Craftwork Episode 23: Dreaming in Fire, Working in Clay, & Reaching for Awe w/ Ramsey Campbell

Listen to Craftwork Episode 23: Dreaming in Fire, Working in Clay, & Reaching for Awe w/ Ramsey Campbell.

In this interview, we chat with Ramsey Campbell about creative instincts, happy accidents, eerie children’s tales, and so much more.

The Oxford Companion to English Literature describes Ramsey Campbell as “Britain’s most respected living horror writer”, and the Washington Post sums up his work as “one of the monumental accomplishments of modern popular fiction”. His awards include the Grand Master Award of the World Horror Convention, the Lifetime Achievement Award of the Horror Writers Association, the Living Legend Award of the International Horror Guild and the World Fantasy Lifetime Achievement Award. In 2015 he was made an Honorary Fellow of Liverpool John Moores University for outstanding services to literature. His latest novels are Fellstones, The Lonely Lands, The Incubations and An Echo of Children. His Brichester Mythos trilogy consists of The Searching Dead, Born to the Dark and The Way of the Worm. His collections include Waking Nightmares, Ghosts and Grisly Things, Told by the Dead, Just Behind You, Holes for Faces, By the Light of My Skull, Fearful Implications, and a two-volume retrospective roundup (Phantasmagorical Stories) as well as The Village Killings and Other Novellas. His non-fiction is collected as Ramsey Campbell, Probably and Ramsey Campbell, Certainly, while Ramsey’s Rambles collects his video reviews, and Six Stooges and Counting is a book-length study of the Three Stooges. Limericks of the Alarming and Phantasmal is a history of horror fiction in the form of fifty limericks.

Books and stories mentioned in this episode:

  • The Atrocity Exhibition – J. G. Ballard 
  • Great Short Stories of the World – Barrett H. Clark and Maxim Lieber, eds. 
  • “A Dark-Brown Dog”; The Red Badge of Courage – Stephen Crane 
  • The Man Within – Graham Greene 
  • “The Residence at Whitminster” – M. R. James 
  • Rosemary’s Baby; The Stepford Wives – Ira Levin 
  • Tales of Mean Streets – Arthur Morrison 
  • Lolita; Pale Fire – Vladimir Nabokov 
  • “The Telltale Heart” – Edgar Allan Poe 
  • At the Foot of the Story Tree: An Inquiry into the Fiction of Peter Straub – Bill Sheehan
  • Ghost Story – Peter Straub
  • The Rupert Bear series – Herbert Tourtel & Mary Tourtel
  • “Afterward” – Edith Wharton 
  • At Night, White Bracken; To Those from Below – Gareth Wood

Listen to Sleazoids #401: PET SEMATARY (1989) + DREAMCATCHER (2003) ft. Mike Thorn

Hosts Josh and Jamie and special returning guest Mike Thorn kick off SPOOKTOBER by discussing two different eras of largely faithful Stephen King adaptations: Mary Lambert’s playful, colorful and yet still effectively upsetting and morbid realization of PET SEMATARY (1989) and Lawrence Kasdan’s attempt at keeping a straight (expensive Hollywood production) face while King bizarrely remixes many of his career-long obsessions in the painkiller induced fever dream of DREAMCATCHER (2003).

Listen here.

Mike Thorn reviews Attack 13 [NYAFF ’25 In Review Online coverage]

Taweewat Wantha’s Attack 13 is unabashedly commercial entertainment — a horror movie made with the kind of cleanness, galloping pace, and pulsing score typical of much contemporary action cinema. However, within its mainstream parameters, it finds openings for some genuinely nasty imagery and social observation, and it creatively crossbreeds high school melodrama and supernatural horror conventions. 

Read the full review at In Review Online.

“The Pasteboard Masks of Text and Screen: On Writers in Gothic Cinema” (In Review Online featured article)

“Gothic cinema inherits an ongoing obsession with writers and writing from its literary ancestors, but how does it translate such text-based fixations into its own audiovisual grammar? How does it stage ‘objective’ diegeses in concert with the innately subjective representations of writers and the act of writing? This article approaches these questions, not by offering a comprehensive history of Gothic films depicting writers (that would require a long, book-length project), but by analyzing a trio of writer-focused Gothic films notable for their dealings with literary ancestry through negotiations between subjective interiority and diegetic objectivity.”

Read the full article here.

Best first viewings, 2024

Pre-2024 releases only.

TOP 10 VIEWINGS (one per director)

Die Nibelungen, Part II: Kriemhild’s Revenge (Fritz Lang, 1924)
Cleopatra (Cecil B. DeMille, 1934)
Three Comrades (Frank Borzage, 1938)
Mogambo (John Ford, 1953)
Johnny Guitar (Nicholas Ray, 1954)
The Girl in the Red Velvet Swing (Richard Fleischer, 1955)
Peyton Place (Mark Robson, 1957)
The Big Country (William Wyler, 1958)
The Hound of the Baskervilles (Terence Fisher, 1959)
Imitation of Life (Douglas Sirk, 1959)

ADDITIONAL STANDOUT VIEWINGS

City Girl (F. W. Murnau, 1930)
Dodsworth (William Wyler, 1936)
The Philadelphia Story (George Cukor, 1940)
The House of the Seven Gables (Joe May, 1940)
Carnival of Sinners (Maurice Tourneur, 1943)
The Spiral Staircase (Robert Siodmak, 1946)
The Passionate Friends (David Lean, 1949)
Wagon Master (John Ford, 1950)
The Tall Target (Anthony Mann, 1951)
Rancho Notorious (Fritz Lang, 1952)
Pickup on South Street (Samuel Fuller, 1953)
The Long Gray Line (John Ford, 1955)
The Quatermass XPeriment (Val Guest, 1955)
Summertime (David Lean, 1955)
Quatermass 2 (Val Guest, 1957)
The Last Hurrah (John Ford, 1958)
The Reluctant Debutante (Vincente Minnelli, 1958)
A Summer Place (Delmer Daves, 1959)
Tender is the Night (Henry King, 1962)
Jason and the Argonauts (Don Chaffey, 1963)
Danza Macabra (Antonio Margheriti, 1964)
War-Gods of the Deep (Jacques Tourneur, 1965)
Island of Terror (Terence Fisher, 1966)
Quatermass and the Pit (Roy Ward Baker, 1967)
Dracula Has Risen from the Grave (Freddie Francis, 1968)
The Unfaithful Wife (Claude Chabrol, 1969)
The Age of the Medici (Roberto Rossellini, 1972)
The Stone Tape (Peter Sasdy, 1972)
Messiah of Evil (Willard Huyck & Gloria Katz, 1974)
The Parallax View (Alan J. Pakula, 1974)
Burnt Offerings (Dan Curtis, 1976)
The Nixon Interviews with David Frost (Jørn Winther, 1977)
Losing Ground (Kathleen Collins, 1982)
The 4th Man (Paul Verhoeven, 1983)
Angel Dust (Gakuryū Ishii, 1994)
Devil in a Blue Dress (Carl Franklin, 1995)
Perfect Blue (Satoshi Kon, 1997)
Serpent’s Path (Kiyoshi Kurosawa, 1998)
Ju-On: The Curse 2 (Takashi Shimizu, 2000)
Nightcap (Claude Chabrol, 2000)
Moulin Rouge! (Baz Luhrmann, 2001)
Shallow Hal (Bobby Farrelly & Peter Farrelly, 2001)
Ju-On: The Grudge 2 (Takashi Shimizu, 2003)
Swimming Pool (François Ozon, 2003)
The Bridesmaid (Claude Chabrol, 2004)
Speak (Jessica Sharzer, 2004)
The Staircase (Jean-Xavier de Lestrade, 2004/2018)
Reincarnation (Takashi Shimizu, 2005)
A Girl Cut in Two (Claude Chabrol, 2007)
Australia (Baz Luhrmann, 2008)
Missing (Tsui Hark, 2008)
Bluebeard (Catherine Breillat, 2009)
Occult (Koji Shiraishi, 2009)
Watchmen [director’s cut] (Zack Snyder, 2009)
Untold History of the United States (Oliver Stone, 2012)
A Cure for Wellness (Gore Verbinski, 2016)
The Putin Interviews (Oliver Stone, 2017)
Sharp Objects (Jean-Marc Vallée, 2018)
The Staircase (Jean-Xavier de Lestrade, 2018)
I Love You, Now Die: The Commonwealth v. Michelle Carter (Erin Lee Carr, 2019)
Hemingway (Ken Burns & Lynn Novick, 2021)
The Deep End (Jon Kasbe, 2022)
Eureka (Lisandro Alonso, 2023)
Immersion (Takashi Shimizu, 2023)
Last Summer (Catherine Breillat, 2023)
Tell Them You Love Me (Nick August-Perna, 2023)
The Zone of Interest (Jonathan Glazer, 2023)

Best first reads, 2024

Pre-2024 releases only.

TOP 10 (one per author)

Daisy Miller, by Henry James (1879)
A Room with a View, by E. M. Forster (1908)
Pan’s Garden: A Volume of Nature Stories, by Algernon Blackwood (1912)
The Custom of the Country, by Edith Wharton (1913)
Their Eyes Were Watching God, by Zora Neale Hurston (1937)
Cassandra at the Wedding, by Dorothy Baker (1962)
Another World, by Pat Barker (1998)
Heartbreaker, by Maryse Meijer (2016)
Babysitter, by Joyce Carol Oates (2022)
The Guest, by Emma Cline (2023)

ADDITIONAL STANDOUT READS

We Are Here to Hurt Each Other, by Paula D. Ashe (2022)
This Mortal Coil, by Cynthia Asquith (1947)
The Space of Literature, by Maurice Blanchot (1955)
The Writing of the Disaster, by Maurice Blanchot (1980)
Dandelion Wine, by Ray Bradbury (1957)
Wieland; or, The Transformation: An American Tale, by Charles Brockden Brown (1798)
Edgar Huntly; or, Memoirs of a Sleepwalker, by Charles Brockden Brown (1799)
The Sublime and the Beautiful, by Edmund Burke (1757)
The Daughters of Block Island, by Christa Carmen (2023)
Gothic Metaphysics: From Alchemy to the Anthropocene, by Jodey Castricano (2021)
The King in Yellow, by Robert W. Chambers (1895)
Don’t Look Now, by Daphne du Maurier (1971)
Shirley Jackson: A Rather Haunted Life, by Ruth Franklin (2016)
Sea, Swallow Me and Other Stories, by Craig Laurance Gidney (2008)
Twice-Told Tales, by Nathaniel Hawthorne (1837)
The Marble Faun, by Nathaniel Hawthorne (1860)
The Talented Mr. Ripley, by Patricia Highsmith (1955)
The Woman in Black, by Susan Hill (1983)
The Witchcraft of Salem Village, by Shirley Jackson (1956)
Let Me Tell You, by Shirley Jackson [edited by Laurence Hyman & Sarah Hyman DeWitt] (2015)
Burn Man: Selected Stories, by Mark Anthony Jarman (2023)
Man and His Symbols, edited by C. G. Jung & M.-L von Franz (1964)
Uzumaki, by Junji Ito (2013)
The Red Tree, by Caitlín R. Kiernan (2009)
The Truth About Stories: A Native Narrative, by Thomas King (2003)
Something Like an Autobiography, by Akira Kurosawa (1981)
What Are You, by Lindsay Lerman (2022)
Existence and Existents, by Emmanuel Levinas (1947)
Peyton Place, by Grace Metalious (1956)
Who Will Run the Frog Hospital?, by Lorrie Moore (1994)
Playing in the Dark: Whiteness and the Literary Imagination, by Toni Morrison (1992)
Devil in a Blue Dress, by Walter Mosley (1990)
Black Water, by Joyce Carol Oates (1992)
New England’s Gothic Literature, by Faye Ringel (1995)
The Gothic Literature and History of New England, by Faye Ringel (2022)
The Devil’s Candy: The Anatomy of a Hollywood Fiasco, by Julie Salamon (1991)
The Last Man, by Mary Shelley (1826)
The Craft of Writing, by William Sloane (1979)
Lost Boy Lost Girl, by Peter Straub (2003)
The Door, by Magda Szabó (1987)
The Fantastic: A Structural Approach to a Literary Genre, by Tzvetan Todorov (1970)
A Fatal Inversion, by Barbara Vine (1987)
The Color Purple, by Alice Walker (1982)
Star-Begotten, by H. G. Wells (1937)
Ghosts, by Edith Wharton (1937)
The Bonfire of the Vanities, by Tom Wolfe (1987)
Strange Seed, by T. M. Wright (1978)

Mike Thorn reviews Chime (In Review Online: Best Films of 2024)

Chime traffics in the ‘eerie’ titular concept of Mark Fisher’s The Weird and the Eerie: a kind of placid, almost subliminal detachment that Fisher argues ‘can give us access to the forces which govern reality but which are ordinarily obscured, just as it can give us access to spaces beyond mundane reality altogether.’ The chime, then, is an auditory metonym for the eerie, an experience that exceeds the visceral shock of horror to inhabit the more transcendent power of terror — 18th-century gothic novelist Ann Radcliffe defines these terms as two distinct phenomena: ‘Terror and horror are so far opposite, that the first expands the soul, and awakens the faculties to a high degree of life; the other contracts, freezes, and nearly annihilates them.’ In Chime, the high degree of life is the very thing that contracts, freezes, and annihilates.”

Read the full review.

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