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“The darkness and silence of the great room are compromised only by noisy jets of blue-green light flickering spasmodically along the walls. But for the most part the room lies buried in shadows. Even its exact height is uncertain, since above the convulsive illumination almost nothing can be seen by even the sharpest pair of eyes, never mind Cheev's squinting little slits. Part of the lower cagework of the crisscrossing rafters is visible, but the ceiling is entirely obscured, if in fact Voke's sanctum has been provided with one.

Somewhere above the gritty floor, more than a few life-size dolls hang suspended by wires which gleam and look gummy like wetted strands of a spider web. But none of the dolls is seen in whole: the long-beaked profile of one juts into the light; the shiny satin legs of another find their way out of the upper dimness; a beautifully pale hand glows in the distance; while much closer the better part of a harlequin dangles into view, cut off at the neck by blackness. Much of the inventory of this vast room appears only as parts and pieces of objects which manage to push their way out of the smothering dark. Upon the grainy floor, a long low box thrusts a corner of itself into the scene, showing off reinforced edges of bright metal strips plugged with heavy bolts. Pointed and strangely shaped instruments bloom out of the loam of shadows; they are crusted with... age. A great wheel appears at quarterphase in the room's night. Other sections, appendages, and gear-works of curious machines complicate this immense gallery.

As Cheev progresses through the half-light, he is suddenly halted by a metal arm with a soft black handle. He backs off and continues to shuffle through the chamber, grinding sawdust, sand, perhaps pulverized stars underfoot. The dismembered limbs of dolls and puppets are strewn about the floor, drained of their stuffings. Posters, signs, billboards, and leaflets of various sorts are scattered around like playing cards, their bright words disarranged into nonsense. Countless other objects, devices, and leftover goods stock the room, more than one could possibly take notice of. But they are all, in some way, like those which have been described. One wonders, then, how they could all add up to such an atmosphere of... isn't repose the word? Yes, but a certain kind of repose: the repose of ruin.”
Thomas Ligotti - “Dr. Voke and Mr. Veech”

Ligotti Panel at StokerCon
Apr 22, 2017 - 2:30 PM - by Nicole Cushing
A week from today (Saturday, April 29) at 2:00 p.m., there will be a panel at StokerCon titled "Thomas Ligotti and the Nightmare of Living".

S.T. Joshi, Ted Grau, and I will be discussing Tom's work aboard the Queen Mary. (A former luxury liner permanently docked in Long Beach, CA.) The panel will be in the Regent Room. Would love to see some TLO folks there.
11 Replies | 1,314 Views
Thomas Ligotti Online - Nineteenth Anniversary
Feb 08, 2017 - 11:35 AM - by Dr. Locrian
On February 4th, 1998, TLO was born.

Happy Belated Birthday (I forgot AGAIN), Thomas Ligotti Online!

A heartfelt thank you to Brian Poe (aka Dr. Bantham) for his wonderful design, hosting and administrative prowess and to all the members of TLO past and present for making this an online community that continues to stand the test of time.

Finally, thanks to Thomas Ligotti himself, as always.

Here's to nineteen more years of TLO!
4 Replies | 1,928 Views
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