My Readercon presentation is up!

At Readercon 29 I did a presentation on African horror literature of the twentieth century. There were requests for the presentation to be made available, so I’ve put them up as a website and as a .pdf. Enjoy!

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Books I’m going to order

This one’s for my homies over on Twitter. At the college library I work at, we (quite unexpectedly) have some extra money to spend on books. We (the college) also have classes on horror fiction and film. So I decided to increase our collection of horror fiction, so that when the students want to write their papers and do their presentations, they’ll have an array of books to read and use. I mentioned this on Twitter, and there was interest from folks there about what books I was going to order. So here’s the list (which includes a few non-horror novels I thought the library should own) (keep in mind that a lot of omissions here are either out of print or already owned by the library):

  • Robert Aickman’s Compulsory Games
  • Akutagawa Ryunosuke’s Rashomon and Seventeen Other Stories
  • Elechi Amadi’s The ConcubineThe Great Ponds
  • Leonid Andreyev’s The Abyss
  • Ines Arredondo’s The Underground River
  • Bibhutibhushan Bandyopadhyay’s Pather Panchali
  • Charles Beaumont’s A Touch of the Creature
  • E.F. Benson’s Night Terrors
  • Michel Bernanos’ The Other Side of the Mountain
  • Robert Bloch’s The Complete Stories of Robert Bloch
  • Maria Luisa Bombal’s House of Mist
  • Marjorie Bowen’s The Bishop of Hell and Other Stories
  • Serge Brussolo’s Deep Sea Diver’s Syndrome
  • Dino Buzzati’s Catastrophe and Other Stories, Tartar Steppe
  • Leonora Carrington’s The Complete Stories
  • Fred Chappell’s Dagon
  • John Collier’s Fancies and Goodnights
  • A.E. Coppard’s The Black Dog
  • Julio Cortazar’s Hopscotch, Blow-Up, We Love Glenda So Much
  • Cristina Fernandez Cubas’ Nona’s Room
  • Bernard Dadie’s The Black Cloth
  • Amparo Davila’s The Houseguest
  • Walter de la Mare’s Out of the Deep
  • Mario de Sa-Carneiro’s The Great Shadow
  • Giorgio di Maria’s Twenty Days of Turin
  • Birago Diop’s Tales of Amadou Koumba
  • Jose Donoso’s The Obscene Bird of Night
  • Lord Dunsany’s In The Land of TimeGods of Pegana
  • Stanley Ellin’s The Specialty of the House
  • Buchi Emechata’s The Rape of ShaviThe Joys of Motherhood
  • Daniel Fagunwa’s Forest of a Thousand Daemons
  • Rosario Ferre’s The Youngest Doll
  • Mary Wilkins Freeman’s A Mary Wilkins Freeman Reader
  • Enchi Fumiko’s Masks, A Tale of False Fortunes
  • Stefan Grabinski’s The Dark Domain
  • Julien Gracq’s Dark Stranger
  • Ken Greenhall’s Hell Hound
  • Davis Grubb’s Night of the Hunter 
  • Hella Haasse’s The Black Lake
  • Wilson Harris’ Palace of the Peacock
  • L.P. Hartley’s The Travelling Grave
  • Sadegh Hedayat’s The Blind Owl
  • Felisberto Hernandez’s Piano Stories
  • William Hope Hodgon’s The House on the Borderlands
  • Margaret Irwin’s Still She Wished For Company
  • Shirley Jackson’s The Haunting of Hill HouseWe Have Always Lived in the Castle
  • Nick Joaquin’s The Woman Who Had Two Navels
  • Gerald Kersh’s Nightshades and Damnation
  • Kobo Abe’s The Woman in the Dunes, The Face of Another 
  • Kurahashi Yumiko’s The Woman with the Flying Head
  • Kyoka Izumi’s Japanese Gothic Tales
  • Carmen Laforet’s Nada
  • Tommaso Landolfi’s Gogol’s Wife
  • Camara Laye’s The Radiance of the King
  • Vernon Lee’s Hauntings and Other Fantastic Tales
  • Maurice Level’s Thirty Hours with a Corpse
  • Ira Levin’s Rosemary’s Baby
  • Mieko Kanai’s Word Book
  • Ibrahim Kuni’s The Bleeding of the Stone
  • Leopold Lugones’ Leopold Lugones-Selected Writings
  • Dorothy Macardle’s The Uninvited
  • Arthur Machen’s The Great God Pan and Other Horror Stories
  • Gustav Meyrink’s Walpurgisnacht
  • Edgar Mittelholzer’s EltonsbrodyMy Bones and My Flute
  • Premendra Mitra’s The Mosquito
  • Thomas Mofolo’s Chaka
  • Ibrahim Nasrallah’s Prairies of Fever
  • Silvina Ocampo’s And Thus Were Their Faces
  • Ben Okri’s The Famished Road
  • Oliver Onions’ The Hand of Kornelius Voyt
  • Fernando Pessoa’s The Book of Disquiet
  • Horacio Quiroga’s The Decapitated Chicken
  • Graciliano Ramos’ Barren Lives
  • Forrest Reid’s Denis Bracknell
  • Merce Rodoreda’s The Time of the DovesA Broken Mirror
  • Joao Guimaraes Rosa’s Backlands
  • Juan Rulfo’s Pedro Parama
  • Ernesto Sabato’s The TunnelAngel of Darkness
  • Sarban’s The Sound of His Horn
  • May Sinclair’s Uncanny Stories
  • Armonia Somers’ The Naked Woman
  • Muriel Spark’s four novel collection
  • Tanizaki Junichiro’s Seven Japanese Tales
  • Sony Labou Tansi’s Life and a Half
  • Lygia Fagundes Telles’ The Girl in the Photograph
  • Jamie-Martinez Tolentino’s 13 After Midnight
  • Amos Tutuola’s Palm Wine Drinkard
  • H.R. Wakefield’s The Red Lodge
  • Eudora Welty’s The Robber Bridegroom
  • Robert Westall’s Antique Dust
  • John Wyndham’s Day of the TriffidsMidwich Cuckoos
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Annotations to Xerxes #2 are up.

Click on the image to read the annotations.

Not as much to write about this time around, although the issue did have enough inventions, fabrications, and floutings of history to keep me busy.

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New comic book annotations by me.

When I heard that Frank Miller was going to be doing another series on ancient Greece–a sort-of sequel to 300–I knew I had to do something. 300 is in my view a reprehensible garbage fire, an oozing sore of Bad History and bad faith writing, and too many people took it to be legitimate history rather than the homophobic, xenophobic toxic fairy tale that it was/is.

So a sequel to that? I had to do something. And since I can’t prevent Frank Miller from writing any more, the most I can do is write something critical of his work. So–

Annotations to Xerxes #1.

They are admittedly long–I went the full annotation route this time–but I think they’re worth reading.

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Award Eligible Stuff By Me

I actually have two of them this year.

“Reverse the Charges,” in Skelos #2 (Winter 2017).

“Sexual Harassment in the Science Fiction & Fantasy Communities Survey Results,”, Sept. 4, 2017.

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Sexual Harassment in the Science Fiction & Fantasy Communities Survey Results

The science fiction and fantasy community has a problem: sexual harassment and sexual predation by men.

I put up a survey recently on the subject. The results, while not surprising, were nonetheless sobering. Of 948 respondents:

• 23% had been sexually harassed at a convention.
• 33% had witnessed sexual harassment at a convention.
• 37% had a family member, friend, or colleague who had been sexually harassed at a convention.

The numbers for the online community were worse:

• 32% had been sexually harassed online.
• 62% had witnessed sexual harassment online.
• 41% had a family member, friend, or colleague who had been sexually harassed online.

The respondents’ detailed description of their experience graphically described the problem. Of the 396 people who responded to the request for details about their experiences:

• 236 had been the victim of verbal harassment.
• 145 had been the victim of physical harassment (groping).
• 29 had been victim of threats of rape and/or violence.
• 3 had been the victim of a man masturbating themselves in front of the respondent (in each case a woman).
• 5 had been the victim of a sexual assault at a convention.

In many cases the harassers are prominent figures: the award winner who likes to use his fame as a lever with which to lure under-age women to his hotel room for sex; the best-selling author who likes to lure young women and under-age women to his hotel room for BDSM sessions–when confronted about this behavior, he claims that since there’s no penetration, it doesn’t count as statutory rape; the award winner who imitates Isaac Asimov’s serial groping behavior; the award winner who uses his fame to pressure young women to sleep with him; the anthology editors who demand sex from female authors in exchange for being published in the anthologies; the small press owners who demand sex from female authors in exchange for being published by the press; the editor who targets children.

In some cases the harassers are known within the industry and to their colleagues to be harassers, but no action is taken against them. One book editor harassed his authors; complaints to the editor’s superior were not forwarded on to the publisher’s Human Resources department, and nothing was done to prevent the editor from continuing to harass his authors.

Some of the victims of harassment refuse to go to specific conventions any more, whether because of that convention’s weak anti-harassment policies, the weak response by the convention’s staff to complaints about harassment, or because a harasser is a regular participant of that convention. Some of the victims refuse to go to any conventions now, because of their negative experiences. Some of the victims are no longer comfortable at conventions unless they are in the presence of a male partner or friend or group of friends. Some of the victims have developed PTSD as a result of being harassed.

Solutions to this problem are not simple. Both WisCon and Readercon were the sites of recent notable cases of harassment, and both toughened up their policies and procedures as a result of their initial failures to properly handle the situations. But it is arguable that convention policies are better at punishment than prevention. Ultimately, what is going to solve the problem of harassment is, first, the strict enforcement of anti-harassment policies by conventions–still a problem, as some convention organizers and runners feel that to publicize anti-harassment policies is to make more of the problem than it is, and that one-size-fits-all anti-harassment policies don’t allow for nuance and personal judgment in dealing with cases of harassment. Second, more victims must report harassment after it happens. There are obvious reasons why victims of harassment don’t come forward: feeling shock and shame at what happened, feeling that they won’t be believed or taken seriously, feeling that nothing will be done about it, feeling that anti-harassment policies won’t do enough, and feeling that conventions won’t handle their complaint in a sensitive and understanding fashion. Thirdly and most importantly, more witnesses, especially more men, must intervene when harassment is taking place and put a stop to it. Many of the survey’s respondents told stories of being harassed in public and no one stopping the harassment or letting the harasser know that what they were doing was unacceptable. Men in particular are reluctant to stop other men from bad behavior. This needs to end. Men must be more proactive in preventing harassment from taking place and stopping harassment when it occurs.

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Four new books by me!

With a fifth, the ebook, coming as soon as Amazon completes processing it.


The Encyclopedia of Fantastic Pulp Heroes.




The Encyclopedia of Pulp Adventurers.




The Encyclopedia of Pulp Cowboys.




The Encyclopedia of Pulp Detectives



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Coming soon….

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New book by me, out today.

You can buy it from Amazon, from Barnes and Noble, from Indiebound, and from Powells, among other fine bookselling establishments.

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Excerpt from The Evolution of the Costumed Avenger

coverI’ve got a book coming out at the end of the month: The Evolution of the Costumed Avenger: The 4000-Year History of the Superhero. You can get glimpses of it through Amazon’s “Look Inside” feature, but I felt that I should make a sample of it available through my blog. So here’s an excerpt of Costumed Avenger: two sections, about two formidable women:

Long Meg of Westminster

“Long Meg of Westminster” may never have existed. The stories of her being from Lancashire, working in a tavern, and serving in the army of Henry VIII in the 1540s have no evidentiary basis, and Long Meg would certainly not be the first folk hero to have sprung purely from the people’s imagination. But regardless of whether there was a flesh-and-blood woman who went by the name “Long Meg,” the English of the sixteenth and seventh centuries believed in her reality, and made her into a folk heroine, in popular ballads, fiction, drama and poetry.

In 1582 a pamphlet of her life was published. In 1590 a ballad about her, now lost, was licensed, and that same year appeared the anonymously-written The Life of Long Meg of Westminster; no copies of the 1590 edition of The Life of Long Meg survive, but a 1620 biography by that title is extant and is likely the same text. In The Life of Long Meg the Amazonian protagonist, beginning as a sixteen-year-old, uses her size and strength and fighting skills to fight corruption and wickedness and–yes, crime–on behalf of the poor and oppressed, rescuing penniless maidens from a usurious carrier, rescuing a poor debtor from a bailiff, casting down an arrogant nobleman in a fistfight, and–most importantly for our purposes–saving some Lancashire girls from robbery at the hands of two men. She beats the men into submission and makes them vow to never hurt woman, nor poor man, nor children, nor rob packmen nor carriers or distressed persons. One exception she grants: rich farmers and country chuffs, who she directs the robber to focus their energies on. “Clearly, Meg is not only a figure of heroism but of righteousness triumphant.”82 Meg goes on to fight the French on the battlefield, marries, saves a young man from a cruel miller’s anger, and, as an older woman, robs a crooked friar while disguised as a man.

Later writers cast her in less complimentary terms, although Thomas Heywood’s The Fair Maid of the West: Or, a Girl Worth Gold (1631) has its cross-dressing, piratical heroine hold up Long Meg as an example to be striven for, but the favorable legend of Long Meg persisted well into the nineteenth century, with The Life of Long Meg being reprinted in 1805 and 1880. Her relevance to this history is as a proto-superheroine, with her more-than-normal strength, codename, costume (her male’s attire), and her selfless activities, and if she lacks the specifically urban orientation of Moll Cutpurse, Long Meg nonetheless stands as the first modern proto-superheroine, the first inhabitant of the readers’ and listeners’ contemporary world. Long Meg isn’t a knight or Amazon from centuries ago; she is a product of the modern world, and provided her readers and listeners with the idea that fighting evil and crime could take place in the modern world. Too, unlike the many cross-dressing warrior women of popular ballads of the seventeenth, eighteenth, and nineteenth century,83 Long Meg is primarily an independent crime-fighter rather than a soldier or sailor, with a heroic mission all her own. Her adoption by writers as an abuser of abusive and boastful, arrogant men, and her use as a role model for other fictional women warriors, obscured this side of her.

Moll Cutpurse

Mary Frith (circa 1584-1659) was a remarkable woman. That so much of her life is obscured by stories about her (many circulating during her lifetime) and by later interpretations of her life, does not detract from how unusual she was. Purse-snatcher at sixteen, second-story woman at twenty-five, cross-dresser and “roaring girl” (the female version of the “roaring boy,” who was known for public drinking, fighting, and petty crimes), part of London’s female transvestite movement of the early seventeenth century, celebrity at twenty-six, public figure for the rest of her life, licensed fence and familiar of the members of the underworld, inmate at the infamous Bethlehem Hospital for the insane—just the facts of her life make up a colorful litany of adventure. And that’s not even taking into account the fictionalized versions of her life, beginning with T. Middleton and T. Dekker’s play The Roaring Girle; or, Moll Cut-Purse (1611) and continuing up through the present, as each new generation of readers and scholars rediscover Frith’s life and reinterpret and recast her for their own purposes.84

What is more relevant to this work is not the reality of Frith’s life and career as a member of the demi-monde, but her fictional self, the mythic “Moll Cutpurse.” The Roaring Girle presents Frith—known to all the world as Moll Cutpurse—as a habitué of the underworld but not a member of it, and (more importantly) one who protects—violently, if need be—the honest and innocent from the tricks of the criminals. She dresses in men’s clothes, carries a man’s weapons, and smokes tobacco. The Roaring Girle was quite popular in its day, and the legend of Moll Cutpurse was added to in the anonymously-written The Life and Death of Mrs. Mary Frith, Commonly Called Mal Cutpurse (1662), which turned her into “a royalist cross-dressing Robin-hooder who eventually seeks redemption,”85 a “popular outcast defending the poor and oppressed against rapacious lawyers.”86 This character, the Moll Cutpurse whose crimes are on behalf of a greater good, would become propagated further in Alexander Smith’s History of the Lives and Robberies of the Most Notorious Highwaymen (1719), overshadowing for good the real Mary Frith’s exploits and permanently solidifying the concept of Moll Cutpurse, Robin Hood-ing highwaywoman, a concept and character which lasted throughout the century.

Moll Cutpurse is of course a proto-superhero. She has the requisite fighting skills of every hero, a codename, and a dual identity (one she reluctantly accepts), but more importantly has the heroic, selfless mission and a costume (her male clothing). Moreover, she is important in the history of the proto-superheroes because she marks the beginning of the transition of the proto-superhero from a hero of every environment to a specifically urban hero. Moll Cutpurse, like her real-life source Mary Frith, is a creature of the urban environment; though later authors like Smith would show her equally active in the countryside, Cutpurse is primarily known as an urban woman, active in the greatest city (by far) of the country and the largest city in Europe of the time. If the legend of Robin Hood popularized the concept of the costumed vigilante, Moll Cutpurse took the legend and brought it to the modern city, the location for the great majority of modern superheroes.

82. Patricia Gartenberg, “An Elizabethan Wonder Woman: The Life and Fortunes of Long Meg of Westminster,” The Journal of Popular Culture 17 no. 3 (1983), 51.

83. Simon Shepherd makes the point that “we have met before the woman who tames a braggart male’s sexual aspirations by physical punishment. We have met before the sudden, theatrical, release of long female hair. These are the archetypal attributes of the warrior woman.” Simon Shepherd, Amazons and Warrior Women: Varieties of Feminism in Seventeenth-Century Drama (New York: St. Martin’s, 1981), 70. As Shepherd goes on to explain, the story of Long Meg predated Spenser’s Faerie Queene by eight years and may–only “may”–have been influenced by Italian epics; rather, Long Meg is part of the English tradition of fictional warrior women and real women posing as warriors in warriors’ garb, the foremost example of which was Queen Elizabeth’s visit to Tilbury in August 1588 to encourage the English troops to resist the Spanish Armada. During the visit, Elizabeth was dressed as an Amazon queen, complete with truncheon, gauntlet, and gorget. Shepherd, Amazons and Warrior Women: Varieties of Feminism in Seventeenth-Century Drama, 22. Shepherd emphasizes Long Meg’s experience in the campaign against the French, and casts her experience fighting crime and evil as “a form of lower-class resistance against the dominant order of society.” Shepherd, Amazons and Warrior Women: Varieties of Feminism in Seventeenth-Century Drama, 73. This aspect does not in any way preclude Long Meg being a proto-superhero.

Dianne Dugaw’s Warrior Women and Popular Balladry, 1650-1850 (Chicago: University of Chicago Press, 1996) is revelatory with regards to the sheer number of cross-dressing women warriors who appeared in the ballads of the seventeenth, eighteenth, and nineteenth century. Women dressed as men and going to war were popular subjects for the British of those centuries–for the Americans less so, but to a still significant degree–and what Dugaw calls the “Female Warrior” was a recognizable character type (even a cliche) in British and American popular culture during those centuries. It should come as no surprise, therefore, that superheroines appeared not long after superheroes–women warriors in costumes were a part of the zeitgeist. But, as mentioned, the cross-dressing women warriors of the popular ballads were soldiers and sailors rather than crime-fighters, and lacked the heroic mission that is necessary for proto-superheroes and proto-superheroines.

84.  Some modern novelists, like Ellen Galford, in Moll Cutpurse, Her True History: A Novel (Ithaca, NY: Firebrand, 1985), claim Frith as a lesbian—an assertion that can’t be proven or disproven, given the ambiguity around Frith’s sexual life, and a statement that, like a lot of other critical claims, says more about the author and the tenor of the times than it does about the subject addressed. A more considered judgment is made by Terry Castle, in The Literature of Lesbianism: “of Frith’s amorous inclinations we know nothing, though her masculine tastes and apparent antipathy to marriage suggest a possibly unorthodox sexual makeup.” Terry Castle, The Literature of Lesbianism (New York: Columbia UP, 2003), 155.

85. Bryan Reynolds and Janna Segal, “The Reckoning of Moll Cutpurse: A Transversal Enterprise.” In Rogues and Early Modern English Culture, edited by Craig Dionne and Steve Mentz (Ann Arbor: U of Michigan, 2004), 77.

86. Gustav Ungerer, “Mary Frith, Alias Moll Cutpurse, In Life and Literature,” Shakespeare Studies 28 (2000), 46.

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