On Non-Traditional Narrative

A Dialectic in Defense of Experimental Narratives through the Study of Slaughterhouse-Five and Paris Peasant

by
Daulton Dickey.

Some writers adore narrative convention. They stick to the algorithm without deviation. Others deviate only slightly. Other writers still incorporate radical deviation into conventional narrative algorithms. Then there are writers who eschew convention altogether in order to deconstruct or to dismantle narrative entirely. Each of these groups attempt to add their stamp to fiction or literature in one way or the other. And all have strong opinions on narrative. But which group, which tactic, is right?

The answer shouldn’t startle you: none. Declaring narrative can or should or must only4815205632_632ee48a71_b follow one path is like demanding that all athletes stand during the national anthem. It’s a form of authoritarianism predicated on inculcating and reinforcing conformity. Narratives are fluid, organic, the products of human perception of time. Think of it as water: it can assume the shape of liquid, steam, or ice while still containing water at its core. Continue reading

Women of Horror: An Interview with Author H.R. Boldwood 

by
Daulton Dickey.

H.R. Boldwood is a writer of horror and speculative fiction. In another incarnation, Boldwood is a Pushcart Prize nominee and was awarded the 2009 Bilbo Award for creative writing by Thomas More College. Publication credits include Killing it Softly, Short Story America, Bete Noir, Everyday Fiction, Toys in the Attic, Floppy Shoes Apocalypse II, Pilcrow and Dagger, and Sirens Call.

Boldwood’s characters are often disreputable and not to be trusted. They are kicked to the curb at every conceivable opportunity. No responsibility is taken by this author for the dastardly and sometimes criminal acts committed by this ragtag group of miscreants.

Tell us about yourself: when did you start writing?

I write literary fiction under my given name and horror under the byline H.R. Boldwood.

I live in Mason, Ohio with my husband, Pete, and a black lab named Poe. I have 2 sons, and 2 and ½ gorgeous granddaughters Isabelle and Ava, (and a player to be named later!)

 I began writing in the seventh grade when my English teacher asked our class to write a short story on any topic. Of course, I wrote a horror story! It was titled The Reincarnation of Sir Thomas More. My teacher gave me an A+ and was so taken with the story that he sent it to a college professor at Northwestern University. Continue reading

Women of Horror: An Interview with Peggy Christie

by
Daulton Dickey.

Peggy Christie began writing horror in 1999. A member of the Great Lakes Association of Horror Writers, she’s written novels and short stories, including The Vessel and Hell Hath No Fury.

Her stories have appeared in several publications, such as Sinister Tales, Black Ink Horror, Necrotic Tissue, Elements of Horror, and more.

The daughter of a printer, a man with a wicked sense of humor and a big heart, she says, Peggy embodies horror artistry by combining her passion for horror with the craft of a seasoned professional.

To celebrate the month of Halloween, I decided to interview her as the first in an installment of Women of Horror.

Tell us about yourself: when did you start writing?

I loved creative writing when it started in 6th grade. But as I wrote some pretty gruesome stuff back then, my teacher told me I couldn’t do it anymore. So, I stopped. But when I hit 30 and had a particularly bad day at work, I wrote a short story as a form of therapy and I’ve been hooked ever since!

What drew you to horror?
I’ve always loved horror, even as a little kid. I loved watching Creature Feature and Sir Graves Ghastly every Saturday afternoon. All those Roger Corman/Hammer films, Christopher Lee, Peter Cushing, and of course, my first love, Vincent Price, kept me enraptured for those few hours they were on TV. I always wanted more. Continue reading

Recent and Upcoming Indie Book Releases

by
Daulton Dickey.

Absolutely Golden: A Novel
D. Foy
Stalking Horse Press

Absolutely-Golden-Store-ImageIt’s 1973, and a thirty-something widow has been cajoled by a young hippie parasite into financing their vacation to a nudist colony in the Northern California mountains. The night before their departure, however, she arrives home to learn that she and this man will be accompanied by the stripper on his lap. At Camp Freedom Lake, the trio meet a womanizing evangelist, a bumbling Zen gardener, and a pair of aging drug-addled swingers from Holland. Together, they’re catapulted through one improbable event after the other, each stranger than the last, until finally the woman who was dominated by her fear of past and future finds herself reveling in the great here and now.

D. Foy’s Absolutely Golden is a radical departure from his two previous novels, Made to Breakand Patricide. It’s comic, ebullient, magic, light, gently surrealistic. It’s rollicking, effervescent, slyly profound. But more, this brisk tale offers a kaleidoscopic look at parts of the 1970s we haven’t often seen in fiction—nudism, New Age philosophy, Eastern religion, the occult, swingers culture, California culture, and then some.

Best of all, Foy tells his story in the guise of a woman obsessed with the notion that she’ll never find another man until she’s rid of what she believes to be a mysterious curse. As if written in the marriage of Vladimir Nabokov, Renata Adler, and Anaïs Nin, her words transport us from doubt, despair, and dread into states of increasing wonder and euphoria.

Click here to Pre-order or Buy Absolutely Golden

The Abridged History of Rainfall
Jay Hopler
McSweeney’s

rainfall_pb_cover_store_siteThe Abridged History of Rainfall is a finalist for the National Book Award.
Jay Hopler’s second collection, a mourning song for his father, is an elegy of uproar, a careening hymn to disaster and its aftermath. In lyric poems by turns droll and desolate, Hopler documents the struggle to live in the face of great loss, a task that sends him ranging through Florida’s torrid subtropics, the mountains of the American West, the streets of Rome, and the Umbrian countryside. Vivid, dynamic, unrestrained: The Abridged History of Rainfall is a festival of glowing saints and fighting cocks, of firebombs and birdsong.

Click here to Pre-order or Buy The Abridged History of Rainfall

 

  Continue reading

21 Transgressive Books (Part 3)

by
Daulton Dickey.

(This is part 3 of a 3 part series. Read Part One here. And Part Two here.)

Transgressive fiction is a genre of literature which focuses on characters who feel confined by the norms and expectations of society and who break free of those confines in unusual or illicit ways

Without spending too much time elaborating on theories w/r/t transgressive fiction, the above quote is from Wikipedia. Succinct, it offers a broad enough outline to convey the gist of this often ill-defined subset of fiction.

This isn’t a definitive list. It’s also not intended as authoritative. Instead, it’s a list of some transgressive books that have inspired me as a writer—and a person—over the years. Although I should clarify that I don’t love every book on this list. In fact, I find some of them repugnant, their authors appalling, but they’ve still affected me in one way or the other.

If you haven’t read much transgressive fiction, you should do yourself a favor a take a detour into world funny and strange, terrifying, awe-inspiring, and disturbing.

Although this list deals primarily with fiction, I’ve decided to include a few important works of non-fiction and poetry.

How to Talk Dirty and Influence People by Lenny Bruce
(Playboy Publishing, 1965)

HowToTalkDirtyAndInfluencePeoplePerhaps the most important comedian of the twentieth century, Lenny Bruce introduced satire and social commentary to mainstream comedy. His career started as any other in the 1950s: telling jokes wherever he could—bars, strip clubs, fledgling nightclubs. His career started with a whimper as he told jokes typical of the time. But when he found his voice, he forever changed the face of comedy—and became a target for federal and local law enforcement and puritanical groups intent on preserving the bland discourse of totalitarian 50s America. Continue reading

21 Transgressive Books (Part 2)

 

by
Daulton Dickey.

(This is part two of a 3 part series. Read part one here. Read part three here.)

Transgressive fiction is a genre of literature which focuses on characters who feel confined by the norms and expectations of society and who break free of those confines in unusual or illicit ways

Without spending too much time elaborating on theories w/r/t transgressive fiction, the above quote is from Wikipedia. Succinct, it offers a broad enough outline to convey the gist of this often ill-defined subset of fiction.

This isn’t a definitive list. It’s also not intended as authoritative. Instead, it’s a list of some transgressive books that have inspired me as a writer—and a person—over the years. Although I should clarify that I don’t love every book on this list. In fact, I find some of them repugnant, their authors appalling, but they’ve still affected me in one way or the other.

If you haven’t read much transgressive fiction, you should do yourself a favor a take a detour into world funny and strange, terrifying, awe-inspiring, and disturbing.

Although this list deals primarily with fiction, I’ve decided to include a few important works of non-fiction and poetry.

Last Exit to Brooklyn by Hubert Selby, Jr.
(Grove Press, 1964)

lastexittobrooklynFew writers excel at producing bleak material. Hubert Selby, Jr., is one of them. In his dirge to life on the fringes, Last Exit to Brooklyn is likely to leave an impression on everyone who reads it.

Populated by transvestites, the addicted, psychopaths, and the downtrodden, Selby’s classic examines life on the margins. While not a novel in the traditional sense, Last Exit is a collection of stories connected by themes and the city of Brooklyn.

This is a frank and honest portrayal of life on the margins. More importantly, it’s a depiction of the consequences of poverty in the richest nation on the planet. The material proved shocking to audiences in the early 60s. To people in the middle class, riding the high of the post-war, post-Eisenhower boom, such dregs of society serve no place in a civilized country.

But the characters Selby portrays—many of whom were based on people he knew—are not victims of their own excesses and poor choices. They’re victims of their social strata. Alcoholism and drug use, violent crime and depression and suicide are correlates of poverty. It’s easy to overlook the notion that these people developed in a social prison imposed on them by those with power or money. It’s much harder to recognize them as symptoms of a nihilistic nation obsessed with limiting the distribution of money and opportunity.

A brutal and unflinching book, Last Exit to Brooklyn is a must read, a harrowing tale of people left behind by a first world power. Continue reading

14 Great Indie Book Covers

by
Daulton Dickey.

They say we shouldn’t judge a book by its cover. While you certainly should refrain from judging the contents of a book by its cover, the cover is often our first introduction to a book. If it’s intriguing, attractive, or even confusing it, it might inspire us to pick up the book, to flip through it and read a few passages.

Book covers function as marketing tools, but they also encapsulate an element of the book itself. If the cover intrigues you, then perhaps the book will, too.

This is not a definitive list. You could probably point me to dozens, if not hundreds, of mind blowing or beautiful covers. The covers I’ve included here have, at one time of another, struck my as aesthetically pleasing in one way or another, so my criteria is admittedly subjective.

Dreaming At the Top of My Lungs: A Horror Collection by Israel Finn
Amazon Digital Services, 2016
Paperback 6.99
ebook 2.99

dreamingatthetopofmylungsAbout the book:

Twelve Tales of Horror From The Mind Of Israel Finn:

-A man who is faced with the prospect of losing the most important thing in his life—his son—but instead loses his mind. And then finds himself trapped in a waking nightmare with no way out.

-A frustrated man who curses life for having the audacity to pass him by, but discovers how it feels to be truly forsaken when the universe chooses to teach him a horrifying lesson.

-An outcast who must decide between vengeance and forgiveness in a world turned upside down by war and famine.

-A woman on trial in a world where telling the truth is a crime.

-A man who is living with a very odd houseguest, a visitor who has no concept of war.

-A boy who lives in constant terror of someone who is supposed to love and protect him, but who has betrayed that trust. A horror story that examines the real-life beasts who walk among us every day.

…And more.

Click here to buy the book

Galaxies by Barry N. Malzberg
Anti-Oedipus Press, 2014
Paperback 13.95

About the book:

galaxiesThere is a spectre haunting the science fiction genre-the spectre of Barry N. Malzberg . . . In a genre that, with one hand, claimed to be the ultimate storehouse of innovation, and with the other, leveled strict rules for writing and codes of narrative conduct onto its authors, Malzberg stuck out like a forked tongue, composing works of bona fide literature that dwarfed the efforts of his contemporaries and established him as one of science fiction’s most dynamic enfantterribles. Originally published in 1975, GALAXIES is a masterwork of the Malzberg canon, which includes over fifty novels and collections. Metafictional, absurdist and sardonic, the book mounts a concerted attack against the market forces that prescribed SF of the 1970s and continue to prescribe it today. At the same time, the book tells a story of technology and cyborgs, of bureaucracy and tachyons, of love and hate and sadness . . . Despite his deviant literary antics, Malzberg could not be ignored by the SF community. In 1973, he won the first annual John W. Campbell Memorial Award, which is presented to the best SF novel of the year by a distinguished committee of SF experts, authors and critics. Thereafter he received nominations for the Hugo, Nebula and Philip K. Dick Awards, among others. Nonetheless his writing has not received the attention it so profoundly deserves. GALAXIES is among the works listed in acclaimed SF editor David Pringle’s SCIENCE FICTION: THE 100 BEST NOVELS, published in 1985. With an introduction by Jack Dann, this special paperback edition ushers Malzberg’s genius into the twenty-first century.

Click here to buy the book

Last Burn in Hell: Director’s Cut by John Edward Lawson
Raw Dog Screaming Press, 2006
Paperback 15.95
ebook 2.99

About the book:

lastburninhellThe bizarro prison sex horror road trip exploding with alien invasion action!

Kenrick Brimley, the state prison’s official gigolo, hangs over a lava pit on trial for his life in a strange land. He will reveal the course of his life one misguided step at a time for his captors. From his romance with serial arsonist Leena Manasseh to his lurid angst-affair with a lesbian music diva, from his ascendance as unlikely pop icon to otherworldly encounters, the one constant truth is that he’s got no clue what he’s doing. As unrelenting as it is original, Last Burn in Hell is John Edward Lawson at his most scorching intensity, serving up sexy satire and postmodern pulp with his trademark day-glow prose.

The Director’s Cut edition includes:

  • Deleted scenes
  • Alternate ending
  • Photo stills
  • Remastering for more enjoyable viewing
  • And more!

 Click here to buy the book

Rumbullion by Molly Tanzer
Lazy Fascist Press, 2016
Out of Print

About the book:

rumbullionmollytanzerIn the wake of a fateful and fatal party, young, sickly aristocrat Julian Bretwynde decides to interrogate all who were in attendance, including the infamous alchemist, immortal, and liar, the Count of Saint Germain. What Julian will uncover about that night, no one could ever have expected, least of all himself. And even worse, he’ll be forced to decide what’s true among the radically disparate accounts of men and women who stood side by side, watching the same events unfold. As he gets deeper and deeper into his investigation, the killer’s identity grows ever more obscure… as does that of the victim.

Continue reading

21 Transgressive Books (Part 1)

 

by
Daulton Dickey.

(This is part one of a 3 part series. Read Part Two here. Read Part Three here.)

Transgressive fiction is a genre of literature which focuses on characters who feel confined by the norms and expectations of society and who break free of those confines in unusual or illicit ways

Without spending too much time elaborating on theories w/r/t transgressive fiction, the above quote is from Wikipedia. Succinct, it offers a broad enough outline to convey the gist of this often ill-defined subset of fiction.

This isn’t a definitive list. It’s also not intended as authoritative. Instead, it’s a list of some transgressive books that have inspired me as a writer—and a person—over the years. Although I should clarify that I don’t love every book on this list. In fact, I find some of them repugnant, their authors appalling, but they’ve still affected me in one way or the other.

If you haven’t read much transgressive fiction, you should do yourself a favor a take a detour into world funny and strange, terrifying, awe-inspiring, and disturbing.

Although this list deals primarily with fiction, I’ve decided to include a few important works of non-fiction and poetry. Continue reading

Unpublished Novelist Daulton Dickey Interviews Failed Novelist Daulton Dickey

transcribed by
Julius M. Henry.

Daulton Dickey is a nobody. No one’s interested in him. Yet he runs around the Internet begging for attention and whinging about how no one will publish his artsy-fartsy novels. In a blatant and unapologetic act of theft, I’ve decided to ripoff Kurt Vonnegut’s interview from the Paris Review and track down Daulton—spoiler: he wasn’t hard to find—to ask him questions about life, writing, philosophy, and whatever else popped into my head. Knowing Daulton, I expect pretentious answers. And bullshit—spoiler: he’s an asshole.

Daulton Dickey [DD]: So. Here we are.

Daulton Dickey [Dd]: Indeed.

DD: I wanted to start by filling the audience in on a few things.20160601-230511.jpg

Dd: What audience?

DD: The audience reading this.

Dd: Are you high? No one reads this.

DD: This blog has had over 18,000 views.

Dd: Maybe so, but no one’s going to read this twaddle.

DD: Let’s agree to disagree. [Pause.] Now why don’t we start by telling the audience a little something about you?

Continue reading

6 Tips for Writers Who Want to Break the Mold

by
Daulton Dickey.

Ladies and gentlemen, boys and girls, step into any bookstore or library and you’re bound to discover at least one book professing to be capital-t the underscored book to learn how to write a book that publishers and agents and readers and Hollywood producers and the Dalai Lama and maybe the Pope or some low-rent Mafioso will recognize and idolize and adore. Fiction, according to the reality in which these writers write, is an algorithm. Replace variables with values and, viola, book is done. Sale is imminent.

And that might work for some people. But if you have any ambition and integrity, then you should buy or borrow that book, tear out each and every page, and use those pages to roll cigarettes or joints. Smoke that inhales the words fermenting on the pages. Those rules are better to inhale and exhale, they’re better as permanent scars on your lungs, than they are to absorb and incorporate into your writing.

Now let’s make a distinction. Some rules are useful, such as word economics or showing in lieu of telling. I’m talking about structure. I’m talking about form. I’m talking about what information is necessary, what isn’t—but I’m modifying it: ambiguity and disconnection constitute important information as well. I’m talking about the algorithms writers and agents and editors and authors of ‘How-to’ books drill into your head. The algorithm of fiction is what we want to avoid. How else are we going to invent new ways of storytelling—and new ways of seeing ourselves—if we stick to the same tired rules?

Which leads to a question: How do we invent new forms of storytelling?

Which leads to Tip #1:

Experiment. Break the mold. Try to write in new ways, try to shake things up, to use a cliché, try to change how sentences and paragraphs and chapters flow. Try to alter what information you find necessary and what information you don’t find necessary. Continue reading