Imagine a horror-specialty retail store that has not only survived for two decades but has helped shape the very genre it markets, and you’ll get some idea of why Dark Delicacies is one of horror’s (not so) hidden treasures. Located in the Magnolia Park area of Burbank, California (where Dark Delicacies’ success seems to have spawned neighboring stores with names like Halloween Town and Creature Features), Dark Delicacies was founded by Del Howison and Sue Duncan.
Artist Greg Ruth wrote a wonderful essay, published at Tor.com in May, about the value horror stories have for us as humans. There are many necessary things that “grim, gory, and scary” teach us, prepare us for. I find enormous worth in good storytelling, especially of the darker variety. I hope my illustrations do justice to the genre.
Misunderstood monsters—mindless evil or innocent creatures thrust into circumstances beyond their control? If we look at monster history, there are many monsters who harm, damage, or kill because they blood-lust and enjoy it, and because it feeds a hunger that can only be satisfied by the evil they perpetrate on others. But what about those monsters who, in their search for something else—whether it is love, acceptance, or fulfillment—hurt others in the process?
We have original fiction from Lane Robins (“The Black Window”) and Mari Ness (“Death and Death Again”), along with reprints by Denis Etchison (“Talking in the Dark”) and Tom Piccirilli (“The Misfit Child Grows Fat on Despair”). We also have the latest installment of our column on horror, “The H Word,” plus author spotlights with our authors, a showcase on our cover artist, and a feature interview with Del Howison of the legendary Dark Delicacies bookstore in Los Angeles.
Mark Morris has been a major figure on the British horror scene since 1989, when Toady, the first of his sixteen novels, was published to critical acclaim and solid sales (the 1990 paperback release debuted at number seven on the bestseller list). When his fourth novel, The Secret of Anatomy, was published by HarperCollins in 1995, he was being called “the new Clive Barker,” but his next few novels were victims of a serious downturn in horror.