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“Suffering through the days and nights of an illness, especially an intestinal virus, one becomes highly conscious of certain realities, as well as highly sensitive to the functions of these realities, which otherwise are not generally subject to prolonged attention or meditation. Upon recovery from such a virus, the consciousness of these realities and their functions necessarily fades, so that the once-stricken person may resume his life's activities and not be driven to insanity or suicide by the acute awareness of these most unpleasant facts of existence. Through the illumination of analogy, I came to understand that the Teatro operated in much the same manner as the illness from which I recently suffered, with the consequence that the person exposed to the Teatro-disease becomes highly conscious of certain realities and their functions, ones quite different of course from the realities and functions of an intestinal virus. However, an intestinal virus ultimately succumbs, in a reasonably healthy individual, to the formation of antibodies (or something of that sort). But the disease of the Teatro, I now understood, was a disease for which no counteracting agents, or antibodies, had ever been created by the systems of the individuals--that is, the artists--it attacked. An encounter with any disease, including an intestinal virus, serves to alter a person's mind, making it intensely aware of certain realities, but this mind cannot remain altered once this encounter has ended or else that person will never be able to go on living in the same way as before. In contrast, an encounter with the Teatro appears to remain within one's system and to alter a person's mind permanently. For the artist the result is not to be driven into insanity or suicide (as might be the case if one assumed a permanent mindfulness of an intestinal virus) but the absolute termination of that artist's work. The simple reason for this effect is that there are no antibodies for the disease of the Teatro, and therefore no relief from the consciousness of the realities which an encounter with the Teatro has forced upon an artist.”
Thomas Ligotti - “Teatro Grottesco”

Cadabra Records Announcement
Apr 13, 2017 - 2:17 PM - by Dr. Locrian


Get ready.

#ThomasLigotti #nowspinning #vinyl #vinylcollector #coloredvinyl #horror #horrorfiction #vinyljunky #spokenarts #spokenword #CadabraRecords #NightmaresOnVinyl

I'll be narrating.

More details forthcoming.

Above is the title page for Matt Cardin’s superb essay, which will be included in "The Bungalow House" LP.

The sound design and music are by Chris Bozzone. I've heard what is very close to the final product, and I doubt I could be more pleased. I'll keep you all posted on a release date.
10 Replies | 5,958 Views
The X-Files script that was too bleak to air
Jan 12, 2018 - 5:31 PM - by Dr. Locrian


Cult horror author Thomas Ligotti explains why his nihilistic take on the sci-fi series never made it to TV




Quote
Their search for truth has seen them do battle with vampires, zombies, aliens, and elasticated mutants hungry for human offal. But what would Mulder and Scully make of a case that brought them face-to-face with “the strange and awful truth” of existence? “Crampton”, an unproduced screenplay for The X-Files, offers a clue: co-written by cult horror author Thomas Ligotti in 1998, the script plunges our detective leads into a world of illusion, suggesting conspiracies of a different kind.

If only the 2018 iteration of The X-Files were so ambitious. Last week, the new series premiered to middling reviews, following a first rebooted season that could not have felt more like a period piece if Mulder and Scully had rocked up wearing corsets. The original X-Files, of course, remains a hugely influential show and pop-cultural motherlode of pre-millennial tension. One difficulty with bringing it back is that television has become so much weirder since then: Black Mirror continues to mine a potent seam of techno-paranoia, while shows like Top of the Lake (in its first series) and The Returned evoke an otherworldly atmosphere far richer than anything Chris Carter’s show used to conjure. Even Twin Peaks, itself an influence on The X-Files, amped up the weird for its much-vaunted Return.

TV’s recent flirtation with the uncanny found its groove with the first series of True Detective, which relied for much of its unholy swagger on the character of Rust Cohle. A few years ago, writer Nic Pizzolatto revealed that part of the inspiration for Cohle’s bleak philosophising came from Thomas Ligotti’s non-fiction work The Conspiracy Against the Human Race, causing dark mutterings among the author’s devoted fanbase. Less known is that Ligotti also wrote an X-Files script which, had it gone on to be filmed, would surely rank among the series’ strangest and most terrifying moments.
And the very last line:

Quote
The Conspiracy Against the Human Race will be republished this year by Penguin
20 Replies | 1,305 Views
Absurd Degenerations and Totalitarian Decrepitude in "The Town Manager"
Dec 18, 2017 - 11:17 AM - by Dr. Locrian


I'm delighted that my article concerning Ligotti's corporate horror masterpiece is out in the world now, with beautiful artwork by the great Jason Van Hollander.

101 Weird Writers #47 Thomas Ligotti | Weird Fiction Review

Quote
The humor in 'The Town Manager' is of an absurd (or, rather, absurdist) flavor, from the useless trolley to the murder of the trolley operator by possibly supernatural means via the semi-literate town manager. In the pivotal book, 'The Theatre of the Absurd,' Martin Esslin quotes philosopher Apuleius, describing ancient mime plays in which 'serious, even horrifying matters are miraculously mingled with the… humorous.' This is of a kind used by Ligotti, humor that might be found in a Beckett or Ionesco play – a hilarity that reinforces and deepens rather than defuses the horror of existence.
4 Replies | 729 Views
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