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12 Thanks From: | Andrea Bonazzi (11-11-2009), bendk (11-11-2009), candy (11-12-2009), Daisy (11-11-2009), Dr. Bantham (11-11-2009), gveranon (11-11-2009), Jeff Coleman (11-11-2009), Nemonymous (11-11-2009), Sam (11-12-2009), Spotbowserfido2 (11-11-2009), starrysothoth (11-11-2009), waffles (11-11-2009) |
#1
By
bendk
on
11-11-2009
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Re: TLO Member Interview: rhysaurus
I enjoyed this interview very much. I am in agreement with many of your comments. It also reminds me that I need to track down a copy of The Monkey Wrench Gang by Edward Abbey and illustrated by Robert Crumb. And maybe a few of your books, too.
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#2
By
G. S. Carnivals
on
11-11-2009
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Re: TLO Member Interview: rhysaurus
I can't thank you enough for this remarkable interview, Rhys. I have not read a novel in some time, but I bought a copy of The Monkey Wrench Gang two days ago based strictly upon your words. I am looking forward to reading this book during the wintry months which lie ahead.
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#4
By
Joel
on
11-12-2009
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Re: TLO Member Interview: rhysaurus
Great interview, Rhys. As ever I'm struck by your breadth of literacy and culture.
As someone who reads waaay too much weird fiction and not enough of anything else, all I can say is: I've been reading Ligotti since the late 1970s, so nerr. Sometimes the fanboy gets it right. Given the Ligotti is hugely influenced by Lovecraft, how do you admire the former and despise the latter? I'm not challenging you, I'm genuinely interested. It's clear there are qualities in Ligotti you don't find in Lovecraft (though, inevitably, vice versa). Re-reading 'The Last Feast of Harlequin' recently, it struck me as being an anti-racist reworking of 'The Shadow Over Innsmouth'. The phrase 'ghetto clowns' is incredibly poignant. I think Ligotti is far more of a humanist than Lovecraft, though even Lovecraft was more of a humanist than he affected to be. You may agree with me on the first point at least. |
#6
By
rhysaurus
on
11-13-2009
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Re: TLO Member Interview: rhysaurus
Thanks for making those points, Joel.
I need to answer them properly, especially the Ligotti versus Lovecraft point, but my thoughts on that matter haven't crystallised in my mind yet. I've been churning them over in my head for years, but they are still slushy. Maybe I need to actively try and help them crystallise? I'm not sure how to do that. Maybe I ought to write a short piece on the topic. It might help. A bit. Briefly (and unsatisfyingly) I'll just say that it's a question of authenticity. Lovecraft just makes me laugh in derision: his so-called visionary aspects are just obvious psychology. His fears (of women, foreigners, the new, etc) could have been rendered as straightforward fears -- in a case study perhaps -- but he chose to transmute them into metaphors, into cosmic blasphemies, etc, etc. His work (and even the power of his work, for I sometimes realise that it does have power) is a literature of weakness, of uneasy symbolism. It's not frightening at all for anyone with a healthy psychology. Imagine an outdoorsman (for instance Edward Abbey) reading Lovecraft. Would Lovecraft's visions have any effect on him whatsoever? I doubt it. But Ligotti... Ah, Ligotti does something else entirely. Ligotti attempts (either deliberately or not ) to evoke something that the psychologist Yalom termed the "Nebula Eye". When you have the Nebula Eye you are seeing the universe as it really is -- as you fear it really is. You know longer 'know' that you are going to die, that you are insignificant -- on the contrary, you KNOW you are going to die, that you are insignificant. It's a kind of depression but one that makes you cling more tightly to life, because oblivion seems terrible. And yet life and consciousness also seem terrible. Both possible options after death (eternal consciousness and eternal oblivion) seem EQUALLY terrible. The universe therefore seems an evil place and this is something you FEEL as well as know... I haven't expressed that very well. I'll try to do so in the coming weeks. I'm a bit rushed for time at the present. Ligotti for me isn't a horror writer as such. I don't have a great deal of interest in horror writers, because the props of horror don't interest me as objects to be taken seriously. Ligotti, for me, is a mind#### writer. Like Philip K Dick. Or Harlan Ellison. He doesn't chill the blood. Anyone can kill the blood. That's easy. No, he ####s the soul. And that is something special; and very very wrong. I admire and respect Ligotti; but if I could drown him in a bag, I would. I'll try to turn all this into a coherent essay and post it somewhere soon! |
#7
By
Nemonymous
on
11-13-2009
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Re: TLO Member Interview: rhysaurus
Fiction for me (like that of Ligotti and Lovecraft) is in a 'real'world' of magic fiction, fiction-as-religion, often 'synchronised shards of random truth and fiction' and the 'line' of these concepts runs parallel with that of the corporeal body and its death, but never meeting, like all parallel lines. And it's people like Ligotti, Lovecraft, Rhys Hughes, Joel Lane et al, who often seem to help form crossover lines - creating a stunningly emerging rhombus from the parallel lines. |
#8
By
rhysaurus
on
11-13-2009
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Re: TLO Member Interview: rhysaurus
Thanks Des. But personally I just can't put Ligotti and Lovecraft into the same category. Lovecraft is of no significance. Sorry, that's just my view; plenty of people disagree with me, of course. Lovecraft is merely a case study in abnormal psychology. Despite what his admirers believe, there isn't a true philosophical core to his writing. With Ligotti, such a core does exist. I'll try and explain all this properly (if I can) in a proper piece. I'll probably do a piece on Edward Abbey and another on Donald Barthelme (the best short story writer ever) first, though...
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#9
By
Nemonymous
on
11-13-2009
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Re: TLO Member Interview: rhysaurus
i.e. the power of Lovecraft for some but not for others. (His work must have a power for some to have recognised it. It is also simultaneously powerless, for some to call it thus, as you do.) i.e. the positive or powerful philosophy of Ligotti fiction as an artistic ethos for some and, simultaneously, the intensely negative (nihilist?) view of his work for others (like you) warranting 'drowning in a bag'. des |
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