Recent Reading

I still like how the supernatural angle retains that ambiguity tied to the depersonalization of characters like Frank, something so quintessentially Ligottian. Ambiguity is something I really appreciate. In Lovecraft's stories (and only his, because I don't think this applies to other Mythos writers), there's always that lingering question: Did all of this really happen, or is it simply madness?
Exactly. Especially in the Dream Cycle stories (in the Mythos, having become a die-hard materialist, he was much more explicit in that regard). Ligotti is always halfway between mental disorder or madness and the weird. It's as if Ligotti's depressed characters, almost due to their conditions and mental states, were able to perceive a reality that others cannot—a reality of pure cosmic horror. Ligotti's characters barely live in the everyday world; they live exclusively trapped inside their obsessions, manias, dreams, or delusions. The darkness of his style attempts to reproduce the darkness of their minds. But beyond this, the urban landscape of a city like Detroit is already an overwhelming condition for any life experience, since the space a person inhabits shapes them just like the air they breathe. In that desolate landscape, the only ones who can dwell are mutilated, sick, and decadent human beings—just like his own characters.
 
If you stripped away the supernatural elements—which also felt somewhat forced to me, especially once it starts leaning into those Lovecraftian epithets—it still would have been a very good work of corporate horror by Thomas Ligotti. I don't think they were necessary; the other elements already provide a solid foundation on their own.
But I think just removing the Lovecraftian epithets and his own 'pantheon' of Ligottian gods would be enough. If we take away all the carnage of creative deaths that take place, it would kind of neuter the work's originality. Of course, the workplace environment alone is already enough to make you gag.
 
To wrap things up, if My Work Is Not Yet Done were presented to me as a standalone work, I'd consider it one of Ligotti's finest. I'd give it a 9/10.

What I love most about Ligotti, both in his writing and as a person, is that he's surprisingly human. So much so that it feels like you can approach and judge his work differently than that of other authors who have already become cult figures.

I'll see if I can read I Have A Special Plan For This World and the other stories tonight.
 
To wrap things up, if My Work Is Not Yet Done were presented to me as a standalone work, I'd consider it one of Ligotti's finest. I'd give it a 9/10.

What I love most about Ligotti, both in his writing and as a person, is that he's surprisingly human. So much so that it feels like you can approach and judge his work differently than that of other authors who have already become cult figures.

I'll see if I can read I Have A Special Plan For This World and the other stories tonight.
Yes, undoubtedly. It feels like a voice whispering in the night and pleading. It's almost like a comfort, as depressing as it may be. There are many people I know who read him and find it 'deshumanized' or 'cold and impersonal,' which I don't understand at all
 
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If you find me in a forgiving mood, increasingly unlikely as that is, I might recommend this book. A profound and violent strangeness has consumed or is consuming the city of Spokane, and people are noticing. The area and surrounds have been evacuated, albeit not entirely successfully, and the government has established a quarantine zone over the citywith military checkpoints and tentative attempts at on-site research to determine the nature of the problem. If that all sounds very Vandermeer to you, note that this book preceded his Annihilation by at least a year or two, so I will leave any conclusions to be drawn there to those who might find them interesting.

On the whole I think the book succeeds and is worth checking out, and even prefer it to Vandermeer’s creation, but mostly for reasons that would probably spoil your reading a little if I spelled them out. This is a first novel, and the writing is patchy in spots, some scenes are poorly rendered, others just don’t work. There were moments when my need to continue wavered, and there was a certain Gen-X brand of interpersonal angst and self-absorption infecting most of the characters that I found tedious and off-putting. However, the horrific vision of a surreally poisoned Spokane that is gradually developed throughout was interesting enough to see me through, with possible hints & touches of Lovecraftian horror, “liminal space” and House of Leaves-style psychological/spatial horrors, and maybe even something else nobody has come up with a cute and catchy name for yet. If you are in a nitpickish mood, I would suggest staying away, however.
 
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This slender little volume of “ghostly tales” written for a young audience dates from 1984, yet represents some of my favorite horror reading of the last few years.

Around the middle and late ‘70s there were a great many books of this sort around, some from educational publishers such as Scholastic, many in the form of slim and often luridly (but not badly) illustrated paperbacks with titles promising all manner of shudder-inducing tales of unlucky souls meeting strange (and sometimes even “true”) fates. Juvenile shelves of school and public libraries carried an inexhaustible supply of them, it seemed, at one time. Some of these books restricted themselves to “real mysteries” of the world, others dealt in sinister folktales or myths and legends (of both the ancient and the urban varieties, and sometimes combined with surprisingly frank treatments of the occult), and then others such as the book above were primarily collections of original short spooky tales (but sometimes combining elements of those other two groups, as well).

What distinguishes many of those books in my memory is the strength of their deceptively simple and straightforward narrative styles, combined with their consistent refusal to talk down to their young audiences or to soften the shocks or the dark implications of their grim conclusions. What they lacked of the “sophisticated” literary devices of modern and adult literature, they more than made up for with ruthless imagination and uncompromising directness.

Sometimes in the Dead of Night appeared, I take it, somewhere towards the end of this trend in children’s fiction, soon to be overtaken and replaced by the more colorful and reassuringly mild chills of things like the Goosebumps series and so on. After I discovered this book via the ISFDb a few years ago, tracking down a cheap copy proved difficult. There were never that many floating around to begin with, it seems, and I imagine it would be even harder today. But reading the stories within was like taking a time-machine for a brief trip back to that little-known “golden age” of ghosts and ghouls with real teeth. Recommended.
 
My humble reading list for July 2026

Faces Under Water – Tanith Lee This is a book I could find fault with and even nitpick to death, but that would be unfair. Because, in spite of the odd diction and forced feeling of the prose, what Tanith Lee is doing here speaks deeply to me. This is the first of The Secret Books of Venus, a series set in an imagined Venice that manages to convey the magic and mystique of the city, at least to me who has never seen the real place. I guess Venice is one of those places that is part of the collective imagination. And this book was set during a three-month carnival where everyone was wearing a mask, so that played into how the characters were presented. It took me some effort to follow the prose for a while, but I took it slow, rereading as necessary. Fact is, I love fantasy, but strongly dislike most actual fantasy books. This is one that more than makes up for any shortcomings.

Dear Sweet Filthy World – Caitlin R. Kiernan Kiernan is one of my favorite writers, yet somehow, I haven’t read more than half of what she’s written. I finally got to this one, and it might be the best collection of hers I’ve read yet, though the next one might be, too. But it seemed that this book contained many dense, illusive stories/pieces of prose, more than usual. One I read then reread immediately and was rewarded for doing so. Later I discovered that I was not the only one who had struggled with that piece. But those people did not reread it, which left me feeling faintly pleased with myself. There is much bizarre eroticism here, and that works for me. Dark, compelling, and wonderful.

Do What You Fear Most: The History of the Velvet Underground – Richie Unterberger My relationship with VU is problematic. I think the first album (with Nico) is a masterpiece, and I’ve been listening to it over the past 46 years. But even though I’ve always liked it, I like it even more now. And the second album is good, too. But the third? That’s when I start throwing things, since I am not a fan of Americana and the American aesthetic in music. So really, I like VU when John Cale was in the band, and I like what he did with Nico, who I like more than VU. All that said, I’m glad I read this book, since they are such an important part of Rock music. And the book is well researched, to the point of discussing each song of each live show that was recorded (bootlegs). That’s when I got bogged down some. Toward the end I did skip some of those pages, but otherwise I went all the way to the end.

Saint Fire – Tanith Lee This is the second of The Secret Books of Venus. I might have liked this one even better than the first. The prose was less affected, but it had a compelling character who was well conceived and executed (in prose). I will be reading the other two books, plus I have another of her series. But really, I might end up reading most all of her books. There’s something about her writing that does it for me.

In Viriconium – M. John Harrison I’ve been wanting to revisit this book for a while. I remember it being my favorite of the three Viriconium novels. My image of it was as being atmospheric and set in a decadent city. And it was. But it was also absurd, which I don’t remember from before. But there’s no denying that it is its own thing, its own book, demanding to be read on its own terms. After reading it, I read some reviews, and now I think I should read it again. It’s not long, just over 100 pages.

Stoner – John Williams This book was given to me by a friend, so I considered it a homework read. But it immediately pulled me into a world I have only fantasized about: the world of a college campus. This book is about teaching and the love of teaching for simply the love of the subject. And the subject was literature, something I’d have loved to have studied in such depth. But really, this features a character who is ordinary, who leaves no lasting impact, whose family and career were remarkably unremarkable. But isn’t this most of us? And how do we, individually, find the wherewithal to do, and continue to do, that which life demands of us and still find meaning? This is a sad, sad book, and I am happy I read it. This is the story of my life, and my life will likely end in such loneliness and isolation as is depicted here. Because each of us will die alone, even if we are surrounded by friends and family. Because we can’t take anyone with us. We are, ultimately, each of us, alone.
 
Saint Fire – Tanith Lee This is the second of The Secret Books of Venus. I might have liked this one even better than the first. The prose was less affected, but it had a compelling character who was well conceived and executed (in prose). I will be reading the other two books, plus I have another of her series. But really, I might end up reading most all of her books. There’s something about her writing that does it for me.

About ten years or so ago, a number of her earlier fantasy titles were reissued as attractive mass-market paperbacks by the venerable house of DAW Books. They might still be available at a decent price today.

 
I’ve read The Red Tower—very Lovecraftian, but with a touch of decadence that perhaps reminds me of certain Polish artists. I was just looking at the project associated with this story by Cadabra Records and Jon Padgett.


By the way, here’s my Ligotti collection now that Teatro Grottesco arrived yesterday:

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I also read “The Clown Puppet.” I’m planning to read more tomorrow; I don’t want to devour the anthology. I’m really enjoying it.
 
After dwelling on thoughts that began while listening to Pearl Jam’s “Do the Evolution” on loop, I eventually moved on to Charles Manson’s album—I don’t remember the name; I only searched for it through a chain of associations based on society, since I already knew the song “Look at Your Game, Girl.” Then “Mechanical Man” started playing, and I began making even more connections.

I kept searching for more music afterward, but I didn’t want to get too distracted because I still had Thomas Ligotti to read. I didn’t want to go to sleep without reading a story from Teatro Grottesco. I wandered through several music pages, and in the process I started connecting things I had once known quite well: Thelema, the Solar Lodge, Current 93 (the band), Harry O. Morris, Nyctalops #13 (Michael Aquino wrote an article on Lovecraftian magic there, with a certain reference to a certain “religious and dangerous” group), and then, from Nyctalops, I moved on to Thomas Ligotti.

So I thought, I’m going to read “Purity.” The title didn’t mean much to me… until I started reading.

It was as if everything I had consumed beforehand had been reflected by Thomas Ligotti in that story. Manson, Thelema, ideologies, humanity… danger.

The title didn’t draw me in, but the story completely captivated me. In fact, I liked it much more than “The Clown Puppet,” which I didn’t have the opportunity to comment on when I read it.

I have just put Teatro Grottesco back on my shelf. It is 11:20 p.m. as I write this, and I find myself thinking that whenever I read something by Thomas Ligotti, it resonates so deeply with me and with my life that I no longer even feel terror. I feel reality.
 
I’ve read the stories from the first part of Teatro Grottesco, which appears in Spanish as “Enajenaciones.” Here’s a brief “review.”

“Purity” absolutely blew me away. I loved it immensely. It coincided with many things I had seen that day, and the story itself reminded me of Charles Manson.

I really enjoyed “The Town Manager” as well, and above all, it reminded me of certain places and recent events involving certain American elites—you can probably imagine what I mean. The way Thomas Ligotti approaches it is incredible.

“Sideshow and Other Stories” hit me hard, for reasons I’d rather keep to myself.

“The Clown Puppet” felt like one of those lucid dreams I have. In the past, I actually came to confuse waking life with dreaming, precisely because I wasn’t sleeping; it only happened to me once. I empathized with it deeply.

“The Red Tower” was the culminating story for me. It made me understand, at least in the way I interpreted it, what the first part of Teatro Grottesco was really about. And although I may not be able to find the right words for it, I can point to one central idea: Western society.

Even, Ligotti may have written these stories without intending to convey any of that, beyond the implicit misanthropy, but I feel they reflect today’s society remarkably well. I don’t know when exactly he wrote them, but if that’s the case, they’ve aged “badly” as a reflection of society… as fiction, though? Like fine wine.

I’ll continue reading the second part tomorrow or later this afternoon. I’m really enjoying it so far. Of the first part, I’d say my favorite story is “Purity.”
 
Two Ligotti adjacent novellas I read this year that i highly recommend:

The Other Side of the Mountain by Michel Bernanos - Sort of a cross between William Hope Hodgeson and Lovecraft. Very weird. Very cool. A pair of sailors trapped on a bizarre deserted island after an equally bizarre shipwreck. The author’s backstory is interesting and tragic as well. Very worth the read for cosmic horror fans.

A Short Stay in Hell by Stephen L. Peck - a relatively more recent title from 2009 I believe. The story follows an honest, decent bibliophile sent to an ironic hell (because he picked the “wrong” religion in life) - a near infinite library (directly honoring the Borges story The Library of Babel). To escape his fate all he has to do is find “the exact book of his life.” But that could take a while, since every book ever written or that could ever BE written exists there. At first a funny read, it gets darker and more desolate and more overwhelming as it goes. Packs a real wallop into 150 or so brisk pages.
 
To escape his fate all he has to do is find “the exact book of his life.” But that could take a while, since every book ever written or that could ever BE written exists there.

Every hardcore bibliophile I’ve ever known or ever known of would consider that milquetoast hell a dream holiday. Yes, even with all the “dark” implications of infinity and so on. Burgess Meredith’s nebbish bookaholic (see Time Enough at Last) would be in a state of perpetual ecstasy from day one.
 
Every hardcore bibliophile I’ve ever known or ever known of would consider that milquetoast hell a dream holiday. Yes, even with all the “dark” implications of infinity and so on. Burgess Meredith’s nebbish bookaholic (see Time Enough at Last) would be in a state of perpetual ecstasy from day one.
I felt the same way. Until i read the story.

99.99999999999999999999999 etc… etc… % of the books are gibberish. When someone in the story finds a book with even one legible word, or luck beyond luck, a sensical string of words, they sob and cling to it like a holy text.

It takes literal centuries to find a book that has anything even remotely resembling intentionality.

Every book that exists or COULD ever exist also means a book can just have the letter “a” in it. Or just the # symbol. Every letter of the alphabet and special character in almost infinite combinations.

I believe the story says there are many millions times more books in the library than there are atoms in many millions of universes.

Here’s a quick rundown of the math…

  • Total Books: \(95^{1,312,000}\) (approx. \(2.34 \times 10^{2594733}\) total volumes), calculated using 410 pages per book, 40 lines per page, 80 characters per line, and 95 keyboard characters.
  • Library Dimensions: Roughly \(7.16^{1,297,369}\) light-years wide and deep, factoring in vertical shelving and minimal human walking/living space.
  • Time to Search: Opening one book a second for 14 hours a day would require \(1.27 \times 10^{2594766}\) years to check them all—far outlasting the trillions upon trillions of years the protagonist spends searching in despair.

It’s the ol’ “water, water everywhere but nary a drop to drink…”

There are other considerations as well.

One, you’re not alone.

Two, you can feel pain and die in any way, but you return to life the following morning.

Three, see one.
 
I felt the same way. Until i read the story.

99.99999999999999999999999 etc… etc… % of the books are gibberish. When someone in the story finds a book with even one legible word, or luck beyond luck, a sensical string of words, they sob and cling to it like a holy text.

It takes literal centuries to find a book that has anything even remotely resembling intentionality.

Yes, and still some people might just see that as an extraordinary challenge. One that offers them infinite leisure to explore infinite variety. There’ll always be some special cases who would take endless delight in millions of years of wading through garbage with just the faint hope of finding one of the infinitely many pages scattered out there containing passages infinitely better than anything Shakespeare ever penned.

And when you consider the conditions of existence most living creatures endure in the hell they just came from, most of them probably wouldn’t want to leave to begin with. Even if it means an eternity of flipping through useless books. Many of us already do that right here just to pass whatever time we have left, as it is.
 
I’ve finished reading the second part of Teatro Grottesco. “My Case for Retributive Action” reminded me of the stories in Grimscribe, but at the same time, it also brought back memories of when I read My Work Is Not Yet Done. I enjoyed it, and, interestingly enough, the story that followed was related to it. I liked “Our Temporary Supervisor” as well. By associating it with the previous story, I began sketching out ideas in my imagination, once again related to the corporate world, but then I finally read “In a Foreign Town, In a Foreign Land.” I liked that one a lot. It also reminded me of the stories in Grimscribe, but overall, this entire section felt very strange to me...

If I had to gather all the thoughts that come to mind and synthesize them, I would think about the role that “doctors” play in these works, as well as their corporate role, and I couldn’t help but think of the pharmaceutical industry. That’s the interpretation I take from it. I also feel that Thomas Ligotti tends to portray psychiatrists in an antinomian way, although I could be mistaken. Even so, I really like the perspective he gives them.

Tomorrow I’ll begin the final part, and for now I want to properly digest what I read today. Of all these stories, I’d have to choose “In a Foreign Town, In a Foreign Land.” I already knew about the collaboration with Current 93, but reading it was a different experience... and I really enjoyed it.
 
Today I drank beer, two cans, and had nightmares. Ironically, those nightmares coincided with the only reading I did today. Because I had been drinking beer, I couldn’t read at all during the day because my head felt blocked, but when I woke up, I read “Gas Station Carnivals” and, honestly, it didn’t frighten me, but it did touch a nerve in my unconscious that left me a little unsettled, especially considering the nightmare I had, which was about something similar. The Crimson Cabaret thing strikes me as curious, and I can’t help thinking about a woman I also know, whom a certain musical group with ties to Thomas Ligotti’s work also knows.

Tomorrow I’ll read the last few stories, hopefully, and I’ll have finished Teatro Grottesco.

Edit: I actually think I’ll read one or two more stories tonight and finish the rest tomorrow, Saturday.
 
I've finished reading Teatro Grottesco. “The Bungalow House” struck me as an interesting story; I myself live in a very remote bungalow. Then I read “Severini,” and found it even more interesting, and the final story was exactly the conclusion I needed.

I've often philosophized about what Darkness represents, especially because of the hints and implications that H. P. Lovecraft makes reference to. During a more depressing period of my life, the bathroom light had burned out, and since I couldn't go outside to smoke, I would smoke at night in complete darkness. During that period, I gave birth to one of my favorite stories, narrated in the first person by what I consider to be a “devil.”

I began delving deeper into Darkness as a concept, particularly through Lovecraft's letters discussing the Magnum Tenebrosum (which, at the level of Cthulhu Mythos canon, are real entities), although I was more interested in the philosophical side of it that Lovecraft himself describes. And the very reason why almost nothing is known about the Magnum Tenebrosum is that Lovecraft said that, when confronted with absolute darkness, one could glimpse an infinite number of things.

Things explored in stories like “Severini” reminded me of a period when I suffered from depersonalization, but I keep insisting that this final part of Teatro Grottesco has two elements that I consider absolutely important and worth emphasizing: Art and Darkness.

I loved it. I really enjoyed reading Teatro Grottesco; it was quite a journey, and every section of the anthology is very well conceived. I still consider My Work Is Not Yet Done my favorite as an individual novel, and as far as anthologies go, I really like Grimscribe, but this one is very good as well. I would even say it is more experimental. Personally, I would place it above Noctuary, though not above Grimscribe.

I really enjoyed it. The next volume I'll buy will be the Spanish edition of Songs of a Dead Dreamer, which also includes The Agonizing Resurrection of Victor Frankenstein and Other Gothic Tales.
 
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Cronenberg writes well enough in a somewhat rambling, analytical and dryly discursive, almost deliberately Kafkaesque fashion, and the initial stages of Consumed, revolving around the details of a gruesome crime that occurred in the home of a pair of celebrated French Marxist (or post-post-Marxist, or something) intellectuals, all heavily seasoned with satirical jabs at a consumer culture largely perpetuated and exalted by avowed anti-consumerist idealists, were amusing and engrossing. But things go on to long, too many questionable ingredients are added to the stew, too many ironies, intrigues and self-consciously literary conceits muddy the strong flavors of the original stock, and the whole is cooked too long but finally served lukewarm with a stale baguette in the form of a dull half-hearted denouement. The book itself finally seemed to want to end as much as I wanted it to.

A curio for fans of his films, maybe, but ultimately disappointing.
 
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