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“She tries to look away, her eyes being the only things she can move. Now, for the first time, she notices that all around the room - in the shadowed places - are people dressed as dolls. Their forms are collapsed, their mouths opened wide. They do not look as if they are still alive. Some of them have actually become dolls, their flesh no longer supple and their eyes having lost the appearance of teary moistness. Others are at various intermediate stages between humanness and dollhood. With horror, the dreamer now becomes aware that her own mouth is opened wide and will not close.”
Thomas Ligotti - “Dream of a Mannikin”

Tsang Kin-Wah: The Infinite Nothing
Nov 15, 2016 - 4:30 PM - by qcrisp
I have been apprised of an art installation by the Hong Kong artist Tsang Kin-Wah, which has apparently been influenced by Ligotti. Ligotti is quoted, for instance, in his curatorial statement, here:

Here is a video presenting the installation:

I thought TLOers might find it of interest, even if it's too late, now, to attend, and there would be, anyway, geographical difficulties for most of us.
6 Replies | 1,348 Views
New Essay About Thomas Ligotti's Works by D.P. Watt
Nov 05, 2016 - 1:53 PM - by lepidoppleganger
‘The Impossible Literature of Thomas Ligotti, Puppeteer and Eschatologist’, in Thinking Horror: A Journal of Horror Philosophy, Vol 2, October 2016.

Watt is a brilliant fiction writer and essayist , and this is sure to be a gem.
4 Replies | 1,293 Views
The Literature of Creepy Clowns
Oct 13, 2016 - 12:56 PM - by Dr. Locrian

"The Literature of Creepy Clown" (Literary Hub) highlights Ligotti's "The Last Feast of Harlequin."

The apex of clowns-as-nightmare fuel in literature may well have come from the pen of Thomas Ligotti. This is not terribly shocking, given that Ligotti could write about an adorable child riding a pony on a sunny day and turn it into the stuff that chills readers’ souls and convinces them that they live in a bleak, arbitrary universe. Among the stories in his collection Grimscribe is “The Last Feat of Harlequin,” about an academic whose work involves articles with titles like “The Clown Figure in American Media.” He ventures to the town of Mirocaw, which hosts an annual festival in which clowns play a prominent role. Our narrator habitually attends such events, and regularly takes part. “To me the title of Clown has always carried connotations of a noble sort,” he writes. Throw in the involvement of an old mentor and you have the beginnings of a compelling narrative.

It’s also a narrative that, by the story’s end, curdles into something utterly terrifying. The narrator arrives in Miroclaw and discovers anonymous townspeople dressed as clowns and battered by their neighbors according to some mysterious custom. “They’re the freaks,” one of the locals tells him. “It’s their turn this year. Everyone takes their turn. Next year it might be mine. Or yours.” By the time the story reaches its climax—in a clown-filled subterranean chamber, where a terrifying ritual takes place—even readers without a pre-existing aversion to clowns may well find themselves recoiling from one the next time they see them.

Ligotti’s story taps into the kind of formalized and codified behavior associated with clowns, and then uses that to unearth something much deeper and more sinister. It’s one of the most effective horror stories in a book of effective horror stories, and it seems no coincidence that the cover of the recent Penguin Classics edition of Ligotti’s Songs of a Dead Dreamer and Grimscribe features a sinister riff on the harlequin whose imagery pervades the story.
2 Replies | 986 Views
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