The best debut horror short story collections (Shepherd guest post)
Peel Back and See reviewed on Final Women: Horror from a Woman’s Perspective
“While his first collection was great fun, this one shows his growth as a writer, and I feel like a lot of these stories are going to stick with me for a long time. If you haven’t read Thorn’s work this is the perfect place to jump on. I can’t wait to read what he writes next.”
Read the full review on Final Women: Horror from a Woman’s Perspective.
Dissolved Boundaries: Kathe Koja and Mike Thorn in Cinematic Dialogue
To celebrate the release of Dark Factory, Mike Thorn and Kathe Koja sat down to discuss cinema, literature, the creative process and more.
The Fiddlehead: Mike Thorn Reviews David Folster’s Discovering the Movies in New Brunswick
“David Folster’s posthumously published Discovering the Movies in New Brunswick offers a journalistic and intentionally wandering study of its title province’s cinematic history. Spanning the late nineteenth to early twenty-first centuries, the book comprises a dense collection of esoterica, six-degrees-of-separation links, margin notes, and coincidences, all centered in a locale not customarily associated with film history (the province of New Brunswick).”
Pre-order SHATTERED & SPLINTERED (featuring new Mike Thorn story “The Events”)
Mike Thorn’s new realist academic horror story, “The Events”, will be included in Shattered & Splintered (edited by James Sabata and Laurel Hightower) alongside fiction by Gwendolyn Kiste, Cynthia Pelayo, Stephen Graham Jones, Eric LaRocca, Hailey Piper, Gabino Iglesias, and others. All proceeds go to The Glen Haven Area Volunteer Fire Department, a critical part of the emergency response community throughout Larimer County in Colorado that provides emergency response to the Glen Haven community and the entire Estes Valley.
“Numbness and Arousal in the Post-Postmodern Apocalypse of Too Old to Die Young” (Vague Visages)
“Bound up in taboo fetishism and constantly oscillating commitments between the base and the transcendent, and between comedy and horror (much like Lynch’s Twin Peaks: The Return), Too Old to Die Young uses its genre-codified landscape of moral corruption as an allegorical mirror for America’s crumbling civilization, and as a space for a far-reaching aesthetic study of eroticism and violence in art. Putting itself in conversation with the cinematic genre signifiers most loudly established by Alfred Hitchcock’s oneiric, perverse California masterpiece Vertigo (1958), Too Old to Die Young constantly scrutinizes the wavering spaces where the tawdry mingles with the sublime, where sexual (re)productivity entangles with morbidity and destruction.”
Mike Thorn 