So, in Danse Macabre, Steve notes his dislike for the Sword and Fantasy genre, stating that most of Robert Howard's work is shockingly bad. Steve criticising someone for being a genre writer? HAHAHAHAHAHAH 
Danse Macabre
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Are you pigeon-holing Steve as a genre writer?So, in Danse Macabre, Steve notes his dislike for the Sword and Fantasy genre, stating that most of Robert Howard's work is shockingly bad. Steve criticising someone for being a genre writer? HAHAHAHAHAHAH
No, ma'am. I'm just saying that it is rich to call Robert E. Howard a genre writer, when, like Steve, he had written many different types of stories.
Ahhh, gotcha. Maybe it's more about his just not liking his writing at all and that one in particular.No, ma'am. I'm just saying that it is rich to call Robert E. Howard a genre writer, when, like Steve, he had written many different types of stories.
You can say you dislike something, but to call it terrible and not worth attention, nah ...
And yet people do that here on a regular basis.
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If I had a quarter for every time someone said Steve was a terrible writer or (fill in the blank) was the worst book he'd ever written, etc. etc. I could have retired years ago.
Ah, I thought you were talking about me!
HAHAHAHAHAHAHAHAHAHAHAHAHAHAHABut you know know who is laughing now? Steve. He's outwritten and outsold his critics.
Guilty conscience?Ah, I thought you were talking about me!
But you know know who is laughing now? Steve. He's outwritten and outsold his critics.
My guilt came through! Ah ... to be a Dio ...Guilty conscience?
That's a serious case of man crush you've got going there.My guilt came through! Ah ... to be a Dio ...
I'll have you know that he is the one who has a man crush on ME, thank you very much.That's a serious case of man crush you've got going there.
Methinks thou doth protest too much.I'll have you know that he is the one who has a man crush on ME, thank you very much.
I know! get a room all ready!That's a serious case of man crush you've got going there.
.
I'm reading Dans Macabre at the moment and I really like SK's analysis of how horror finds the phobic pressure points of each generation, the cold war, Aids, stagflation....and bites!
There's also something I want to call "narrative girth" and how SK has this great generosity in really pin-holing the nature of reality: the blacktop, the closed shops, all the necessary believable detail. He says this is all necessary to bring the reader with you when things start coming apart. I hadn't really considered how horror uses a sense of heightened reality and detail to make the incredible credible
Another observation I have read Salem's Lot, Revival and struggling with Needful Things ( it lacks the propulsive "gotta" that is defined as the writing/reading compulsion in Misery) and evil is often characterized in hands... especially cold, dry hands seem to hold a particular chill for SK.
Another thing when I don't look the word "ocular" appears in my message, I keep deleting -- it's 23.34 here in the Essex marshes, lock-down and small local community feels intrusive!
There's also something I want to call "narrative girth" and how SK has this great generosity in really pin-holing the nature of reality: the blacktop, the closed shops, all the necessary believable detail. He says this is all necessary to bring the reader with you when things start coming apart. I hadn't really considered how horror uses a sense of heightened reality and detail to make the incredible credible
Another observation I have read Salem's Lot, Revival and struggling with Needful Things ( it lacks the propulsive "gotta" that is defined as the writing/reading compulsion in Misery) and evil is often characterized in hands... especially cold, dry hands seem to hold a particular chill for SK.
Another thing when I don't look the word "ocular" appears in my message, I keep deleting -- it's 23.34 here in the Essex marshes, lock-down and small local community feels intrusive!