More information soon…
“‘Mini McDonagh Manor’ by Mike Thorn was pristine and showed why I love Mike’s writing so much. Following a woman who needs to confront things from the past, Mike does a really great job of encasing an entire ‘haunted house’ book in a dozen or so pages. Well done.”
It seems only yesterday that I unleashed my debut short story collection Darkest Hours on the world. November 10, 2020 will mark its three-year anniversary, and the end of its print run with Unnerving. So far, the book has been thriving thanks to support and enthusiasm from readers, reviewers, and horror enthusiasts from all dark corners. I fully intend to find it an excellent new home, and I will provide updates as they come!
In other news, my debut novel Shelter for the Damned is scheduled for release with JournalStone on February 26, 2021. I have a lot of exciting updates related to that project, but I’m going to have to sit on those for the time being.
Here’s the synopsis:
While looking for a secret place to smoke cigarettes with his two best friends, troubled teenager Mark discovers a mysterious shack in a suburban field. Alienated from his parents and peers, Mark finds within the shack an escape greater than anything he has ever experienced.
But it isn’t long before the place begins revealing its strange, powerful sentience. And it wants something in exchange for the shelter it provides.
Stay spooky, my friends! More updates soon…
Daniel Braum’s new short story collection Underworld Dreams comes equipped with a Story Notes section; within these Notes, the author provides thoughtful reflections on his creative process, narrative intentions, and philosophical interests, among other things. Most prominently, Braum stresses his persisting interest in the ambiguous space between the psychological and the supernatural. Braum’s fiction inhabits this space and engages with the Weird tradition to depict our reality as innately interstitial, slippery, and impervious to “mastery.” By extension, Underworld Dreams repeatedly encourages us to scrutinize the artificial gap between human and nonhuman animals, between subject and world.
This coy, quiet, and unassuming challenge to human exceptionalism resonates throughout. The first story, “How to Stay Afloat When Drowning,” features a disturbing centerpiece in which a group of people brutally torture a shark; later, the story uses its psychological-supernatural ambiguity to blur the distinction between shark and human. “The Monkey Coat” lends attention to the suffering bound up in its titular object (the origin of whose horrors remain unknown).
Braum does not employ this symbolism to bluntly didactic ends; rather, he assesses the artificial divide between human and nonhuman animal to underline broader investigations about the human subject’s relation to the world. For example, the title story sees characters discussing acts of infidelity and dishonesty as reflections of their “monkey in the jungle” selves.
Braum cites Algernon Blackwood’s classic Weird novella The Willows in his Story Notes, and the imprint is visible: Underworld Dreams repeatedly sees its characters encountering eerily numinous spaces and reality-fissures in environments that have evaded global industrialism. Braum finds lots of potential for the ineffable in “natural” spaces, demonstrating a knack for imagery and atmosphere.
There are horrifying moments here (perhaps most notably in the aforementioned “Monkey Coat,” reportedly inspired by advice Braum got from the legendary Jack Ketchum), but this book mostly occupies Weird Fiction’s less macabre terrain. China Melville writes that the “obsession with numinosity under the everyday is at the heart of Weird Fiction,” and this is the obsession that most clearly characterizes Underworld Dreams. For readers seeking fiction with a strong narrative engine and a bold commitment to the unknown, this collection is one to seek out.