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Dan Coxon has won a World Fantasy Award (Heartwood: A Mythago Wood Anthology), a Saboteur Award (Being Dad) and two British Fantasy Awards (Writing the Uncanny and Writing the Future, both co-edited with Richard V. Hirst). He has been shortlisted for the British Fantasy Awards a total of eight times, and was a finalist for the Shirley Jackson Awards.
The big thing is that fish are gross. They are slimy and weird and I hate their creepy eyeballs. They scare me and I think they should scare you, too.
I, like many of us, am always scared. A friend of mine once asked me why. And the first thing that came to my head was to show him Junji Ito’s “The Enigma of Amigara Fault.”
We firmly believe that dark fiction is a bulwark against the forces of the world eager to reduce our human experience to dollars and cents. Horror, dark fantasy, and all kinds of weird and bizarre literature is powerful nutrition for the creative soul.
I think there’s definitely something to the cyclical nature of trope and subversion within storytelling, whether it’s in horror, comedy, romance, or any other genre. The saying goes that there are no new stories under the sun, but there’s always a new way to tell them.
No, Adam-Troy Castro doesn’t recommend Primate. But he loved one particular performance in the film that he thinks you ought to check out. He also talks about some recent reads—so check out his book discussion, too.
The writing of the story is an exercise in scaring myself.
I can pinpoint one of my earliest moments of existential unease. I was nine years old and, defying my religiously conservative parents, snuck into the local movie theater to watch Who Framed Roger Rabbit. I didn’t understand the social politics of the movie at the time, and while faintly aroused by Jessica Rabbit I remained thoroughly confused by the idea of bestial human/toon marriage.
As violence, corporate greed, and international tension rise, we are all asking: What’s really going on beneath the surface of our society? Are we really as safe as we have been led to believe? And holy crap, how f*cked up is everything, really?
I’ve always been interested in the idea of the absurd and doomed endeavor. A useless task undertaken on faith, perhaps, or even just lack of imagination or options is fascinating to me. These are also dramatically interesting situations to put people in and see how they react. Here, as I wrote Bailey and found a counterpoint in Heck, the kind of energy it would take for her specifically to persevere began to emerge.
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