Horror historian, animation addict and tubular transdudette. Catch me on Twitter @dorvsutherland, or view my site at dorisvsutherland.com. If you like my writing enough to fling money my way, then please visit patreon.com/dorvsutherland or ko-fi.com/dorvsutherland.
Charlee Jacob’s 1998 story “The Border in Zen” is set after a nuclear war and takes place in a village named Persephone’s Pity. Here, the people lead a peaceful, ecological, egalitarian existence, eager to avoid the atrocities of the past. But this post-apocalyptic culture has a darker side: a preoccupation with the sullying of innocence.
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Horror fiction has a history problem. While its cousin, the science fiction genre, has been eagerly mapped by decades’ worth of enthusiasts, much of horror’s heritage has been documented in comparatively little detail. Perhaps this is due to the genre’s aura of disreputability; or maybe we can point to so many of horror’s finest specimens
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Charlee Jacob’s novella “Up, Out of Cities that Blow Hot and Cold” – which debuted in the 2000 collection of the same name before being reissued as a standalone book – is a story that takes the concept of urban decay literally. All around the world, cities are being hit by disasters: the Eiffel Tower
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In 1976 the British comics scene was shaken by controversy, all due to a new publication with the innocuously generic title of Action. Outwardly a typical boy-targeted comic – the cover to issue #1 showed a shark, a footballer and a tank, none of them exactly groundbreaking topics – Action was, on the inside, a
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