane of reflected moonbeams, yet which seemed to subside before it reached the shore. 
 
Many did not notice this ripple until reminded by later events; but it seems to have been very marked, differing in height and motion from the normal waves around it. Some called it cunning and calculating. And as it died away craftily by the black reefs afar out, there suddenly came belching up out of the glitter-streaked brine a cry of death; a scream of anguish and despair that moved pity even while it mocked it. 
 
First to respond to the cry were the two life guards then on duty; sturdy fellows in white bathing attire, with their calling proclaimed in large red letters across their chests. Accustomed as they were to rescue work, and to the screams of the drowning, they could find nothing familiar in the unearthly ululation; yet with a trained sense of duty they ignored the strangeness and proceeded to follow their usual course. 
 
Hastily seizing an air-cushion, which with its attached coil of rope lay always at hand, one of them ran swiftly along the shore to the scene of the gathering crowd; whence, after whirling it about to gain momentum, he flung the hollow disc far out in the direction from which the sound had come. As the cushion disappeared in the waves, the crowd curiously awaited a sight of the hapless being whose distress had been so great; eager to see the rescue made by the massive rope. 
 
But that rescue was soon acknowledged to be no swift and easy matter; for, pull as they might on the rope, the two muscular guards could not move the object at the other end. Instead, they found that object pulling with equal or even greater force in the very opposite direction, till in a few seconds they were dragged off their feet and into the water by the strange power which had seized on the proffered life-preserver. 
 
One of them, recovering himself, called immediately for help from the crowd on the shore, to whom he flung the remaining coil of rope; and in a moment the guards were seconded by all the hardier men, among whom Capt. Orne was foremost. More than a dozen strong hands were now tugging desperately at the stout line, yet wholly without avail. 
 
Hard as they tugged, the strange force at the other end tugged harder; and since neither side relaxed for an instant, the rope became rigid as steel with the enormous strain. The struggling participants, as well as the spectators, were by this time consumed with curiosity as to the nature of the force in the sea. The idea of a drowning man had long been dismissed; and hints of whales, submarines, monsters, and demons now passed freely around. Where humanity had first led the rescuers, wonder kept them at their task; and they hauled with a grim determination to uncover the mystery. 
 
It being decided at last that a whale must have swallowed the air-cushion, Capt. Orne, as a natural leader, shouted to those on shore that a boat must be obtained in order to approach, harpoon, and land the unseen leviathan. Several men at once prepared to scatter in quest of a suitable craft, while others came to supplant the captain at the straining rope, since his place was logically with whatever boat party might be formed. His own idea of the situation was very broad, and by no means limited to whales, since he had to do with a monster so much stranger. He wondered what might be the acts and manifestations of an adult of the species of which the fifty-foot creature had been the merest infant. 
 
And now there developed with appalling suddenness the crucial fact which changed the entire scene from one of wonder to one of horror, and dazed with fright the assembled band of toilers and onlookers. Capt. Orne, turning to leave his post at the rope, found his hands held in their place with unaccountable strength; and in a moment he realized that he was unable to let go of the rope. His plight was instantly divined, and as each companion tested his own situation the same condition was encountered. The fact could not be denied—every struggler was irresistibly held in some mysterious bondage to the hempen line which was slowly, hideously, and relentlessly pulling them out to sea. 
 
Speechless horror ensued; a horror in which the spectators were petrified to utter inaction and mental chaos. Their complete demoralization is reflected in the conflicting accounts they give, and the sheepish excuses they offer for their seemingly callous inertia. I was one of them, and know. 
 
Even the strugglers, after a few frantic screams and futile groans, succumbed to the paralyzing influence and kept silent and fatalistic in the face of unknown powers. There they stood in the pallid moonlight, blindly pulling against a spectral doom and swaying monotonously backward and forward as the water rose first to their knees, then to their hips. The moon went partly under a cloud, and in the half-light the line of swaying men resembled some sinister and gigantic centipede, writhing in the clutch of a terrible creeping death. 
 
Harder and harder grew the rope, as the tug in both directions increased, and the strands swelled with the undisturbed soaking of the rising waves. Slowly the tide advanced, till the sands so lately peopled by laughing children and whispering lovers were now swallowed by the inexorable flow. The herd of panic-stricken watchers surged blindly backward as the water crept above their feet, while the frightful line of strugglers swayed hideously on, half submerged, and now at a substantial distance from their audience. Silence was complete. 
 
The crowd, having gained a huddling-place beyond reach of the tide, stared in mute fascination; without offering a word of advice or encouragement, or attempting any kind of assistance. There was in the air a nightmare fear of impending evils such as the world had never before known. 
 
Minutes seemed lengthened into hours, and still that human snake of swaying torsos was seen above the fast rising tide. Rhythmically it undulated; slowly, horribly, with the seal of doom upon it. Thicker clouds now passed over the ascending moon, and the glittering path on the waters faded nearly out. 
 
Very dimly writhed the serpentine line of nodding heads, with now and then the livid face of a backward-glancing victim gleaming pale in the darkness. Faster and faster gathered the clouds, till at length their angry rifts shot down sharp tongues of febrile flame. Thunders rolled, softly at first, yet soon increasing to a deafening, maddening intensity. Then came a culminating crash—a shock whose reverberations seemed to shake land and sea alike—and on its heels a cloudburst whose drenching violence overpowered the darkened world as if the heavens themselves had opened to pour forth a vindictive torrent. 
 
The spectators, instinctively acting despite the absence of conscious and coherent thought, now retreated up the cliff steps to the hotel veranda. Rumors had reached the guests inside, so that the refugees found a state of terror nearly equal to their own. I think a few frightened words were uttered, but cannot be sure. 
 
Some, who were staying at the Inn, retired in terror to their rooms; while others remained to watch the fast sinking victims as the line of bobbing heads showed above the mounting waves in the fitful lightning flashes. I recall thinking of those heads, and the bulging eyes they must contain; eyes that might well reflect all the fright, panic, and delirium of a malignant universe—all the sorrow, sin, and misery, blasted hopes and unfulfilled desires, fear, loathing and anguish of the ages since time's beginning; eyes alight with all the soul-racking pain of eternally blazing infernos. 
 
And as I gazed out beyond the heads, my fancy conjured up still another eye; a single eye, equally alight, yet with a purpose so revolting to my brain that the vision soon passed. Held in the clutches of an unknown vise, the line of the damned dragged on; their silent screams and unuttered prayers known only to the demons of the black waves and the night-wind. 
 
There now burst from the infuriate sky such a mad cataclysm of satanic sound that even the former crash seemed dwarfed. Amidst a blinding glare of descending fire the voice of heaven resounded with the blasphemies of hell, and the mingled agony of all the lost reverberated in one apocalyptic, planet-rending peal of Cyclopean din. It was the end of the storm, for with uncanny suddenness the rain ceased and the moon once more cast her pallid beams on a strangely quieted sea. 
 
There was no line of bobbing heads now. The waters were calm and deserted, and broken only by the fading ripples of what seemed to be a whirlpool far out in the path of the moonlight whence the strange cry had first come. But as I looked along that treacherous lane of silvery sheen, with fancy fevered and senses overwrought, there trickled upon my ears from some abysmal sunken waste the faint and sinister echoes of a laugh. 

 

Wednesday, February 17, 2010

Horror Masters


Free of charge, at Horror Masters , such authors as Mary Shelley’s (Frankenstein), Bram Stoker’s (Dracula), Edgar Allan Poe, H. P. Lovecraft, William Beckford, Horace Walpole, Hans Christian Andersen, Louisa May Alcott, Honoré De Balzac, Charles Baudelaire, Charlotte Brontë, Lord Byron, George Washington Cable, Kate Chopin, Samuel Taylor Coleridge, Wilkie Collins, Daniel Defoe, Charles Dickens, George Eliot, Nathaniel Hawthorne, Nikolai Gogol, Bret Harte, Leigh Hunt, E. T. A. Hoffmann, Washington Irving, Charles Lamb, Joseph Sheridan Le Fanu, Matthew Gregory Monk, George Macdonald, Niccolò Machiavelli, Herman Melville, Charles Perrault, Thomas De Quincy, Sir Walter Scott, Percy Bysshe Shelley, Harriet Stowe, Jonathan Swift, William Makepeace Thackeray, Mark Twain, and many others.

On this same site, you will also find, absolutely free, works by L. Frank Baum, Ambrose Bierce, Algernon Blackwood, Willa Cather, G. K. Chesterton, Sir Winston Churchill, Christabel Coleridge, Joseph Conrad, Stephen Crane, Lord Dunsany, Eugene Field, E. M. Forster, Elizabeth Gaskell, Charlotte Perkins Gilman, Ellen Glasgow, Oliver Goldsmith, Maxim Gorky, H. Rider Haggard, Edward Everett Halle, Thomas Hardy, O. Henry, William Hope Hodgson, William Dean Howells, W. W. Jacobs, Henry James, M. R. James, Franz Kafka, Jerome K. Jerome, Rudyard Kipling, D. H. Lawrence, Sinclair Lewis, Jack London, Arthur Machen, Katherine Mansfield, Guy De Maupassant, Brander Matthews, A. Merritt, John Metcalf, Edith Nesbit, Sir Arthur Quiller-Couch, Damon Runyon, Saki, George Bernard Shaw, Robert Louis Stevenson, Frank R. Stockton, Leo Tolstoy, H. G. Wells, Edith Wharton, Walt Whitman, Virginia Woolf, Sir Arthur Conan Doyle, and W. B. Yeats.

There are non-fiction stories, novels, novellas, short stories, poems, early and late Gothics, and such categories from which to choose as “Classic Horror,” “Dark Stuff,” “Ghost Stories,” “Horror History,” “Monsters,” “Occult,” “Psychos,” and “The X-treme,” which includes “Decadent Traditions in Horror,” including works by the Marquis de Sade, Giovanni Boccaccio, and others.
Stories are listed both by writer and by title. You’ll find names as familiar as your own and altogether unknown, but the creator Horror Masters has compiled a huge list of winners, and they’re absolutely free!

Paranormal vs. Supernatural: What’s the Diff?

Copyright 2009 by Gary L. Pullman

Sometimes, in demonstrating how to brainstorm about an essay topic, selecting horror movies, I ask students to name the titles of as many such movies as spring to mind (seldom a difficult feat for them, as the genre remains quite popular among young adults). Then, I ask them to identify the monster, or threat--the antagonist, to use the proper terminology--that appears in each of the films they have named. Again, this is usually a quick and easy task. Finally, I ask them to group the films’ adversaries into one of three possible categories: natural, paranormal, or supernatural. This is where the fun begins.

It’s a simple enough matter, usually, to identify the threats which fall under the “natural” label, especially after I supply my students with the scientific definition of “nature”: everything that exists as either matter or energy (which are, of course, the same thing, in different forms--in other words, the universe itself. The supernatural is anything which falls outside, or is beyond, the universe: God, angels, demons, and the like, if they exist. Mad scientists, mutant cannibals (and just plain cannibals), serial killers, and such are examples of natural threats. So far, so simple.

What about borderline creatures, though? Are vampires, werewolves, and zombies, for example, natural or supernatural? And what about Freddy Krueger? In fact, what does the word “paranormal” mean, anyway? If the universe is nature and anything outside or beyond the universe is supernatural, where does the paranormal fit into the scheme of things?

According to the Online Etymology Dictionary, the word “paranormal,” formed of the prefix “para,” meaning alongside, and “normal,” meaning “conforming to common standards, usual,” was coined in 1920. The American Heritage Dictionary defines “paranormal” to mean “beyond the range of normal experience or scientific explanation.” In other words, the paranormal is not supernatural--it is not outside or beyond the universe; it is natural, but, at the present, at least, inexplicable, which is to say that science cannot yet explain its nature. The same dictionary offers, as examples of paranormal phenomena, telepathy and “a medium’s paranormal powers.”

Wikipedia offers a few other examples of such phenomena or of paranormal sciences, including the percentages of the American population which, according to a Gallup poll, believes in each phenomenon, shown here in parentheses: psychic or spiritual healing (54), extrasensory perception (ESP) (50), ghosts (42), demons (41), extraterrestrials (33), clairvoyance and prophecy (32), communication with the dead (28), astrology (28), witchcraft (26), reincarnation (25), and channeling (15); 36 percent believe in telepathy.

As can be seen from this list, which includes demons, ghosts, and witches along with psychics and extraterrestrials, there is a confusion as to which phenomena and which individuals belong to the paranormal and which belong to the supernatural categories. This confusion, I believe, results from the scientism of our age, which makes it fashionable for people who fancy themselves intelligent and educated to dismiss whatever cannot be explained scientifically or, if such phenomena cannot be entirely rejected, to classify them as as-yet inexplicable natural phenomena. That way, the existence of a supernatural realm need not be admitted or even entertained. Scientists tend to be materialists, believing that the real consists only of the twofold unity of matter and energy, not dualists who believe that there is both the material (matter and energy) and the spiritual, or supernatural. If so, everything that was once regarded as having been supernatural will be regarded (if it cannot be dismissed) as paranormal and, maybe, if and when it is explained by science, as natural. Indeed, Sigmund Freud sought to explain even God as but a natural--and in Freud’s opinion, an obsolete--phenomenon.

Meanwhile, among skeptics, there is an ongoing campaign to eliminate the paranormal by explaining them as products of ignorance, misunderstanding, or deceit. Ridicule is also a tactic that skeptics sometimes employ in this campaign. For example, The Skeptics’ Dictionary contends that the perception of some “events” as being of a paranormal nature may be attributed to “ignorance or magical thinking.” The dictionary is equally suspicious of each individual phenomenon or “paranormal science” as well. Concerning psychics’ alleged ability to discern future events, for example, The Skeptic’s Dictionary quotes Jay Leno (“How come you never see a headline like 'Psychic Wins Lottery'?”), following with a number of similar observations:

Psychics don't rely on psychics to warn them of impending disasters. Psychics don't predict their own deaths or diseases. They go to the dentist like the rest of us. They're as surprised and disturbed as the rest of us when they have to call a plumber or an electrician to fix some defect at home. Their planes are delayed without their being able to anticipate the delays. If they want to know something about Abraham Lincoln, they go to the library; they don't try to talk to Abe's spirit. In short, psychics live by the known laws of nature except when they are playing the psychic game with people.
In An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural, James Randi, a magician who exercises a skeptical attitude toward all things alleged to be paranormal or supernatural, takes issue with the notion of such phenomena as well, often employing the same arguments and rhetorical strategies as The Skeptic’s Dictionary.

In short, the difference between the paranormal and the supernatural lies in whether one is a materialist, believing in only the existence of matter and energy, or a dualist, believing in the existence of both matter and energy and spirit. If one maintains a belief in the reality of the spiritual, he or she will classify such entities as angels, demons, ghosts, gods, vampires, and other threats of a spiritual nature as supernatural, rather than paranormal, phenomena. He or she may also include witches (because, although they are human, they are empowered by the devil, who is himself a supernatural entity) and other natural threats that are energized, so to speak, by a power that transcends nature and is, as such, outside or beyond the universe. Otherwise, one is likely to reject the supernatural as a category altogether, identifying every inexplicable phenomenon as paranormal, whether it is dark matter or a teenage werewolf. Indeed, some scientists dedicate at least part of their time to debunking allegedly paranormal phenomena, explaining what natural conditions or processes may explain them, as the author of The Serpent and the Rainbow explains the creation of zombies by voodoo priests.

Based upon my recent reading of Tzvetan Todorov's The Fantastic: A Structural Approach to the Fantastic, I add the following addendum to this essay.

According to Todorov:

The fantastic. . . lasts only as long as a certain hesitation [in deciding] whether or not what they [the reader and the protagonist] perceive derives from "reality" as it exists in the common opinion. . . . If he [the reader] decides that the laws of reality remain intact and permit an explanation of the phenomena described, we can say that the work belongs to the another genre [than the fantastic]: the uncanny. If, on the contrary, he decides that new laws of nature must be entertained to account for the phenomena, we enter the genre of the marvelous (The Fantastic: A Structural Approach to a Literary Genre, 41).
Todorov further differentiates these two categories by characterizing the uncanny as “the supernatural explained” and the marvelous as “the supernatural accepted” (41-42).

Interestingly, the prejudice against even the possibility of the supernatural’s existence which is implicit in the designation of natural versus paranormal phenomena, which excludes any consideration of the supernatural, suggests that there are no marvelous phenomena; instead, there can be only the uncanny. Consequently, for those who subscribe to this view, the fantastic itself no longer exists in this scheme, for the fantastic depends, as Todorov points out, upon the tension of indecision concerning to which category an incident belongs, the natural or the supernatural. The paranormal is understood, by those who posit it, in lieu of the supernatural, as the natural as yet unexplained.

And now, back to a fate worse than death: grading students’ papers.

My Cup of Blood

Anyone who becomes an aficionado of anything tends, eventually, to develop criteria for elements or features of the person, place, or thing of whom or which he or she has become enamored. Horror fiction--admittedly not everyone’s cuppa blood--is no different (okay, maybe it’s a little different): it, too, appeals to different fans, each for reasons of his or her own. Of course, in general, book reviews, the flyleaves of novels, and movie trailers suggest what many, maybe even most, readers of a particular type of fiction enjoy, but, right here, right now, I’m talking more specifically--one might say, even more eccentrically. In other words, I’m talking what I happen to like, without assuming (assuming makes an “ass” of “u” and “me”) that you also like the same. It’s entirely possible that you will; on the other hand, it’s entirely likely that you won’t.

Anyway, this is what I happen to like in horror fiction:

Small-town settings in which I get to know the townspeople, both the good, the bad, and the ugly. For this reason alone, I’m a sucker for most of Stephen King’s novels. Most of them, from 'Salem's Lot to Under the Dome, are set in small towns that are peopled by the good, the bad, and the ugly. Part of the appeal here, granted, is the sense of community that such settings entail.

Isolated settings, such as caves, desert wastelands, islands, mountaintops, space, swamps, where characters are cut off from civilization and culture and must survive and thrive or die on their own, without assistance, by their wits and other personal resources. Many are the examples of such novels and screenplays, but Alien, The Shining, The Descent, Desperation, and The Island of Dr. Moreau, are some of the ones that come readily to mind.

Total institutions as settings. Camps, hospitals, military installations, nursing homes, prisons, resorts, spaceships, and other worlds unto themselves are examples of such settings, and Sleepaway Camp, Coma, The Green Mile, and Aliens are some of the novels or films that take place in such settings.

Anecdotal scenes--in other words, short scenes that showcase a character--usually, an unusual, even eccentric, character. Both Dean Koontz and the dynamic duo, Douglas Preston and Lincoln Child, excel at this, so I keep reading their series (although Koontz’s canine companions frequently--indeed, almost always--annoy, as does his relentless optimism).

Atmosphere, mood, and tone. Here, King is king, but so is Bentley Little. In the use of description to terrorize and horrify, both are masters of the craft.

A bit of erotica (okay, okay, sex--are you satisfied?), often of the unusual variety. Sex sells, and, yes, sex whets my reader’s appetite. Bentley Little is the go-to guy for this spicy ingredient, although Koontz has done a bit of seasoning with this spice, too, in such novels as Lightning and Demon Seed (and, some say, Hung).

Believable characters. Stephen King, Douglas Preston and Lincoln Child, and Dan Simmons are great at creating characters that stick to readers’ ribs.

Innovation. Bram Stoker demonstrates it, especially in his short story “Dracula’s Guest,” as does H. P. Lovecraft, Edgar Allan Poe, Shirley Jackson, and a host of other, mostly classical, horror novelists and short story writers. For an example, check out my post on Stoker’s story, which is a real stoker, to be sure. Stephen King shows innovation, too, in ‘Salem’s Lot, The Shining, It, and other novels. One might even argue that Dean Koontz’s something-for-everyone, cross-genre writing is innovative; he seems to have been one of the first, if not the first, to pen such tales.

Technique. Check out Frank Peretti’s use of maps and his allusions to the senses in Monster; my post on this very topic is worth a look, if I do say so myself, which, of course, I do. Opening chapters that accomplish a multitude of narrative purposes (not usually all at once, but successively) are attractive, too, and Douglas Preston and Lincoln Child are as good as anyone, and better than many, at this art.

A connective universe--a mythos, if you will, such as both H. P. Lovecraft and Stephen King, and, to a lesser extent, Dean Koontz, Bentley Little, and even Douglas Preston and Lincoln Child have created through the use of recurring settings, characters, themes, and other elements of fiction.

A lack of pretentiousness. Dean Koontz has it, as do Douglas Preston and Lincoln Child, Bentley Little, and (to some extent, although he has become condescending and self-indulgent of late, Stephen King); unfortunately, both Dan Simmons and Robert McCammon have become too self-important in their later works, Simmons almost to the point of becoming unreadable. Come on, people, you’re writing about monsters--you should be humble.

Longevity. Writers who have been around for a while usually get better, Stephen King, Dan Simmons, and Robert McCammon excepted.

Pacing. Neither too fast nor too slow. Dean Koontz is good, maybe the best, here, of contemporary horror writers.


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