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Songs of a Dead Dreamer and Grimscribe, by Thomas Ligotti
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Review
"Thomas Ligotti is a master of a different order, practically a different species. He probably couldn’t fake it if he tried, and he never tries. He writes like horror incarnate.”—Terrence Rafferty, New York Times Book Review"Mr. Ligotti, winner of three Bram Stoker Awards, is one of our finest writers of short horror, and this volume, reprinting his first two collections (1985, 1991), is an excellent introduction to the sustained storm of dread that is his universe."—New York Times Book Review“Songs of a Dead Dreamer is full of inexplicable and alarming delights. . . . Put this volume on the shelf right between H. P. Lovecraft and Edgar Allan Poe. Where it belongs.” —The Washington Post"Regarded by many as the only contemporary American writer who can be spoken of in the same breath as Poe and H.P. Lovecraft...No matter how nightmarish the events described, Ligotti’s prose is always precise and beautifully controlled.—Michael Dirda, The Washington Post"Experimental and absurdist, he spins worlds of decaying humanity, unreachable madness, and nightmare worthy of any horror movie . . . You may never sleep again after reading these, but it’ll be worth it."—Vanity Fair“Thomas Ligotti has had one of the most quietly extraordinary careers in the history of horror fiction. He is a dense, witty, and enormously inventive writer.” —The Philadelphia Inquirer"A cult figure or 'secret' of contemporary horror, Ligotti will become a household name with the release of this collection, which brings together his first two books of 'philosophical horror.' "—Flavorwire"[An] underground horror master...Ligotti writes philosophical horror that eschews the spurts of gore for a torrent of existential dread. For decades, Ligotti has been a horror writer's horror writer, but he may be finally getting his due."—Men's Journal"Ligotti is a brilliant prose stylist whose immersive gothic fictions make most horror stories seem as harmless as wind-up toys."—The Seattle Times"Fugues of the creeping unknown."—New Yorker"Both [collections] are groundbreaking works and are must-reads for fans of cosmic horror...And yet, it is not only horror audiences (myself included) who can appreciate Thomas Ligotti, for he also displays magnificent literary sensibilities, his prose being of the sort that often demands numerous re-reads to fully savor its structural elegance and evocative, even sensuous delights. He is every bit as deserving of the critical praise lavished upon the likes of Joyce Carol Oates, William Gay, and even non-genre authors Jonathan Lethem and Haruki Murakami."—Lit Reactor
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About the Author
Thomas Ligotti was born in Detroit in 1953. Among the most acclaimed horror writers of the past thirty years, he has received three Bram Stoker Awards, a British Fantasy Award, and an International Horror Guild Award. He lives in South Florida.Jeff VanderMeer is the author of the New York Times–bestselling Southern Reach trilogy (Annihilation, Authority, and Acceptance). He is a three-time World Fantasy Award winner.
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Product details
Paperback: 464 pages
Publisher: Penguin Classics; Reprint edition (October 6, 2015)
Language: English
ISBN-10: 0143107763
ISBN-13: 978-0143107767
Product Dimensions:
5 x 0.8 x 7.8 inches
Shipping Weight: 12.6 ounces (View shipping rates and policies)
Average Customer Review:
4.1 out of 5 stars
93 customer reviews
Amazon Best Sellers Rank:
#24,165 in Books (See Top 100 in Books)
As a fan of Lovecraft, Poe, and Kafka, I was seduced into acquiring this collection of short stories by the promises held out in the jacket notes suggesting that they somehow embodied the spirit of works by those earlier authors. They do not. However, my initial disappointment engendered by the marketing hype was quickly transformed into admiration for Ligotti’s works as I soon realized that their merits in the realm of horror fiction are wholly original.Due to the elements of suspense that pervade his stories, I will not substantiate my opinions by giving examples from his writings because I do not want to give away plots lines that would serve as spoilers.Suffice it to say that his writings are psychologically disturbing at an existential level because the experiences of the characters in his stories challenge conventional conceptions of reality.Ligotti does so not merely by employing naïve subjectivism, which is based on the idea that perception is reality, a view that is preposterous because perceptions often vary from person to person and whatever is to count as “reality†must at least be inter-subjective, i.e., be the same for all.Nor does Ligotti incorporate the more plausible realist viewpoint that objectively interpreted perception is reality, a position designed to preserve a univocal reality, and attempt to create the sense of existential disorientation on quirky psychological interpretations of the characters .Rather, his stories have a Postmodern cosmological twist with mind-bending epistemological implications: these stories are based on the notion that there are no criteria for determining what is real, for what are called “objective interpretations†of perceptions are merely perceptions of perceptions, i.e., there is no way to break out of the realm of perceptions to discover some underlying reality.As a result, the stories are truly horrific because, in the final analysis, they leave his characters, and so too the reader, with the ultimate nightmarish vision of life as a series of experiences that we call people, places, and things that cannot be trusted to actually represent anyone, anywhere, or anything.
I was tempted to compare Ligotti’s writing to a music album, in the sense that each story is essential in the overall collection (in the same way each song is essential for an album). But, I realized, that’s not true for Ligotti. Whereas you can pluck a Stephen King and H.P. Lovecraft short out of the batch and place it into an anthology book in the same way you can pluck a song from an album and use it in a movie soundtrack, you can’t do that with Ligotti.His short stories are those aggressive fish you see at your local supermarket or pet store that are in separate containers because they’ll kill other fish. Yet, that’s not a perfect analogy—because Ligotti’s short stories work with one another. Therefore, each of Thomas Ligotti’s short story collections (Songs of a Dead Dreamer, Grimscribe) are songs. And each short story is a verse or a chorus or a bridge or guitar solo, etc., etc., etc...While SOADD is slightly more accessible than Grimscribe, I feel as though Grimscribe was written with more fervor—an acid trip, plain and simple; grim and dreary and depressing; nightmare after nightmare after nightmare—and, like a nightmare, it’s hard to remember what it was about after waking, but it made an impression upon you nonetheless.Ligotti is a literary descendant of H.P. Lovecraft. But whereas Lovecraft salivates over the science fiction and horror elements, Ligotti sticks to madness and the weirdness. Thus, alas, makes him not very accessible.Personally I loved Ligotti’s nihilistic writing. It’s almost so depressing and deplete of hope that you feel hope (kind of like discovering a literal Satan makes you, by default, believe in a literal God). These two dark songs were therapeutic and written with expert precision.
First off, you get alot of bang for your buck in Thomas Ligotti's "Songs of a Dead Dreamer" and "Grimscribe" -- and the "bang" here is masterful horror storytelling, with a goodly number of short stories to tell.It's hard to tell if the "and" in the title of the volume is intrinsic; that is, if "Songs of a Dead Dreamer" and "Grimscribe", tho published separately originally, are, by spirit and theme, meant to be married. For there is a common thread of a dreamlike nebulosity in these stories. They invariably meld one with the rest, with their oil-slick colors, sickly smells, and even sicker mental patterning. No hero, in the cases where there is one, is immune from morphing, slowly or quickly, but always seamlessly into a socio- or psycho-pathic observer, participant, or even instigator, of the murderous chaos taking place.Ligotti's writing comes down directly from the line and style of Poe and HP Lovecraft -- as the author himself openly indicates and celebrates by his dedication to the latter. I would add Conrad to this branch of literary lineage as well, even tho the last-mentioned did not write overt Horror; but insofar as Ligotti's stories are laced with abstract adjectives and adverbs to the point of giving them an impressionistic feel, where *feeling* itself is as much the means of conveying the story as the verbs and nouns are for the narrative aspect.The stories are prettymuch estrogen-free, so I doubt they would garner much interest for the majority of women readers (while this factor alone may do quite the opposite in the case of their male counterparts, especially these days: the trouble seems to start indeed, in contemporary storytelling in any mode, when the sexes converge; but that is a topic to go into more deeply elsewhere). But in fact no demographic need take Ligotti's style personally because it is consistently, supremely impersonal: This by itself is something of an achievement; for even by our time (Ligotti, at 64, is a year younger than I), writers were beginning to be urged to "write what they know", and "avoid adjectives and especially adverbs!" amongst other formulae for fictional writing (and there's an oxymoron if you ever want one!) -- the result ever since around 1970 being mountains of pulp, wherein "I", far from being shunted to the sidelines of proximal observation where she should be, is center-ring protagonist who is somehow also either utterly passive, or else mamas-boyishly heroic, both worthy of naught but a book-tossing at that point the reader is instinctively sure is the moment for it. (I call it the "Stephen King page".)While Ligotti is exceptional; taking impersonal, de-centering to hypnotic heights -- and abysses. Like Poe and Lovecraft, he writes with an antique elegance such that we're never sure when or even where we are: We could be in the author's homeland of the USA in, say, his homestate Florida of the present, or in Europe in the year 1650. We never findout, but -- and here is the Ligottian genius at work -- we don't need to! Ligotti's settings, tho usually claustrophobic, do address that outward world, no matter how near the walls be closing in, as well as the inward.For immediately behind both the outer and inner worlds -- both flimsy, teetering totems to Survival in Ligotti -- lies the Pessimist Nightmare. Pessimist here being the capital-P kind in Philosophy: Nothing means anything, you *will* die and the universe does not care how you feel about it, and "self"-consciousness is just a very, very unfortunate byproduct of the human brain, the terrible deal with the devil made by the first man.Ligotti goes into Pessimism per se -- Schopenhauer and his modern heirs, with a bonus section on how it relates to Horror-writing -- in his masterful and tragic non-(unfortunately!)-fiction, "The Conspiracy Against the Human Race". And while his fiction may be finally, hastily and quite deliberately, confined in memory to "some pretty scary horror stories!" -- the reader has no such easy option with the "Conspiracy". The latter, while not for the faint of heart -- and especially not for those who experience a horror of fainting! -- I would recommend reading, even before "Songs of a Dead Dreamer and Grimscribe" or other of his fiction. Either way, tho, whether glancingly across the spine, or as a full stab in the heart, the reader will not emerge unscathed by Thomas Ligotti's poison, frozen knife of Pessimism in its natural milieu: Horror.
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