Geez, it’s been a while since we got spooky on the show, hasn’t it? High time we brought back Mike Thorn to talk about how Wes Craven fused meta storytelling and horror in two franchises: A Nightmare on Elm Street and Scream. We’ll permeate the membranes of reality, disassemble Craven’s views on horror’s social and political value, and laugh about how Matthew Lillard yells “BOO-GAH” when he imitates a gunshot.
“The writing was excellent – the author fits multiple layers to the story while making Mark a sympathetic character, despite being the weird and aggressive kid in class. I couldn’t wait to find out where the story was heading and was satisfied with the ending.”
“Horrification orchestrated with precision and effectiveness.”
With the 2019 release of Inside the Castle, Josiah Morgan announced himself as a transgressive and exciting new voice, and Circles is further evidence. A freewheeling blur of poetry, film criticism, and visual art, Morgan’s latest work urges its readers to question what defines a text, and even what it means to read. Morgan pursues these complex problems through the attentive and varied use of typography, offering a mixture of blank-verse, concrete poetry, and essay fragments that gesture to the book’s title shape and its implications of auto-cannibalism and endlessness.
The content is as fascinating and rebellious as the form. Morgan draws on disparate media, religious references, and allusions both coded and explicit (I was particularly pleased to see one of my favorite lines from Elizabeth Bishop’s “One Art,” and a reading of the vegan ethos in Tobe Hooper’s The Texas Chain Saw Massacre). The author lays bare his frame of references in an appendix labeled ASSISTANCE [IN RESEARCH AND ERASURE], and his array of sources is fascinating and unique.
The result is not nearly as daunting or unapproachable as it might sound. In fact, I easily devoured the book in one quick sitting. Morgan’s work is energizing, animated by a vital and authentic voice, threaded with both coldly ironic observation and real despair. The author engages in some hilarious interplay between artificial designations of “high” and “low” art. Consider, for example, a prose-poem near the end of the book that describes a speaker masturbating to urolagniac fantasies of shock-punk icon GG Allin before reading Verlaine, Rimbaud, and Plath.
Much like Morgan’s excellent Inside the Castle, Circles is a powerful testament to this brilliant young writer’s talent. Keep your eyes on him.
In his latest interview, Mike Thorn answers Lou Pendergrast’s questions about Shelter for the Damned, Darkest Hours, and his new story “Deprimer” (from the latest issue of Vastarien).
“As Mark’s friendships begin to deteriorate, so too does his school and home life, making the shack feel like the only good thing in his world. I felt that one reason Mark may have been easily swayed was his own proclivity towards violence but another may have been the implied physical abuse at the hands of his father.”
- What authors influenced you growing up? Who are you reading now?
As a young kid, I was really excited by J. R. R. Tolkien, C. S. Lewis, and R. L. Stine. Discovering Stephen King as a preteen was a big deal, and the same goes for encountering Hubert Selby Jr. in my teens.
These days, I try to read as widely as possible. I’m currently making my way through Drawn Up from Deep Places, by Gemma Files, which is terrific. I was recently floored by two Henry James novels—The Portrait of a Lady and The Bostonians.
“High-octane horror that really delivers while never being too predictable. Mike Thorn respects the genre and […] is a well-read student of horror.”
Hot Box the Cinema welcomes a very special guest, critic and horror author Mike Thorn, for a tribute to the late filmmaker Stacy Title, the potentially vulgar auteur behind films like The Bye Bye Man, Snoop Dogg’s Hood of Horror, and The Last Supper.