The critically acclaimed cult novelist makes visceral the terrors of life in Jim Crow America and its lingering effects in this brilliant and wondrous work of the imagination that melds historical fiction, pulp noir, and Lovecraftian horror and fantasy.
Chicago, 1954. When his father Montrose goes missing, 22-year-old Army veteran Atticus Turner embarks on a road trip to New England to find him, accompanied by his Uncle George—publisher of The Safe Negro Travel Guide—and his childhood friend Letitia. On their journey to the manor of Mr. Braithwhite—heir to the estate that owned one of Atticus’s ancestors—they encounter both mundane terrors of white America and malevolent spirits that seem straight out of the weird tales George devours.
At the manor, Atticus discovers his father in chains, held prisoner by a secret cabal named the Order of the Ancient Dawn—led by Samuel Braithwhite and his son Caleb—which has gathered to orchestrate a ritual that shockingly centers on Atticus. And his one hope of salvation may be the seed of his—and the whole Turner clan’s—destruction.
A chimerical blend of magic, power, hope, and freedom that stretches across time, touching diverse members of two black families, Lovecraft Country is a devastating kaleidoscopic portrait of racism—the terrifying specter that continues to haunt us today.
Let me say, period pieces really are my favorite niche in any genre. While working as a colorful backdrop, it also ought to really become a character in and of itself. That’s to say, the characters within the story should be effected in some way, both great and small. You can’t just say your on the 1950s and not have some sort of conflict within the boundaries of that era. And Lovecraft Country is sweating Jim Crow. Every action and resolution is weighed against a concise and chillingly real understanding of what it was like for African Americans during segregation. I’m actually a big fan of studying this precarious time in our country. Yes, fan may not be the best choice of words and there are lots of harrowing and sinister moments and events, but (to me at least) there are a lot of heroes that are born from this era in history. Author Matt Ruff capitalized on that, I think. His characters, the Berry’s and Turner’s, had to face extreme racism and event he more subtle and more sinister forms of it, but they stood the test, in their own way. Atticus’ father, Montrose, for example, I did not favor him in the beginning, to me he seemed a harsh kind of father figure, but later on, discovering his history and his ultimate message to the black youth around him, I began to like him more and more. For the historic setting and the story surrounding it, top marks.
But as a Lovecraft inspired work of fiction? Some debate could be made. There is a feeling, a vibe that hints at a cosmic dread, but nothing on the level as H.P. And for those looking for Lovecraft are bound to be disappoint, at least a little bit, right? And that’s okay. Truthfully, I had hopes of seeing more of Lovecraft’s world, not just having his work mentioned between a group of unlikely sci fi fans. The supernatural is certainly there, or as they call it “natural philosophy.” But what Lovecraft Country really lacked was teeth, especially if stamping the title with Lovecraft’s name. Lovecraft Country was like a PG romp into some rather serious issues dealing with race in America and reading the characters all coming out unspoiled seemed disingenuous. Fun, but not realistic.
In summary, Lovecraft Country works as a reminder and a warning regarding the legacy of Jim Crow America. The tension is clearly defined and some parts were hard to get past. The history was spot on and believable. But as a Lovecraft stamped title…it lacked that sense of dread, lurking creatures or not, that ought to come with every Lovecraft inspired book. An argument could be made that the dread was with the characters having to survive the effects of segregation, that the hidden lurking unfathomable monstrosity was in fact racism itself. Still, in the end it felt as if most things had been resolved, more or less. Parts of the book, which was designed in short story increments that connected eventually together, wrapped up too neatly. And the lack of death or any serious permanency felt strange compared to the real threat this part of our history posed to those who lived it.
Rumor is, Lovecraft Country has been picked up to be developed as a TV show, and seeing how Matt Ruff wrote the book with an adaptation in mind (most likely to reason for lacking any real depth) I’d be interested in seeing how that would work, especially if the rumors are true and Jordan Peele (Get Out fame) will executive produce the book as an HBO series. Get Out was one of my favorite movies to come out thus far this year and I am excited to see Peele’s name attached to the project. But I have my doubts anything Lovecraftian will surface.
My rating: 3.5 out of 5 stars.
Thomas S. Flowers writes character-driven stories of dark fiction ranging from Shakespearean gore feasts to paranormal thrillers. Residing in the swamps of Houston, Texas, with his wife and daughter, his debut novel, Reinheit, was published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, The Hobbsburg Horror, and FEAST. His veteran focused paranormal thriller series, The Subdue Series, including Dwelling, Emerging, Conceiving, and Converging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served three tours in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston-Clear Lake with a Bachelors in History. He blogs at machinemean[dot]org, where he reviews horror and sci fi movies and books and hosts a gambit of guest contributors who discuss a wide range of strange yet oddly related topics. You can follow Thomas at a safe distance by joining his author newsletter at http://goo.gl/2CozdE.
When I first heard of the film “The Mist” I knew nothing about it other than – a mist descends on a town and, hidden within the murkiness, there are… Things. Nasty things that kill people. I couldn’t help but laugh and shake my head. Just what the film industry needed, another knock-off film. I mean, we’ve seen this back in the eighties with John Carpenter’s “The Fog”. Not entirely sure we needed another film with a similar concept. But, then, I heard more about the film. Directed by Frank Darabont, he who made “The Green Mile”, “The Shawshank Redemption” and “The Walking Dead”. I’m a fan. Then I saw it was based on the work of Stephen King. Now, I’m not a fan of King because – for me – I find the books a bit too wordy to read (I have a short attention… oh look, a penny). That being said, I do like the ideas he has. Then, of course, there was the cast list: Thomas Jane (in my eyes an under-rated actor) and several folk from “The Walking Dead” (Carol, Dale, Andrea… Was Frank doing a test run with the actors before hiring them for The WD?). What the hell, there was enough there for me to give it a go and – you know what – I’m glad I did.
“The Mist” is not an original story (as mentioned). Now I don’t know what came first between King’s short and the novel of “The Fog” and I do not really care. It’s a story that has been told time and time again in various ways but this… This worked well because of the minimal locations and the chemistry between the varied characters even though said characters are also the type of people you see in these films. You have the small minded locals, you have the God-Worshipping woman who tries turn everyone else into believers (“We are being punished for our sins”), you have the father trying to save his kid, the military folk with something to hide… Seriously – no originality but they work – which is just as well as we don’t really see any of the features until about an hour into the film. The rest is them talking, panicking, planning. blah blah.
When the creatures do come, you can’t help but get pulled out of the film a little – and the story it is trying to tell. The reason being because – whilst they don’t look bad – they don’t look great. Or rather, they don’t look great in colour. You see, there are two’s versions of this film. You have the aforementioned colour version with it’s rubbish CGI and then you have the same film but done in black and white. Frank’s original vision of the film, to have it in black and white. Personally, this is the definitive version of the film. It’s moody and atmospheric and even reminds me of those old sci-fi serials I used to watch when growing up. But, more than that – and more importantly, because it’s black and white the effects of the creatures don’t look so obviously fake. In colour, the CGI looks cheap and nasty – in particular, there’s one scene that features a dire looking tentacle. In black and white, it blends well into the scene and doesn’t look like a seven year old has drawn it with a BIC biro.
Other creatures include flying things, big arse legs of monsters unseen and – of course – spiders. After all, what horror film (about creatures at least) would be complete without some big arse, mutated eight-legged little bastard fucks?! Before we get to the spiders though, a quick mention to the flying creatures. There are a couple of “breeds” on display here – one is large and almost dinosaur looking and the other (better) type is around the size of an arm and more gnat-like in their appearance. And, like a gnat, these things bite and when they do… Well, just watch the film. Anyway, I hinted towards some arachnids…
The spiders in this being particularly nasty for those with a fear of spiders. I personally don’t fear them. I’m THE Matt Shaw. I don’t fear anything. I do, however, go out of my way to kill them if they’re in my house. Because they’re cunts. What’s good about these particular spiders is that – whilst they’re obviously big – they don’t look too different to what we already fear. The only difference is that they spit acid webs and put their eggs inside of you (yes, there is a scene in which the spiders come from a person). In colour, this doesn’t look too shabby to be fair but – again – in black and white, it’s seamless.
So to sum up the film isn’t original, the characters are paint-by-numbers and the plot straight from something out of the sixties but – yeah – it works. Even in colour, the first time I saw it, I came away loving it but that was mainly to do with the ending. And this is where I shut up, other than to say – the ending, for a true horror lover, is nigh on perfect. It’s a great big fuck you to the Hollywood system that usually dictates films should end a certain way to please the majority of the audience (in their eyes). Whilst the ending doesn’t really make a blind bit of difference as to whether it is colour or black and white (it’s great as an over all) the whole film as a complete package just works better without colour.
If you haven’t seen this film, you need to give it a go. Do suspend your disbelief, do switch off and just enjoy it. For me personally, this film went straight into my top twenty when I watched it. When I saw the black and white version: It went into my top 10.
MATT SHAW is the published author of over 120 stories. Although known as being a horror author, he also enjoys spending time in other genres too – something he had always planned to do in order to have at least one book, in a wide collection, which would appeal to people from all walks of life. Shaw was first published in 2004 with his horror novel Happy Ever After – the first of his books to reach the number one slot on Amazon and the first of his books to use his trademark style of narrating the stories through the first person perspective. An extremely prolific writer, Matt Shaw is continually writing as well as keeping up to date with his readers via his (some might say) crazy Facebook page.
Be sure to check out Chaturbate’s Castrations: A Tale of Sex and Horror. Available on Amazon Kindle.
Tonight’s showing has to be one of the strangest selections within the sub-genre Creature Features. And it because it technically is very much a creature feature, its makes the very in your face metaphor all the more brilliant. Of course, I’m talking about The Stuff. Filmed with a 50’s sci fi B-movie in mind and with voice-overs worse than a Kung movie, we’re guided through a fairly simply story structure with a much complex core. Its a creature flick that begs the question, if we are consumers of the creature are we not in fact monsters ourselves? The Stuff, for all purposes, has lasted the test of time and remains one of the best 1980’s anti-consumerist flick. If you haven’t seen the movie, check out a trailer on YouTube and give it a chance. I’m not promising you’ll like it, The Stuff will require some patience, but if you’re a fan of horrible 80’s horror, or horrible horror in general, you might just enjoy yourself.
Are you eating it…or is it eating you? During the summer of 1985, director Larry Cohen introduced America to the discovery of a mysterious, yet delicious, white gooey treat. Found by a group of miners bubbling up from the earth, the Stuff quickly sweeps across the nation. Soon after, conglomerates pick up the Stuff and break record sales. Former FBI agent Mo Rutherford remarks, with some disbelief, that folks are willing to stand in line at two in the morning, just to buy some Stuff. Another protagonist, a young boy named Jason, refuses to eat the Stuff as he watches his family become addicted, turning into mindless drones– craving nothing to eat but the Stuff. In one of the oddest scenes (yes, there are a few) Jason is forced to watch his family slowly slip away from rationality and into…something else entirely. When an attempt to fool his folks into thinking he’s eaten some of the Stuff fails, Jason scarcely escapes, his father yelling out in the middle of the street, chasing after him, “It’s good for us, Jason…it kills the bad things inside us.”
What…you’ve never heard of this movie, The Stuff? I’m not shocked; unless you’re a connoisseur (see what I did there?) of obscure horror, The Stuff is by far one of the most obscure-ee horror movies I’ve ever seen. This very low-budget does take on, as other classic horror flicks such as Dawn of the Dead (78), American consumerism and consumption during the 1980’s. Some of the other films during this era, and some of my personal favorites of glorified 80’s consumerism, include Evil Dead 2, Friday the 13th part 8, and Videodrome.
Film critic Brian Dillard had this to say regarding The Stuff:
“…another 1980’s horror flick… mixed wit and gore with anti-consumerist ideology. On the surface, The Stuff is just an exploitation flick — a jumble of The Blob [and] Invasion of the Body Snatchers… full of amateurish special effects and hammy performances.”
If that’s what’s on the surface of the movie, cheesy effects and a hammy attempt at saying something, is there anything beneath? I’d point out all the random commercials that pop up during the movie which I think are brilliant parodies to everyday life. It almost calls out the audience (we) and asks if we can tell the difference. Are we that conformed to commercials that even fake ones seem real to us? This aspect really reminds of the appeal in Invasion of the Body Snatches, more especially the 1978 version as it focused more on the characters and their doppelgangers. Its about paranoia, almost, and The Stuff really brings that paranoia into focus. Can we trust anyone to be objective regarding a product that they are bought into? Can we trust a representative or legislator to be unbiased toward a private sector entity when (s)he get’s campaign donations from private corporations? Not to get political, but…have we become like Jason, being told to “eat it” because its good for us?
As the movie comes to an end, following the efforts of a few good men and women, and a boy, the public becomes aware of the vile intentions of the conglomerates pushing the fluffy white alien goo. People “wake up” and see how The Stuff is actually a living thing. Yet, as the credits roll, we (the audience) are left with the feeling that the profligate has been set back up as the company executives comment that “the Stuff seeps out from many places in the ground.” We are given a true nihilistic ending as anyone can get, that there will always be more Stuff.
If you’re screening The Stuff for the first time, it will time some getting used to the low quality in which the film was shot, unless you are already a member of the 80s splatter zombie corp and uber-obscure VHS demon flick rentals from Italy club. If that’s the case, then the low budget shouldn’t throw you off. The story is there if you’re willing to follow it. Low budget doesn’t necessarily mean low quality. Just look at Sam Raimi’s Evil Dead as an example of how low budget films can become The Stuff of legend (oh man, I kill myself).
My Rating: 4 out of 5
Thomas S. Flowers creates character-driven stories of dark fiction ranging from Shakespearean gore feasts to paranormal thrillers. Residing in the swamps of Houston, Texas, with his wife and daughter, his debut novel, Reinheit, was published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, The Hobbsburg Horror, and FEAST. His veteran focused paranormal thriller series, The Subdue Series, including Dwelling, Emerging, Conceiving, and Converging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served three tours in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston-Clear Lake with a Bachelors in History. He blogs at machinemean[dot]org, where he reviews movies and books and hosts a gambit of guest writers who discuss a wide range of strange yet oddly related topics. You can follow Thomas at a safe distance by joining his author newsletter at http://goo.gl/2CozdE.
Revenge is a dish best served with BBQ!
I got my first taste in publishing when I was in high school. Some short story of which I have long since forgotten the title for and have long since misplaced the letter of authentication. Given my moody teenagerism, it was probably something dark and depressing. It would be another 15 years before I’d publish again. In 2014, I put out my second short story, Hobo, and followed it closely with Are You Hungry, Dear?, and then released my first novel, Reinheit. In that very short span of time, I’ve been able to launch 4 more novels in a continuing series called The Subdue Series (Dwelling, Emerging, Conceiving, and Converging), 2 solo shorts, contributed to 7 published anthologies (the 8th to be published later this year), including a serial short story exclusive to the 13: An Anthology of Horror and Dark Fiction series, my first collection called The Hobbsburg Horror, AND 2 novellas, Lanmò and Feast. That’s what? Some 20 published works, most of which are shorts. I’d say I was simply prolific, but I know more authors that do way more than my meager sum.
No, the aim (for me) cannot be about out producing the competition. I’d go nuts trying to keep up. What I can aim to do is provide quality entertainment in the vein of horrifying reads. I want to tell stories, plain and simple. I don’t want to out do anyone. I want to tell tales and get them out there to be read. Easy enough, right? What’s interesting, in this current era we find ourselves, is the constant development of technology that allows schmoes like me to publish our works. Amazon wasn’t around when I was a grump moody teenager. Self publishing was unaffordable. And traditional publishing took knowing someone who knew someone who knew someone. If you didn’t have that connection to your father’s brother’s uncle’s cousin’s former roommate, you were SOL. And the BIG 5? Forgetaboutit.
But now? Man, the entire system has expanded exponentially. With the development of eBooks (and its popularity) which later gave rise to print on demand (I use CreateSpace), publishing became insignificant. Not to belittle it, just that anyone can and many do. In fact, its not uncommon to stroll into a cyber writers group and read at least a dozen complaints about how saturated the market is. Its a favorite word to toss around that makes you sound more knowledgeable than what you really are. Saturated. Saturated. Saturated. Martha. Martha. Martha. And its true, the market IS super saturated. Personally though, I don’t think that’s such a bad thing. Now readers have more of what they want. They have options outside of what they thought they could only get from the BIG 5.
But there’s a trick.
You cannot just put something out there and expect readers to flock to you. That’s just insane. Unless you have a known name, readers are not going to flock to you. Connections help; making connections is even better. What I’ve found most appealing with how this publishing world has evolved is how much of a community it has become. Embrace it. There will be some who try to take advantage. Don’t let a few turds keep you from making lasting connections. If people are willing to not only share your stuff, but also interact and maybe even give advise, those are the connections worth holding on to.
Experimenting with marketing can lead to surprising results. Ever heard the phrase, “Put your money were your mouth is?” The same applies to marketing your wares. I think “nut up or shut up” also applies, but its a tad cruder to tell your 80 year old grandma who wants to self-pub her book of recipes. In lieu, sometimes you gotta take a risk. Just don’t bet the farm. Play it smart, ask and listen to those connections, share what has worked or hasn’t worked. A word to the wise, among small press folk, BookBub is a known book promoter that lives by the slogan, money well spent.
Above all this noise, the most important thing publishing schmoes can do is keep writing, keep publishing, keep moving forward. And if you want those quality stories to reach more readers, you need to be willing to adapt to new technology. Last year, I was introduced to a little thing called Audiobooks. This is not new, per say. The spirit of audiobooks has been around a long time, back in the land before TVs and cable networks. Audio entertainment is not a new idea, but the tech behind it has come a long way since The Shadow and Little Orphan Annie broadcasted to delighted listeners gathered around a cherry red cabinet Philco radio. Cassette tapes came, followed by CDs. Nowadays, we’ve got digital recordings. At first, it was new and I didn’t want anything to do with it. I turned my nose up at it. But then Audiobook Creation Exchange (ACX) made everything so bloody simple its almost scary. I jumped in and released 4 titles on ACX last year and have released 2 titles thus far in 2017.
The idea here isn’t that your putting out even more stories (though you ought to be working on that). The idea is to use the technology available in order to put your work on as many platforms as possible so you can reach readers on the format that suits them best. And you’d be surprised. Audio is a expanding market for books. And the more this tech develops, the more affordable it becomes. Readers are now listeners, tuning in while driving to or from work or school. City and urban consumers plugged into YOUR book from their phones or tablets while they ride the train or bus or even airplane. Times are a-changing, but that’s not necessarily a bad thing unless we let it, right?
Thomas S. Flowers is known for his character-driven stories of dark fiction ranging from Shakespearean gore feasts to paranormal thrillers. Residing in the swamps of Houston, Texas, with his wife and daughter, his debut novel, Reinheit, was published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, The Hobbsburg Horror, and FEAST. His veteran focused paranormal thriller series, The Subdue Series, including Dwelling, Emerging, Conceiving, and Converging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served three tours in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston-Clear Lake with a Bachelors in History. He blogs at machinemean[dot]org, where he reviews movies and books and hosts a gambit of guest writers who discuss a wide range of strange yet oddly related topics. You can follow Thomas by joining his author newsletter at http://goo.gl/2CozdE.
Now Available for YOUR earbuds!!!
Howdy, folks. Just wanted to drop a quick line. Lots of exciting things are going on. Anticipation of some new horror movies coming out later this year, monster flicks like the new adaption of Stephen King’s IT and the finally being released Dark Tower: The Gunslinger flick. 47 Meters Down looks freaky as hell, mostly because of my fear of deep ocean water and all the many monsters that live there. Wish Upon looks pretty good too, as does God Particle (a hush hush third installment in the growing Cloverfield franchise). There seems to be a ton of horror coming out this year. Not that I’m complaining. Summer is my second favorite season next to fall. Yeah, here in Texas we like to barbecue and we enjoy swimming and drinking a cold one during the summer, but this season of beach balls and camping tents also invites the macabre. October is without a doubt THE season for horror. Its just not the only one.
There is a strong argument that summer is just as nostalgic when it comes to that feeling of fright. One of my favorite slasher franchises is built around the summer. Friday the 13th is ALL about creating terror around the appeal of camping. Which is funny because most of the Friday movies were filmed off-season during the late fall, but still…the image, the idea, the invocation takes us to that seat around the camp fire, listening to tales of dread and misery. Jaws is another blockbuster film that is surrounded by middle-class incantations of summer and then ripping those good-times to shreds. And the list goes on and on.
So, as the clock turns to June 20th lets remember the reason for the season and celebrate by going to the movies to see a new horror flick, or hosting a late night get-together or have yourself a stay-cation and toss in an old VHS copy Friday the 13th part 6. Or Critters 2. Or The Evil Dead. Go ahead, have a blast.
As my way of celebrating the start of Summer Frights, I’ve marked down my latest publication with Shadow Work Publishing. FEAST, which started this Saturday, June 17th, 2017, will be marked down at the low price of $0.99 for the eBook version on Amazon until June 24th, 2017. You can download this gory book directly to your Kindle device or to your FREE Kindle reader app. These apps are available on your smart phone, tablet, or even on your computer.
All proceeds goes to my monthly royalty % which in turn feeds my own horror habits…so you know its for a good cause.
Between the rural Texas towns of Bass and Sat is one of the most popular barbecue restaurants in America. Big Butts Bar-B-Que has been the seat of power for the Fleming family since the Great Depression, but when tragedy and scandal beset Titus and his surviving transgender son Lavinia, deals are made to keep control of the restaurant. An arrangement that will put a father at odds with his legacy. As the table is set, is it just the keys to the barbecue kingdom some are after, or something else entirely?
“Classically Greek, Tremendously Twisted” -The Haunted Reading Room.
“Extreme-ly superb!” -Confessions of a Reviewer.
“I think Shakespeare would’ve enjoyed it” -Lydian Faust.
Don’t wait. Get your copy today.
Often called The Hemingway of Horror, Thomas S. Flowers secludes away to create character-driven stories of dark fiction ranging from Shakespearean gore feasts to paranormal thrillers. Residing in the swamps of Houston, Texas, with his wife and daughter, his debut novel, Reinheit, was soon published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, The Hobbsburg Horror, and FEAST. His military/paranormal thriller series, The Subdue Series, including Dwelling, Emerging, Conceiving, and Converging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston-Clear Lake with a Bachelors in History. He blogs at machinemean[dot]org, where he reviews movies and books and hosts a gambit of guest writers who discuss a wide range of strange yet oddly related topics. You can follow from Thomas at a safe distance by joining his author newsletter at http://goo.gl/2CozdE.
You know, I’m fairly certain I’ve been a member of Netflix since the beginning, or at the very least since 2008, BEFORE the big streaming push and the demise of the video store. It happened slowly, I think. The takeover of streaming from home. There wasn’t much available to start. At the time, I still had the 2 DVD rental membership. Maybe it was around 2010 when we, the wife and I, did away with the DVDs. Why? Well…we didn’t need them. In fact, streaming became so much more convenient and affordable that we ultimately dropped cable television. My wife enjoys newer shows, but the ones she likes she streams from apps or catches up on Hulu. And for viewers like me, well…I’m more of a movie kinda guy to be honest, but the shows I do watch the most are typically…how do say…off the air. I watch old shows that have long since been canceled. There are a few newer ones that sometimes makes me wish we still had cable, shows like AHS and maybe a few others. However, if I’m patient enough, those very shows will eventually find their way onto Netflix’s monster cache of streaming availability.
But while newer shows have the glamour, I still indulge in older programming. We’re talking X-Files, MASH, Kolchak: The Night Stalker, Star Trek, and yes even The Gilmore Girls (don’t judge!). But my number one favorite oldie to watch is without a doubt Rod Serling epic sci fi thriller The Twilight Zone. If you’ve never seen an episode…jeez…think black and white science fiction, but not just about space and rocket-ships, but also weird tales, time travel, magic even, or death itself. They’re also all moral stories, more or less, warnings and questions of our humanity, not to mention the consequences we could face given certain destinations. The other night I screened for the first time one of these consequence driven episodes, from season 5 episode 14, titled “You Drive.” And let me say, this was one of the more creepier episodes of the show with the most simplistic plot-lines.
It goes like this:
“After involved with a hit-and-run killing a child, Mr. Oliver Pope is haunted by his car.”
Now I can see where King and Straub and everyone else got their ideas from. Perhaps not as deranged as Christine, but no doubt the genius of those darker works of haunted cars that would eventually come out in the 70s and 80s. In “You Drive” businessman Oliver Pope is on his way home. He’s driven this route for years. He knows every turn. Every bump in the road. As it happens on this particular day, its raining, and maybe Oliver has had a long day at work, stressed over a new client or something. He’s distracted and as fate would have it accidentally runs over a young boy delivering newspapers on his bicycle. Now at this point, what Pope has done is nothing more than an accident, tragic certainly, but an accident all the same. He didn’t intentionally run down the boy. However, as Mr. Pope jumps out to check on him (the boy doesn’t look good) and notices no one around, he makes a choice.
Stay and face the consequences of his actions…
Consequences is what Mr. Oliver Pope is afraid of. Afraid of what people will think of him after they discover what he’d done. Not just running over and killing the boy (which we later discover died from his wounds), but running away, his cowardliness. This is perhaps the whimsical side of watching shows like The Twilight Zone, they show you an era in which people still gave a damn about character. And character is what Mr. Pope desperately clings to protect. He doesn’t want people to think less of him. Sure, we can get that, right? But what Oliver fails to understand is that it is our actions that define our characters, not what people perceive us to be.
Well, as par for The Twilight Zone, because of Mr. Pope’s horrible choice to runaway the natural order of things begins to bend. There’s something not right…with his car, the very one he killed the boy with. Pope wants to forget, to put the matter away, what’s done is done, etc etc. But the car will not let him forget. His car haunts him and everyone around him. It honks in the middle of the night. It stalls out when his wife attempts to drive it to the store. It appears back at home seemingly to have driven itself. Blaring its horn over and over. And when Mr. Pope refuses to drive it, the car follows him on his way to work. The car makes a show to run him down. It wont stop. It cant, not until…
Oliver Pope must decide.
Face the consequences of his actions.
Or be continuously haunted by his car.
“You Drive” is certainly a chilling allegorical story to be sure. Haunted by our mistakes, our poor choices in life, especially those that have or could have dramatic effects on the lives of others. And how the consequences of those mistakes cannot be forgotten, never completely. And there’s even a lesson about character here, if we care about such a thing anymore. Our character isn’t (or at least shouldn’t be) defined by how people think of us, it is defined by our actions and our deeds, and it is by those deeds we will be judged.
My rating: 5/5
With a face only a mother could love, Thomas S. Flowers hides away to create character-driven stories of dark fiction. Residing in the swamps of Houston, Texas, with his wife and daughter, his debut novel, Reinheit, was soon published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein, Apocalypse Meow, Lanmò, The Hobbsburg Horror, and FEAST. His military/paranormal thriller series, The Subdue Series, including Dwelling, Emerging, Conceiving, and Converging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston Clear Lake with a Bachelors in History. He blogs at machinemean[dot]org, where he reviews movies and books on a wide range of strange yet oddly related topics. You can hide from Thomas by joining his author newsletter at http://goo.gl/2CozdE.
My debut collection of horror shorts is now just $0.99!!!