This irresistibly goofy novel, by a writer better known these days for his nonfiction publications, reads like the wildest B-move ever. THE DRAGON is a damn good time, in other words, even if it won’t make anyone’s list of the great novels of the 20th Century.
DRACULA may well be the most famous horror novel of all time. I’m almost chagrined to admit I’m never been entirely thrilled with it.
Here we have, according to the front cover, “A Novel of Ultimate Violence” that “Makes JAWS Read Like a Bedtime Story!” Ultimate violence is indeed what this novel contains, it being a grungy and altogether repellent glimpse into the world of Southern-fried dogfighting, as seen through the eyes of a slimy redneck named Lenny.
David Moody’s HATER was one of the 2009’s most vital and arresting genre novels. DOG BLOOD is the long-awaited follow-up, and the middle book of a projected trilogy. As such it bears the problems of most middle books/films, namely that it functions as a bridge between the first and last parts, and so isn’t entirely satisfying as a stand-alone story. Nevertheless, it definitely has its moments.
Here we have the first-ever unexpurgated English language version of French maestro Maurice Renard’s 1908 masterpiece DOCTOR LERNE, SUB-GOD. It’s the first entry in Black Coat Press’ five volume compendium of Renard’s “Scientific Marvel Fiction,” translated by science fiction legend Brian Stableford. Also contained in this book is Renard’s 1905 novella “Mr. Dupont’s Vacation” and his 1909 manifesto “Scientific Marvel Fiction and its Effect on The Consciousness of Progress.”
A novel that’s intriguing and absorbing, set in a minutely detailed future world with a scope that borders on epic.
DO THE CREEPY THING doesn’t read at all like a typical YA product. In fact, it’s fully up to the standards of Joyce’s grown-up books, graced as it is with the type of superbly lyrical prose and storytelling ingenuity that distinguishes all his finest work.
The spirit of Jim Thompson is given a memorably demented workout in this first-person psycho fest.
What we have here is essentially a feminist minded DEATH WISH, although this novel presents itself as something far deeper
This wild and strange novella was initially published in French back in 1931. According to the 1999 introduction by Alastair Brotchie, the accredited authors “Jehan Sylvius” and “Pierre de Ruysnes” are pseudonymous; its actual authors may or may not be the surrealist scribes Robert Desnos and Ernest de Gengenbach. As Brotchie smartly concludes, “Whoever the authors were, they evidently enjoyed themselves.”