Showing posts with label Edward M. Erdelac. Show all posts
Showing posts with label Edward M. Erdelac. Show all posts

Wednesday, October 30, 2013

TC Select Publishing: "Oil of Dog," by Ambrose Bierce


In preparation for publishing something truly spectacular in the coming days (you'll definitely want to stay tuned for this), and because Weird fiction writer Edward M. Erdelac recently suggested that I read this story after a brief discussion of the greatness of dark fiction founding father Ambrose Bierce, I'm publishing "Oil of Dog" (originally published in 1911) at The Cosmicomicon.

This is a public domain story, of course, so why not?  There are SO MANY amazing tales in the public domain - including all of the works of Lovecraft, REH, CAS, Blackwood, Machen, Poe, Hodgson, Chambers, and yes, Bierce - and others have published these works for decades, so why not me?  Why not here?  WHY NOT THE COSMICOMICON?

So, I give you....

"Oil of Dog"
by Ambrose Bierce

My name is Boffer Bings. I was born of honest parents in one of the humbler walks of life, my father being a manufacturer of dog-oil and my mother having a small studio in the shadow of the village church, where she disposed of unwelcome babes. In my boyhood I was trained to habits of industry; I not only assisted my father in procuring dogs for his vats, but was frequently employed by my mother to carry away the debris of her work in the studio. In performance of this duty I sometimes had need of all my natural intelligence for all the law officers of the vicinity were opposed to my mother's business. They were not elected on an opposition ticket, and the matter had never been made a political issue; it just happened so. My father's business of making dog-oil was, naturally, less unpopular, though the owners of missing dogs sometimes regarded him with suspicion, which was reflected, to some extent, upon me. My father had, as silent partners, all the physicians of the town, who seldom wrote a prescription which did not contain what they were pleased to designate as Ol. can. It is really the most valuable medicine ever discovered. But most persons are unwilling to make personal sacrifices for the afflicted, and it was evident that many of the fattest dogs in town had been forbidden to play with me — a fact which pained my young sensibilities, and at one time came near driving me to become a pirate.

Looking back upon those days, I cannot but regret, at times, that by indirectly bringing my beloved parents to their death I was the author of misfortunes profoundly affecting my future.

One evening while passing my father's oil factory with the body of a foundling from my mother's studio I saw a constable who seemed to be closely watching my movements. Young as I was, I had learned that a constable's acts, of whatever apparent character, are prompted by the most reprehensible motives, and I avoided him by dodging into the oilery by a side door which happened to stand ajar. I locked it at once and was alone with my dead. My father had retired for the night. The only light in the place came from the furnace, which glowed a deep, rich crimson under one of the vats, casting ruddy reflections on the walls. Within the cauldron the oil still rolled in indolent ebullition, occasionally pushing to the surface a piece of dog. Seating myself to wait for the constable to go away, I held the naked body of the foundling in my lap and tenderly stroked its short, silken hair. Ah, how beautiful it was! Even at that early age I was passionately fond of children, and as I looked upon this cherub I could almost find it in my heart to wish that the small, red wound upon its breast—the work of my dear mother—had not been mortal.

It had been my custom to throw the babes into the river which nature had thoughtfully provided for the purpose, but that night I did not dare to leave the oilery for fear of the constable. "After all," I said to myself, "it cannot greatly matter if I put it into this cauldron. My father will never know the bones from those of a puppy, and the few deaths which may result from administering another kind of oil for the incomparable ol. can. are not important in a population which increases so rapidly." In short, I took the first step in crime and brought myself untold sorrow by casting the babe into the cauldron.

The next day, somewhat to my surprise, my father, rubbing his hands with satisfaction, informed me and my mother that he had obtained the finest quality of oil that was ever seen; that the physicians to whom he had shown samples had so pronounced it. He added that he had no knowledge as to how the result was obtained; the dogs had been treated in all respects as usual, and were of an ordinary breed. I deemed it my duty to explain—which I did, though palsied would have been my tongue if I could have foreseen the consequences. Bewailing their previous ignorance of the advantages of combining their industries, my parents at once took measures to repair the error. My mother removed her studio to a wing of the factory building and my duties in connection with the business ceased; I was no longer required to dispose of the bodies of the small superfluous, and there was no need of alluring dogs to their doom, for my father discarded them altogether, though they still had an honorable place in the name of the oil. So suddenly thrown into idleness, I might naturally have been expected to become vicious and dissolute, but I did not. The holy influence of my dear mother was ever about me to protect me from the temptations which beset youth, and my father was a deacon in a church. Alas, that through my fault these estimable persons should have come to so bad an end!

Finding a double profit in her business, my mother now devoted herself to it with a new assiduity. She removed not only superfluous and unwelcome babes to order, but went out into the highways and byways, gathering in children of a larger growth, and even such adults as she could entice to the oilery. My father, too, enamored of the superior quality of oil produced, purveyed for his vats with diligence and zeal. The conversion of their neighbors into dog-oil became, in short, the one passion of their lives—an absorbing and overwhelming greed took possession of their souls and served them in place of a hope in Heaven—by which, also, they were inspired.

So enterprising had they now become that a public meeting was held and resolutions passed severely censuring them. It was intimated by the chairman that any further raids upon the population would be met in a spirit of hostility. My poor parents left the meeting broken-hearted, desperate and, I believe, not altogether sane. Anyhow, I deemed it prudent not to enter the oilery with them that night, but slept outside in a stable.

At about midnight some mysterious impulse caused me to rise and peer through a window into the furnace-room, where I knew my father now slept. The fires were burning as brightly as if the following day's harvest had been expected to be abundant. One of the large cauldrons was slowly "walloping" with a mysterious appearance of self-restraint, as if it bided its time to put forth its full energy. My father was not in bed; he had risen in his night clothes and was preparing a noose in a strong cord. From the looks which he cast at the door of my mother's bedroom I knew too well the purpose that he had in mind. Speechless and motionless with terror, I could do nothing in prevention or warning. Suddenly the door of my mother's apartment was opened, noiselessly, and the two confronted each other, both apparently surprised. The lady, also, was in her night clothes, and she held in her right hand the tool of her trade, a long, narrow-bladed dagger.

She, too, had been unable to deny herself the last profit which the unfriendly action of the citizens and my absence had left her. For one instant they looked into each other's blazing eyes and then sprang together with indescribable fury. Round and round, the room they struggled, the man cursing, the woman shrieking, both fighting like demons—she to strike him with the dagger, he to strangle her with his great bare hands. I know not how long I had the unhappiness to observe this disagreeable instance of domestic infelicity, but at last, after a more than usually vigorous struggle, the combatants suddenly moved apart.

My father's breast and my mother's weapon showed evidences of contact. For another instant they glared at each other in the most unamiable way; then my poor, wounded father, feeling the hand of death upon him, leaped forward, unmindful of resistance, grasped my dear mother in his arms, dragged her to the side of the boiling cauldron, collected all his failing energies, and sprang in with her! In a moment, both had disappeared and were adding their oil to that of the committee of citizens who had called the day before with an invitation to the public meeting.

Convinced that these unhappy events closed to me every avenue to an honorable career in that town, I removed to the famous city of Otumwee, where these memoirs are written with a heart full of remorse for a heedless act entailing so dismal a commercial disaster.

Wednesday, November 21, 2012

Tag, You're It: The Cosmicomicon Joins in the Electronic Parade of The Next Big Thing

cover art (c) by Arnaud de Vallois
Author, screenwriter, devoted Star Warsian, and fellow Weirdo Angelino Edward M. Erdelac was kind enough to tag me into The Next Big Thing on his blog posting last week, in which he discussed his most recent novel Terovolas, which is available now from JournalStone Publishing.

Here's a synopsis taken from his excellent blog Delirium Tremens:
"Following the events of Bram Stoker’s Dracula and his killing of the nefarious count’s vampiric wives, Professor Abraham Van Helsing commits himself to Dr. John Seward’s Purfleet Asylum, suffering from violent recurring fantasies, where he is diagnosed with melancholic lycanthropia. 
Upon his discharge, seeking a relaxing holiday, Van Helsing volunteers to transport the remains and earthly effects of Quincey P. Morris back to the Morris family ranch in Sorefoot, Texas. But when he arrives, he finds Quincey’s brother Cole embroiled in escalating tensions with a neighboring outfit of Norwegian cattle ranchers led by the enigmatic Sig Skoll. 
Men and animals start turning up dead and dismembered. Van Helsing suspects a preternatural culprit, but is a shapechanger really loose on the Texas plains, a murderous cult, or are the delusions of his previously disordered mind returning? He must decide soon, for the life of a woman may hang in the balance…"

In turn, I tag the following Filthy Five:

Matt Cardin
Jayaprakash Satyamurthy
Jeffrey Thomas
Brian Sammons
Peter Rawlik

As now one of the It, I will answer the ten stock questions below, and then pay this hot potato forward.

Hope you enjoy.
__________________________________________________________________________

1)    What is the working title of your next book?

I Am Death, Cried the Vulture, a joint collection of short fiction by me and my wife - author, editor, essayist, and intergalactic heartbreaker Ives Hovanessian.

2)    Where did the idea come from for the book?

My co-author.  My co-pilot
I was offered a short fiction collection deal last year, and then Ives and I were offered a joint collection deal at the beginning of this year.  While both sounded great, and were huge honors, it seemed as time wore on and various issues arose, it made more sense to cut out middle management, fold my solo collection into the joint collection, and put out our debut joint collection ourselves (which was a goal of ours all along), allowing us complete control of cover, layout, format, platform, paper quality, binding, length, story selection, release timing, print run, deluxe editions, marketing, etc.  Not to sound like control freaks, but all of those things matter to us, as we take the tactile and sensory experience of reading a timber and ink book very, very seriously, while also realizing the importance of having an eBook version available for those who prefer it.  Moreover, as long time book buyers, we are keenly aware that the smallest things can be make or break when it comes to finding (and most importantly, keeping) a potential reader unfamiliar with your work, that only has a cover and a few blurbs to go on when deciding if they want to spend their hard earned money.  That window is very narrow, and you need to grab an interested party immediately.  Hence, we're going to publish it under our own banner, with I Am Death, Cried the Vulture serving as the launch release for SlaughterHaus Press, a boutique small press that will focus on writers and projects that we find exceptional, published with an eye on aesthetics and quality, respect for writers and artists, and a celebration of the enduring legacy of the physically printed written word.


3) What genre does your book fall under?

Weird fiction, as a sub-genre.  Horror if viewed more broadly.  Anything from cosmic horror to ghost stories  to tales of murder.  The uncanny, the monstrous, the brutal, even the (twistedly) whimsical.  This is dark stuff, with lots of range and plenty of genre blending.  I think it has something for everyone who enjoys a wide swath of modern speculative fiction rooted in the Classics.


4) What actors would you choose to play the part of your characters in a movie rendition?

Hmm... As this question is most likely aimed at those participants discussing a novel, this might get a bit convoluted for raft of short stories.

Ben Foster - Poster Boy for Insanity
That said, throwing out a few of my stories that will be included in my portion of the collection, I think Casey Affleck would make for an interesting Boyd in "The Screamer."  Chris Evan could play the nameless protagonist in "Transmission."  For "Flutes," I'd love to see Ed Harris or Harvey Keitel play Assistant Director French, while Ryan Gosling, Cillian Murphy, or Ben Foster would be an interesting Dansby.

For "In the Cave, She Sang," I think Christian Bale could do a bang-up Charles Manson traipsing through Death Valley on the eve of a very momentous decision.  I think Mandy Patinkin would be a great father in the story "Twinkle, Twinkle," while James Caan and Susan Sarandon would be fantastic as the vacationing Vahlkamps in "Something We Ate."  Robert Duvall and Gene Hackman as the fishing buddies in "Beer & Worms," and James McAvoy in "Corpus Arcanum."  Daniel Day Lewis for my story "Old Whiskey," or any story I've ever written, will write, and would be forced to write if he said he wanted to play one of my characters.


 5) What is the one-sentence synopsis of your book?

A collection of Weird fiction tales by T.E. Grau and Ives Hovanessian spanning the cosmos, the underground, and various shadowed places in between.


6) Will your book be self-published or represented by an agency?

Neither of us have sought out representation as of yet, and although we could have relied upon a publisher to put out I Am Death, Cried the Vulture, we both opted to do it ourselves, for the reasons listed above.  DIY is the only way to ensure total satisfaction in the finished result.


7) How long did it take you to write the first draft of the manuscript?

Tough to say, as it's a collection of short fiction from two people, and is ongoing.  In the end, it will cover our writing from the last three years (2010-2013).  With our hectic schedules, various gigs, and penchant for rewrites, we're not the speediest scribes on the planet, but we do put in the work every day.


8) What other books would you compare this story to within your genre?

I dub "The Screamer" as an example of Lovecraftian Noir.  Ives' story "Dog Will Hunt" has been compared to Lansdale, and is a Weird Western with a streak of wrathful black running through it darker than most anything else going.  These are our two anchor tales, as they have received the most feedback.  Our other stories pretty much run the gamut of fantastical and supernatural fiction as noted above.  As for parallels to other books or authors, I think the collection will appeal to those people who read Richard Gavin, Matt Cardin, Simon Strantzas, Laird Barron, Landsdale, M.R. James, Bradbury, T.E.D. Klein, Ligotti, Lovecraft, Machen, Blackwood, etc., as the stories seem to twirl in those same wheelhouses, and have drawn thematic comparisons to many of the above from reviewers, readers, and peers.


9) Who or what inspired you to write this book?

The book was always going to be written, it just arrived sooner on the docket.  But what inspired us to  publish it ourselves was our goal of making a book interesting and worthy of purchase, and especially the time invested reading our book.  In every phase.  Inside and out.  A customer - and especially a reader - is worthy of that respect and extra care, as they are investing days/weeks/months with our words and world.  Because of this, we want to make the experience as wonderful as possible, as a way of showing thanks.


10) What else about the book might pique the reader's interest?

Picking up I Am Death, Cried The Vulture is a chance for a reader to experience two writers in one book, who have differing styles and stories to tell, but are bound by a love of the unsettling, the terrifying, and the beautifully macabre.  A split collection, or an anthology of two.  It will also provide the opportunity to pick up what will (hopefully) be the first of many books to come by Ives and I, mostly individual.  We have plans for another joint collection, titled Dark Tales for Bright Children - which we will rename slightly, as people seem to think it's a kid's book, when in fact it is a very adult book about very bad things done by and to children.  Cheery stuff, right?  Welcome to Grau Haus...


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Happy Thanksgiving, all.  Eat, drink, sleep, drink, eat, and be very, very merry.  Life's too short to not celebrate the lovely times.

Please keep an eye out for the responses of the above-named Now Its this coming Wednesday, November 28th.