Tomorrow’s Brainchild

The voice of one person is very small.  Even a guy like Donald Trump wouldn’t be the terrible threat to this nation that he is if nobody would pass on the nonsense he says.  I often think of this because internet personalities are always have to remind their fans to share their posts.  It’s a simple thing—click “share” and more people find out about something.  What if that something were free?  Isn’t something free worth sharing?  So tomorrow I’ll be participating in Virtual Voices Author Fair: A Day of Nonfiction Books, a small Zoom conference from one to five, to talk about Holy Horror.  Various readers over the years have asked if they can get a discounted copy—like most conferences this one will have a discount associated with it.  Stop by if you have the chance!

The variety of the books being discussed is pretty wide.  Topics will cover many of the areas for which the publisher McFarland is known: television, film, music, politics, the outdoors, and more.  A schedule may be found here.  For those of us who have been (or the lucky who still are) academics, the conference is a sacred cow that has largely been sacrificed to the pandemic.  Getting together with others to discuss ideas is important—the funny thing about ideas is that they often arise from talking with others.  For three years, for instance, the American Academy of Religion offered a session on monsters and monster theory.  That would never have happened if I hadn’t had a discussion with a friend and colleague who shared that interest.  If it’d been only me, it never would’ve transpired.  Sharing is important.

One of the things about generations is that mine (no longer the younger one), is still trying to wrap its collective head around this internet thing.  Now we feel like a bunch of avatars with no onboarding.  We don’t think in terms of clicking a share button.  We still feel like browsing is an individual thing.  They young people I know tend to think of the internet as a place for community.  It’s easier to find like-minded people there.  Unlike school (and often work) where you’re thrown together with people who may or may not share your interests, the web offers places where you can find others who share your interest.  If you’re interested in the kinds of things that you’ll find in the media, and if you have a few minutes tomorrow afternoon, feel free to stop by the Virtual Voices Author Fair.  If you land on their Facebook page, it’d be great if you’d click the share button.


What Have Faces To Do with Books?

I don’t write much about it because I don’t understand it.  Facebook, that is.  I’ve had an account there for many years now and with the rapid changes they make it seems you might want to major in it if you want to pursue it even as an avocation.  One of the bits of wisdom I’ve picked up from various marketers and publicists in the publishing biz is that you need to be visible on social media.  (I’ve encountered agents who actually won’t consider your project unless you already have thousands of followers, preferably on Twitter.)  The aforementioned marketers and publicists insist that you shouldn’t do all social media—who possibly can?  Just stick with the big ones, especially Twitter.  Especially Facebook.  If you’re a working stiff, like yours truly, you’re not allowed on these sites during the day, which means building a following is difficult.

The publisher of my third book, Holy Horror, hasn’t done much promotion for it.  (They also priced it higher than most of their books, forever dooming it to the dreaded library market.)  One thing I found in my few pre-dawn minutes on Facebook is a group of other authors who’ve published with this particular press.  We share ideas and ask questions.  We try to promote our work in ways that most publishers wish authors would.  In any case, we are hosting and event on Saturday, March 6, where we’ll be on Zoom talking about our books.  The event will be free and lots of interesting things will be on offer.  If you’d like to attend, you’ll need to see the link in my Facebook feed.  It’s free.  There will be a limited-time sale price on Holy Horror.

Working in the academic publishing world but not being in the academy I’ve learned that you “fall between two stools.”  Nobody quite knows what to make of you.  Editors aren’t supposed to write books, are they?  The funny thing about that way of thinking is that many editors (yours truly excepted) are among the smartest people I know.  Those who don’t have doctorates read more than most of the people who do.  It would seem that if you wanted to get some really interesting books you’d ask editors to write.  Of course, they may not be permitted to use social media during the day.  Falling between stools is a place familiar to me.  Facebook, however, seems more like an impenetrable forest.  It’s a good thing I write about horror movies, I guess.  If you’re interested in hearing more take a look at Facebook and join us on March 6.


Feelings of Horror

One thing that’s become clear to horror fans (or those of us who try to analyze it, anyway) is that more and more pundits are asking serious questions about its appeal and its utility.  A particularly interesting piece on Bloody Disgusting (and that title isn’t representative of the site) explores how horror is often about probing grief, loss, and mourning.  People who immediately associate horror with slashers and blood and gore probably became aware of the genre in the 1980s.  In the post-slasher era (and even during it) many thoughtful films have dealt with the primary areas associated with pastoral care: mourning, grief, and loss are the bread and vegan butter of ministerial work.  These are elements all people have to face, and some horror is remarkably adept at helping viewers do so.

We all die.  Horror has never been shy about that fact.  When the dead do come back it’s seldom good.  Given the permanence of the situation, it seems reasonable to think about it in advance.  Shallower topics are good too—life without fun is hardly worth the effort.  Horror, however, reminds us that the bill remains due at the end.  One of the main points of Holy Horror is that people tend to find their meaning through pop culture.  (It can also be through more classical means as well, but the point remains the same.)  We watch movies for more than entertainment.  Movies other than horror deal with loss, mourning, and grief, of course.  But as Stephen King once noted, this genre forces the reluctant to look.  What seems to be under-appreciated is how sympathetic it is to the human condition.

Apart from a few colleagues who work in this same nexus of religion and horror, I know few fans of the genre.  Most people I know shy away from it.  For me, it seems to be a brutally honest genre.  There are speculative elements in much of horror—those are the elements that make the films fun to watch, in my opinion.  Speculative is often synonymous with supernatural, or spiritual.  Spirituality is often coded as a positive.  Life throws a lot of loss and grieving our way.  A genre that brings these things together can’t be all bad.  Some of the more recent transcendent horror can be downright profound in its probing.  The editorial by Marcus Shorter doesn’t take the step of addressing the pastoral aspects of the genre, but they are plainly there.  And they can offer solace that all people can use.


Chick Tracks

Goodreads isn’t the only booklover’s website, but it is one that publishers pay attention to.  Having a following on Goodreads helps for making marketing manageable.  Or so the thinking goes.  In any case, I recently had a message on Goodreads about Holy Horror.  It seems someone has, against all odds, found the book and is reading it.  This particular reader asked me in a comment about Chick tracts.  I’ve written about Jack Chick before.  He was a veritable one-man evangelical force of super-nature.  He is responsible for many of my personal nightmares with the Bible.  His cartoon tracts were designed to scare the Hell out of kids, literally.  I read them religiously.  My Goodreads reader pointed out that I could’ve made use of them in Holy Horror.

This made me ponder the reticence of academics to address religion as a cultural force.  Chick tracts are extremely common, even today.  As I posted last year, we were handed one while walking between venues at the first annual Easton Book Festival (an event forced virtual this year by, well, you know).  Not that Chick’s intellectual ability deserves study, but his influence is undeniable.  How many of us fundamentalist kids were set on our life trajectories by tracts that looked like mini-comic books but which had an unwavering, uninformed viewpoint held as gospel?  Chick tracts broached no dissent.  The Bible alone, and the Bible as interpreted by fundamentalists alone, was the only possible way of avoiding everlasting hellfire.  Nightmares indeed.

Chick died in 2016 after half-a-century of terror (his first tract was published in 1960).  Apparently Chick was a shy evangelical and his prolific cartooning was a way of assuaging his own fears of not evangelizing.  Ironically, in his tracts he offloaded that burden onto others—kids were made to feel inferior if they didn’t talk about Jesus to their friends, no matter how shy they might have been.  There’s not much information easily available on this influential man.  A motivated scholar, I’m sure, could dig up information—nearly any life can be illuminated to some degree—but I’m not sure the will is there.  If it ever happens, I suspect the study will be done by someone like me, raised on Chick and fed steady doses of childhood Bible reading.  My Goodreads interlocutor was perhaps onto something by suggesting my watching horror has something to do with Chick tracts.  Stranger things have, I’m sure, happened.


Rest and Be Thankful

Many years on Thanksgiving I find myself distressed.  Don’t get me wrong, I’m thankful for all the good things in my life—and they are more than I regularly stop to count—but life has a way of tossing reality bombs into the mix.  This year, though, there is much for which I’m feeling particularly grateful.  Family and friends foremost.  Fairly good health and a day or two off work.  These are all wonderful.  This year gave us a couple more great gifts: the rejection of a leader who always and only thought of himself and convinced millions that he cared for their interests and beliefs.  A “leader” who refused to acknowledge defeat but just this week began a transition that should’ve begun nearly three weeks ago.  Many are inexpressibly thankful for this.

Although on a much smaller scale, I’m thankful for Nightmares.  Nightmares with the Bible, that is.  Although it’s expensive (I’ll thankfully give a discount code to all askers), it is with a publisher that will promote it better than Holy Horror.  It was a very pleasant surprise to receive the book before Thanksgiving, even with its Halloweenish theme.  Anyone who puts years of their life into a project knows the gratitude in seeing it come to fruition.  Nightmares was a labor of love and I hope all who venture to read it will be thankful that they did.  I know I”m grateful for having lots of other book ideas.  That’s one area where there’s a substantial surplus.

Like many people I’m becoming aware of the dark under-narrative to the American Thanksgiving myth.  What we were presented in state-sanctioned school curricula was a story of grateful pilgrims wanting to share abundance with the American Indians.  History shows that their motivations in colonizing were actually subjugation and making slaves of the indigenous people, something we now recognize as a form of evil.  Such lessons are difficult to learn as an adult when the holiday has so many happy, cozy memories associated with it.  We have just been through four years of national chaos in which “othering” became a wedge intended to fracture the fragile unity of this country.  Yes, the guilt is real.  We cannot, or at least should not, deny what history reveals about our motives.  Instead we should widen our tables.  Invite others to join us.  (Virtually this year.)    And be truly thankful for the many good things—some very large, and others very small—which we have.


Arrival

Excitement that comes during the work week gets sublimated.  Work, you see, is like a huge ship chugging ahead at about 30 knots.  It takes some time to stop, or even change direction.  So on Thursday, while I was still at my desk, Nightmares with the Bible arrived.  Since all work—even salaried—is measured by the clock by HR,  I couldn’t take off time to enjoy the birth.  I opened the box, cursorily flipped through a copy, and got back to the task for which I’m paid.  After work it’s time for supper and I can’t stay awake much beyond seven or eight, which meant I neglected my baby.  Friday was another work day, and although I wanted to do all the things marketers tell you to do, I had other duties.

So now it’s Saturday and I can officially say Nightmares have been released.  I have a discount code flyer, about which nobody has yet emailed me, but the offer still stands.  You can get a discounted (but still expensive) copy by following the instructions below.  Feel free to share with your rich friends.  Better yet, have your library order a copy.  I’m hoping for a paperback on this one, but that’ll be a couple years and I know paperbacks seldom outsell hardcovers, even expensive ones.  Raising a child can be a costly venture, no?  Adding another book meant that my display copies had to move out of their cubby-hole onto a bookshelf.  Hopefully, if things go well, there will be more siblings.  Perhaps better priced.

A Reassessment of Asherah was published by a European academic press and put at the incredibly high price of $78 back in 1993.  Gorgias Press reissued it, with additional material, but made it even more expensive.  I can’t even afford to buy a copy.  Weathering the Psalms was only $22, but wasn’t a gripping topic for many.  Cascade Books, at least, know how to price things.  Holy Horror, at the shockingly high $45 for a paperback (McFarland), languished.  It missed its Halloween release and no reviews have appeared.  “Nightmares” might well capture my sense of the price for my second missed Halloween release.  There are other books in the works.  If any of them get completed I’ll be seeking an agent to try to bring the prices down.  Until then, Nightmares will be the final word.  It’s out there now, for those brave enough to engage with it.


Back to Tarrytown

The very name “Hollow” takes me there.  It’s a resonant geonym.  Near Franklin, Pennsylvania, my early hometown, runs a route called Deep Hollow Road.  For me, with its lush, thick trees and shadowed valley, it always exemplified what the term “Hollow” intended.  And of course, there was Sleepy Hollow.  Now that my article on various movies based on the Irving story has appeared in Horror Homeroom (it’s free), I’m again thinking about my dance with that particular story.  In fact, after I submitted the article I watched yet another version of the tale, Pierre Gang’s 1999 The Legend of Sleepy Hollow.  This film on Sci Fi (before it became SyFy) purports to follow the original closely.  It nevertheless has to pad out the story and does so with religion.

Religion—specifically the Bible—and the tale as represented in Fox’s four-season series Sleepy Hollow is what started me on the current leg of my journey.  I sent an article to the Journal of Religion and Popular Culture on the topic and when it was accepted I expanded the idea into the book Holy Horror.  So it is that I’ve tried to watch as many versions of the story as I can.  There have been many made-for-television renditions.  Some are available for free on the various services that draw from my pocket monthly.  Others cause me to debate whether I want to pay for seeing a sub-par effort for the sake of completeness.  The scholar’s heart still beats within me, I guess.  The Gang version expands the story with a church scene, not in the original tale.  To inculcate the Bible, however, Tim Burton’s film of the same year was necessary.

For me no story better encapsulates October.  Perhaps it’s the crucial role of the pumpkin.  Perhaps it’s the ambiguity of the headless horseman himself—is he a hoax or something more?  These kinds of questions are answered by various filmmakers but since the viewer ultimately decides the question is left up to us.  If I were still an academic my next book project would be clear.  Instead I’m trying to bask in the wonder that is October—the season of transition from bright blue skies and colorful leaves to long, chill nights and bare trees.  Our time outdoors becomes more focused so that we might get back to the warmth inside.  And if we’re looking for a tale to read that’s not really that scary, but which captures the ghosts of the American imagination, “The Legend of Sleepy Hollow” beckons.


The Hardest Part of Nightmares

In the process of writing a book, there comes the long time between when everything’s submitted and you hear nothing.  In fact, writing a book is often about waiting.  You spend years pounding your thoughts through a keyboard, send them off to some editor (guilty, as charged) who takes months to read and think about it.  If they like it they’ll send you instructions on how to change it and you start banging the keys again.  When it’s finally ready you submit it and wait while it gets transferred to production.  This handover is a complicated process and can itself take a month, easily.  Then the manuscript has to be copyedited.  I’m at the post-copyedited phase of Nightmares with the Bible, and this is, it seems, the longest wait.

There were only a few changes to the proofs I received.  These days your Word files (converted from Pages files for Mac users) get loaded directly into the production software.  What you see is your own words, in a different format.  You type your corrections directly onto the proofs.  Hit submit.  Then wait.  In my head I know that my book is one of many waiting in a queue to be printed.  I’m also a realist so I know the initial printing will likely be about 150 copies.  (When I first started in the publishing world academic books routinely sold 300 copies, but those days are long gone.)  At some point before then I’ll receive an email telling me the cover’s ready.  That’s what I’m waiting for at the moment.

We’re constantly told, in the business, that electronic books are what people want.  I can’t speak for others who write, but when I think of a book I think of a physical object.  Not some electrons sharing a screen promiscuously with any number of other books.  I haven’t published until I hold the printed object in my hands.  That’s still at least a weeks away.  Unless your book is anticipated to be a big seller, this is a period of absolute silence.  You just wait, nervously checking the publisher’s website every other day to see if your page has been updated, all the while working on your next tome.  Although it is priced expensively, I’m hoping Nightmares with the Bible will do reasonably well because of the subject.  Maybe some people will even get curious about Holy Horror, which was the precursor for it.  But for now, I sitting here with Tom Petty, waiting.


Preorder Alert

Although you can buy most anything from Amazon, the book industry is particularly under its hegemony.  I have to admit that I enjoy browsing there, and often dream of the books on my wishlist.  I suppose that’s why I was pleased to see that Nightmares with the Bible is now available for preorder on Amazon.  I like to give updates for those interested, and the proofs have just arrived.  There’s kind of an inevitability to seeing your book on Amazon, a prophecy almost.  It now exists out there somewhere on the internet.  I do hope that it might stir some interest in Holy Horror, but like that book it will miss its sweet spot of a release before Halloween.  That means it also misses the fall catalogue.  The next one comes in spring, and who’s thinking of horror then?  Something all publishers of horror-themed books know is that minds turn toward these topics in September and October.  Just look at the seasonal sections of stores.

Horror films come out all year long, of course.  Halloween, however, serves as an economic lynch pin.  People spend money on being afraid in the early fall.  By mid-November thoughts have moved on to the holiday season and the bright cheer of Christmas.  Holy Horror arrived days after Christmas two years ago, and although I was delighted to see it, I knew we’d missed the boat for promotion and by the time it was nearing the backlist at the next Halloween it was old news.  That doesn’t dampen my enthusiasm for the books, of course.  It just means they won’t get the attention they might have had.

Nightmares with the Bible is about demons.  Primarily demons in movies, but also a bit of a history of how they develop.  There’s a lot of academic interest in the topic at this point in time, so hopefully it will get checked out of academic libraries that will make up its primary home.  According to Amazon you get five dollars off the exorbitant price if you order it there.  Although it’s standard practice in the industry, I’ve always disagreed with “library pricing.”  It comes from presses publishing too many books, I suspect.  Since few of them are pay dirt they have to recoup their costs by overcharging for the rest.  Nightmares with the Bible is reader friendly.  It’s non-technical and, I hope, fun to read.  Amazon seems excited about it (it’s an illusion, I know, but one for which those of us who do this kind of thing live), and is happy to take preorders.  Have your library order one, and if you do, be sure to check it out.


Setting the Mood

I can’t recall how I learned about Andrew Michael Hurley’s The Loney, but it was one of those books I knew I wanted to read.  One thing I do recall is that I didn’t know it had anything to do with religion until I started it.  It became quite clear that the story—which is difficult to classify—revolves around religion and a kind of gentle horror of things not being what they seem.  Set on a lonely stretch of English coastland where strange things happen, a family takes their mute son to a shrine to have him healed.  The younger brother, not mute, narrates the events.  There are many creepy suggestions of what may be happening, but a full explanation is never given.  That’s kind of like religion itself.

While I don’t normally read the discussion points or classroom/book group discussion material after most modern novels, I found Hurley’s included essay on “Nature, Faith, and Horror” to be of interest.  Several of us, it seems, find the combination of religion, or faith, ties in well with fear.  That was a large part of what I was trying to get at in Holy Horror.  Hurley goes in a different direction with it.  A family under the overbearing religion of the matriarch does her bidding in the hopes of either keeping peace or participating in the healing her son.  We learn from the opening pages that her son Hanny develops into a minister, and therefore has some degree of normalcy.  Hurley is a master of revealing important factors only gradually.  It keeps the tension rising as the story goes along.  There’s no bloodbath, but there is unsettling mystery.

The story is probably best characterized as gothic.  That’s rare these days, and it is the sub-genre of horror that most attracts me.  The mood it casts is kind of a spell and it’s difficult to break.  The Smith family insists on the sacredness of place and on strict religion of the Catholic species.  Evangelicalism could easily lead to horror, and not infrequently it does.  The Catholic variety, however, feels older.  More arcane.  There are things only a priest knows.  And that knowledge can be a challenge to both the knower and the seeker.  The Loney will leave the reader with questions ticking away about what really happened.  These are things we’ll never know.  Those of us who’ve ever entertained religious vocations understand this feeling well.  It stands behind certain kinds of horror and in front of religion, tying them together.


Nightmares’ Progress

Ironically for someone who works in academic publishing, I have my own issues of how books are priced.  I understand why, however, because I can see sales trends.  When it comes to authoring my own books I’ve learned how to write for general readers.  Not all publishers know how to price for that.  Already I’ve had one friend blanch at the price of Nightmares with the Bible and the hope is that it does well enough in the library market to earn a paperback.  I also know paperback sales seldom reach the level of hardcover sales from academic presses.  Much of it is driven by demand.  If people know about the book and ask their libraries to buy it, and this is key—check it out—that has a way of sometimes snowballing enough to convince a publisher that there’s an individual market.

Since I’m plotting the progress on Nightmares here on this blog, I’ll point out that the book has its own page on my website (located here).  Actually, all my books have their own page, but since my website is in the low-rent district of the internet not many readers venture here.  Yesterday I added the back-cover blurbs to the page.  I did so with fear and trembling.  Life has taught me not to take well to compliments.  They make me uncomfortable, like strangers entering my house without masks on.  Since I have no institution backing me, however, I need the praise of colleagues to convince others to buy this book.  In my long-term thinking on the topic, I’m hoping Nightmares gets reviewed and people will get interested in Holy Horror, which didn’t get reviews but which is half the price.

In the biz we call this “platform building.”  Those with healthier egos than mine hire their own publicists who boost their number of Twitter followers and get their names out there on the internet.  My own platform building has been of the budget kind.  I’m active on Goodreads to get followers.  I’ll engage with any comments I get on social media.  But I’m also a working stiff hoping desperately not to lose my job during this pandemic.  The blurbs on Nightmares are very nice, and they note that I write for non-specialists.  This blog is open to all comers, after all.  Likes, shares, and comments all help.  My thanks to my endorsers—you know who you are!—you made my day with your kind words.


The Birth of Horror

In both Holy Horror and Nightmares with the Bible I concern myself with horror films that have appeared since 1960.  I’m not enough of a cinema studies type to argue eloquently about the various stages of the horror genre on celluloid, but the many histories I’ve read settle on 1931, the year Universal’s Dracula and Frankenstein both appeared.  Dealing with more contemporary fare, I often use that as a mental benchmark.  Gary D. Rhodes has changed  that perspective, however.  The Birth of the American Horror Film is a somewhat sprawling treatment of a subject that’s more involved than I had supposed.  Early films didn’t suddenly appear, of course, and Rhodes spends some time surveying what came before the film that eventually produced what we recognize as cinema.  One of the things he notices is that which we call “horror” was pretty much there from the beginning.

Call it morbid curiosity.  While not everyone admits it, it is a pretty widespread human condition.  After surveying literature, theater, and visual culture, Rhodes moves on to consider many different genres of pre-1915 horror.  Some of them don’t strike every reader as horror today, but that’s a point I tried to make in Holy Horror.  The definition depends on the viewer.  Rhodes suggests throughout that American viewers tended to prefer non-supernatural horror.  While statistically this may be true, he devotes several chapters to genres that fall into the supernatural category.  These were, in the opinion of this reader, the best in the book.  One of the reasons is that horror and the supernatural naturally go together.  Many of us working in this field have noticed, some with embarrassment, that the two are closely related.

What might strike other readers as starkly as it did me, is just how terribly prevalent “horror” films were before there was a proper genre.  Rhodes makes the point that even if we like to think otherwise of ourselves, if there hadn’t been a substantial market for such movies they wouldn’t have thrived.  Some of them, like murder mysteries and other dramas, we might cast more as “thrillers” today.  I included a few of them in Holy Horror.  The real terror, however, often arises from subjects that were somewhat taboo in the late eighteenth and early nineteenth centuries.  Religion was handled with all seriousness.  I wonder if this might be one of the reasons that the supernatural didn’t appear, in the early days, as much as it would later.  This is one of those books that raises many questions such as this, and that makes me glad that the author is working on a sequel.


Creation of Horror

I recently read the article “The Christian Worldview of Annabelle: Creation” by Neil Gravino on Horror Homeroom.  I’m pleased to see that the complex world of religion and horror is being addressed by other scholars.  (I know that many actually work in this area, but if you don’t have access to an academic library finding their articles can be impossible.  Also, did I ever think I would miss Religion Index One and Two so much?)  Since I have a piece that is scheduled to appear on Horror Homeroom concerning the 1976 movie Burnt Offerings, I’m glad for the company.  As in my article, Gravino makes the case that the relationship between horror and religion (the Christianity of Annabelle: Creation and its need to be a horror film) is fraught.  This is something I describe in some detail in Nightmares with the Bible.

Back when I was writing Holy Horror I realized that putting individual horror films into a series creates continuity issues.  Annabelle: Creation is part of the wildly successful Conjuring franchise, the latest installment of which has been delayed by the pandemic.  Depending on how you count it, there are already seven films in that particular universe and the shifting of the story is the focus of an entire chapter in Nightmares.  The reason it requires such sustained attention is that, apart from being the most successful horror franchise after Godzilla, these movies are squarely based on Christianity.  Lacking the unrelenting gravitas of The Exorcist, they feature (in the main branch of the diegesis) the Catholics Ed and Lorraine Warren.  In an almost Dantesque view of Heaven and Hell, the characters struggle with monsters that hover between ghosts and demons.  They’re closer to the latter.

Many horror films—but by no means all—are based on fears associated with religion.  That religion isn’t always Christianity, as both The Wicker Man and Midsommar show, but the warnings against extremism apply equally to belief systems across the board.  Another thing I miss, being outside the academy, is the funding to do some in-depth research on this.  It’s good to know that others are seeing what I’m seeing as well, as is appropriate when you encounter something unexpected.  Our religion haunts us.  The reasons we believe are often tied to the self-same fear that the religions themselves generate.  And like religions, horror movies hold the possibility of earning quite a lot of money.  The parallels should not, I believe, be overlooked.


Update on Nightmares

Progress continues on Nightmares with the Bible.  Despite pandemic conditions, I received a happy email last week telling me that the manuscript had been transmitted to production.  If you don’t work in publishing that probably sounds like a pretty simple step, but in reality it’s immensely complicated.  The job of many editorial assistants is often just making sure books get through the transition from author to publishing engines safely.  Since Lexington/Fortress Academic is short-staffed at the moment (publishing is a “non-essential” business), they ask authors to take on additional responsibilities.  One that they passed on to me was to find people to endorse my book.  Fortunately I’ve got star series editors who agreed to take on the task, sparing me from going to someone and saying, “Um, hi.  Would you like to say nice things about my book?”  I’m shy that way.

That doesn’t mean that I’m not excited about the book.  It came about in an odd way, but like any parent an author loves her or his books, even if they aren’t quite what you expected.  Getting a fourth book published is kind of a hallmark for me, especially since I spend a lot of time on the websites of successful academic colleagues older than me that haven’t reached that benchmark.  Publishing books, for me, is a kind of validation.  The original ideas of editors aren’t much valued, either in publishing or in society at large.  Who cares what an editor thinks?  Put that same person in a college and s/he’s a superstar, eh, Qohelet?  So I sit here like an expectant parent, wondering what the book will look like although I already know what I’ve put into it.

Nightmares was never meant to be a research book.  Indeed, Holy Horror was written with an eye toward trade publication.  I’ve been working on my next book project (which I’m keeping under wraps at the moment for fear that someone with more time might get to it first, since there’s no getting the genie back in the bottle).  Before too many weeks have passed I’ll need to brush off my indexing skills (in as far as I have any), and get proofs submitted.  I’m afraid I’ll miss the coveted Halloween launch yet again with this book.  “Scary topic” books always sell best in September/October, but if you miss it, the next year you’re old news.  Like an anxious parent I sit here and wait because at this point things are literally out of my hands.


Fear Writing

Unless your publisher is good at marketing, that book you spend years on will remain unknown.  That “share” button in the right hands can make all the difference.  The other day while searching for reviews on Holy Horror I came across Scriptophobic.  The website had started a column titled “Holy Horror,” and so I contacted them asking if they’d like to review my book that shared the title.  They graciously accepted.  I want to drive traffic (in as far as I can drive anything) to their website, so I’ll simply say the review may be found by following this link.  It’s too early to tell if it will raise much awareness, but I’m glad to see a review at last.  I suppose I should let the publisher know.

Reviews are one way to get notice about a book out there.  It may not help that the idea behind the volume is a strange one: what can we learn about the Bible by watching horror?  (Or, as the reviewer points out, some not-quite horror.)  I’ve always had a bit of an issue, I suppose with strict genres.  Movies I consider horror may not be so for someone else.  I’ve read enough theory to know that even the experts have a difficult time pinning it down.  The real unifying factor behind the book is actually the Bible.  If I’d waited a little longer to write it I would’ve had more material to use, but I’m not getting much younger, and I needed to get the ball rolling or continue to wish I had.  Holy Horror really falls into the category of reception history, and more specifically as the study of iconic books.  Many biblical scholars, I’m discovering, have no interest in horror, or pop culture.

Books that bring unusual ideas together have always appealed to me.  Were I in a university department I would’ve asked colleagues to comment and critique, but this was a book done solo.  Appropriate to horror, perhaps, I was pretty much isolated when I wrote it.  Still, all things considered, I’m pleased at how it turned out.  No reviews have appeared on biblical sites, and I’ve always found the horror community to be so much more welcoming anyway.  That should be saying something right there.  Think about it.  In any case, if you’re interested in what intelligent horror fans think of a book like my humble effort to start a discussion, I encourage you to take a look.  Don’t wait for the biblical studies reviews unless you care to wait a very long time.