I’ll be honest, this was rather took hectic a month for me to keep up with my genre beat. We all know that September is something of a calm-before-the-storm month for horror happenings, anyway. Even if, as in this case, it did see some notable streaming releases: witness Mike Flanagan’s miniseries Midnight Mass, and the immigration-themed horror film No One Gets Out Alive.
Before I go, I could hardly leave without mentioning something I’d missed from last month’s round-up: Graham Masterton now has a statue in Poland depicting himself as a pointy-hatted dwarf. This is one of many dwarf statues decorating the streets of Wroclaw, Poland.
If my Twitter feed is anything to go by, the most talked-about horror film of the month is the new version of Candyman, which has clocked up 85% at Rotten Tomatoes. In an ordinary year I’d have rushed out to the cinema to see it, but this year — well. Hopefully I’ll be able to see it soon.
Of course, if we use a slightly broader definition of “horror”, then Candyman loses its most-talked-about title to The Suicide Squad. Certainly, some found it horrific, as evidenced by a certain “superversive” tweet that went viral for the wrong reasons.
In award news, this month saw Killercon Austin take place, and with it the Splatterpunk Awards. Wile E. Young’s The Magpie Coffin took Best Novel. Other winners were Samantha Kolesnik, whose novella True Crime and edited anthology Worst Laid Plans each won; and Silver Shamrock, a publisher represented by Wesley Southard’s short story “My Body” and Ronald Kelly’s collection The Essential Sick Stuff. The judges’ impartiality was apparently unaffected by the recent controversy in which Silver Shamrock managed to annoy a significant chunk of the horror community through its flip-flopping stance on trigger warnings.
The Shirley Jackson Awards were also handed out. The big winner was Stephen Graham Jones, who won in the novel and novella categories for The Only Good Indians and Night of the Mannequins respectively. The other winners were J. Ashley-Smith’s novelette “The Attic Tragedy”, R. A. Busby’s short story “Not the Man I Married”, Kathe Koja’s collection Velocities: Stories and the anthology Black Cranes: Tales of Unquiet Women.
One of the biggest horror releases this month was The Fear Street Trilogy, a series of Netflix films based on R. L. Stine’s teenage horror books that started in 1989. The series was well-received and there is already talk of a possible continuation.
In award news, Ladies of Horror Fiction announced the winners of their awards which include Agustina Bazterrica’s Tender is the Flesh, Alexis Henderson’s The Year of the Witching the graphic novel The Low Low Woods and more. The finalists for the World Fantasy Awards have also been revealed; amongst the horror titles are Silvia Moreno-Garcia’s Mexican Gothic and Stephen Graham Jones’ The Only Good Indians.
The month also saw a sequel to a controversy from June. Last month small publish Silver Shamrock performed a U-turn on trigger warnings, first denouncing the entire concept and later announcing that it would begin using trigger warnings for all of its books going forward. This month we saw the apparent result of this in a compromise that pleases nobody: Brennan LaFaro’s Slattery Falls, a new book from Silver Shamrock, was given a weirdly unspecific warning by the publisher that reads simply “This book may contain content that triggers undesired reactions.”
Film director Richard Donner helmed a number of much-loved movies including Superman (1978), The Goonies (1985) and the Lethal Weapon series. His immortality in the horror field, meanwhile, was assured by his early film The Omen, originally released in 1976; he also produced the 2002 film Tales from the Crypt: Ritual. He died on July 5, aged 91.
This month was not a happy one for the small-press horror community. On 10 June, author Janine Pipe announced that she was teaming up with Cynthia Pelayo on a book called Triple 9, which she described as “a Cop V Monster short horror story anthology”. Pelayo’s publisher Burial Day was set to put out the book. Less than 24 hours following this announcement, Pipe revealed that the project had been cancelled.
“It is with sadness I announce that this project is no longer going ahead”, she said. “Please make sure you all continue to support Cina in any way you can. I am crushed at what has happened.” The next day, Cina Pelayo published a blog post discussing the attacks that she had received, and which prompted her to cancel the anthology and end Burial Day; towards the end of the month she posted a further essay on related matters. Both posts are deeply personal pieces of writing on her part. I will offer no comment, merely encourage you to read her words which speak for themselves.
Continue reading “June 2021: A Month in Horror”