Okay, maybe the title of this post is a little what kids call”clickbaity,” but hey…I make no excuses. The world is what it is. Filled with click baits…and fake news sites…and paranoia…and silent conversations over Thanksgiving dinner… (sighs) Well, now that I have you here, assuming you fell for my ingenious trap, I’m more than ecstatic to announce the release of my new book, Conceiving. Now available on Amazon, B&N, and iTunes. This book really does feel like a long time coming, especially when considering that Dwelling and Emerging released back in December 2015, almost a full year ago. Anyhow, if you’re new to the series and don’t want to spend time catching up by reading the first two books, no worries. Information regarding the first two books is included in this new one without being drab, but only generally. So you know what happens and are not lost in this new book. If you’ve read both Dwelling and Emerging and have been waiting for this new book to release, I bid you welcome home. The real benefit of reading the entire series is the intimacy of getting to know the characters and experiencing why and/or what they are in Conceiving.
Conceiving is a supernatural thriller of which I would humbly compare to the likes of a mashup between Rosemary’s Baby, The Omen, and Frankenstein Meets the Wolf Man. Old and new readers will follow the somber adventures of Bobby Weeks, one of the major carry overs from the series, and Luna and Ronna Blanche, minor characters in the series that now have larger roles. New characters include Boris and Neville Petry, and yes Neville is a girl.
The Petry’s are my new favorite. A young couple wanting what most young couples want, a family, a dream home, and dream jobs. I imagined Boris like this “cool” history professor if such a thing can exist. He loves his area of expertise and wants to move up the ranks of his profession and among his peers. Like most academics, he wants to be respected and revered for his work. Neville, on the other hand, I saw as this young college educated woman who doesn’t really believe women need to be “stay at home” moms or wives, but choices to take on that role. She often compares herself to her mother, but not always positively.
In the fashion of how I typically tell stories, these individuals and groups begin separated, facing their own troubles alone, but there are forces at work pulling them together, inching them toward some cataclysmic event that will shatter their perception of reality and perhaps take more than just their sanity.
Conceiving is available on Amazon kindle or kindle app. You can get your copy here for the low price of $3.99……..https://goo.gl/4EWzSU
Or if you’re a traditionalist and prefer paperback, you can get your copy here for $15.99…….https://goo.gl/5pTAQ4
If you’re subscribed to my newsletter or have been following my feed on Facebook, then you’ve probably already heard the news. The next installment in my growing Subdue Books Series will release next week with Limitless Publishing LLC. This new title is called Conceiving, and in this post, I’d like to tell you a little bit about the new story. Before that, though, maybe I should recap what happened in the previous books…without giving away any spoilers for anyone who has not read either Dwelling (Subdue Book 1) or Emerging (Subdue Book 2). What I’ll be giving then is general information while avoiding major twists and such. And let it be made know, to follow along in Conceiving, you do not have to have read the other books. Okay…let’s begin.
A long time ago in a galaxy far far away….
At the beginning of Dwelling, we are introduced to Johnathan and Ricky who are both in the U.S. Army serving in Iraq during the 2006-ish years, basically Operation Iraqi Freedom era. While on guard, Johnathan thinks he sees something…unnatural during a sandstorm. The event is juxtaposed with an actual attack on the Iraqi Police station they were guarding. Johnathan and Ricky’s trunk is hit with an RPG. And…no spoilers here as it is made very abundant in the beginning, Ricky is killed instantly, while Johnathan suffers the loss of a limb. This is how Dwelling opens. From here, we fast forward one year from the attack that claimed Ricky Smith and we are introduced to some other major characters.
Bobby Weeks (one of my favorite characters), who also served in the U.S. Army during the Iraq War, is now a homeless veteran. He wanders the streets out of necessity, or so he imagines. Bobby believes, due to a particular curse, he has to keep away from those he loves, his family and his friends. He doesn’t want to hurt anyone. Bobby has a secret, a curse he contracted in Kurdistan when the moon is full he blacks out and wakes the next morning either naked or nearly, and covered in blood and grime. A strange woman finds him in a field and tells Bobby what he is and offers him a place of safety, to keep the beast within him away from the public at large.
Jake Williams is another character we meet. He is a Presbyterian minister with a dark conscience. Like Johnathan, Ricky, and Bobby, Jake also served in the U.S. Army, but not as a combatant. Due to his strict religious observance, Jake was a chaplain’s assistant. Something happened over there, something Jake had witnessed, something strong enough to weigh heavy on his guilt, powerful enough to fracture his faith in God. In the book, Jake struggles with his faith as he fills his religious void with sex. Eventually, his guilt manifests in haunting ways and a soldier he believed dead returned.
Maggie Smith is our last of the group of childhood friends known as Suicide Squad (I know, the name was picked before the movie made the comic popular again!). Maggie is the widow of Ricky Smith and we get to know her one year following the death of her husband. She’s still on base housing but will be forced to relocate. During her house hunt, she is reminded of one of the summers her childhood friends (Johnathan, Bobby, Jake, and Ricky) had come across an odd old farm house in Jotham, TX. Said house, she discovers, is for sale. Maggie quickly buys the house and moves in almost immediately. This wouldn’t be much of a thriller book if the house was normal, would it? And as such, the House on Oak Lee is anything but normal. She begins to hear things at night, crawling, scratching behind the walls. Then she begins hearing sounds, like footsteps, coming down the hall. Haunting or hallucinations, we do not know, but they are escalating. Fearing she is losing her mind, Maggie writes to her childhood friends, hoping to bring them back together, to visit her at the House on Oak Lee.
The House could certainly be another character. It has a strange history, which is revealed through the chapters with Augustus Westfield. If you enjoy historical fiction, I’ve been told these chapters were the favorite for some. But, most of what happens in the House happens in the next book, Emerging. Since Dwelling and Emerging are so closely related, there is no need for new character introductions. Emerging picks up where Dwelling left off. The once childhood friends, Johnathan (and his wife and step-daughter), Jake, and Bobby reunite in Jotham, Texas at Maggie’s house. Adding to Jake’s fear, Maggie looks…different, strained almost…sickly. Johnathan is struggling to keep his marriage together. Seeing one’s dead best friend talk to you in a public restroom can change a man.
Bobby agrees to go, but only if Jake promises to take him back to Houston before the next night. There’s a full moon coming and Bobby has no intention of putting his friends in danger. However, none of the others know about Bobby’s curse, and thus, especially with Johnathan, treat him as an eccentric selfish recluse. It has been years since the childhood friends were together. And things don’t smooth over that first night. The next morning, Bobby goes missing. The gang attempts to find him in town.
Unable to locate Bobby, and after being visited again by Ricky’s rotting specter, Johnathan and Jake become desperate to get Maggie out of the house. They don’t really know what’s really going on or what the house really is. All they know is that their friend is in danger. Her body seems to be wasting away before their very eyes. As the danger intensifies, trust is elusive, and betrayal is certain…
So…that’s a pretty good sum up of both Dwelling and Emerging.
Now for the “good stuff.”
Conceiving…if you’ve read the ending to Emerging…you may be wondering “how the hell do you go from there?” While keeping to my nihilistic style, Emerging still had some very finite conclusions. Things happened that you cannot write around or walk away from. However, that being said, I felt that there was still more to be told. Me? I’m a fan of developing characters. Sometimes they start out as minor and vaguely important. And sometimes they can grow and become much more influential to the story. Luna Blanche is one of those characters. She was in Dwelling and Emerging, but only in a minor role, attached to Bobby’s arch. In Conceiving, her role is much bigger. Though separated from Bobby, she can still “see” him telepathically due to her unique gifts. But the Mississippi Delta woods are limiting her visions, isolating her even farther from what she loves. Her garden. Her grandfather’s house in Hitchcock. And Bobby.
The cabin in the Mississippi woods is quiet. There are no other family members to help Luna take care of her ailing grandmother. No friends. Nothing but the sound of the trees swaying in the wind and a dark presence she can feel hiding in the woods. To add to the strangeness, her grandmother seems disconcerted by her prognosis and instead seems both urgent and hesitate to share with her some sort of secret, some family sin Luna will eventually inherit. If you recognize the name Blanche, especially the name Ronna Blanche, your suspicions are true. Ronna Blanche, now Memaw, is a holdover character from another story of mine called Lanmo. Lanmo was based in the 1960s when Ronna was a young voodoo priestess. Now she is aged and sick. And feels compelled to warn Luna, that she must get her granddaughter to understand why she did the things she did before she dies because her sin, the family sin, has not gone away but remains, hiding in the woods. I don’t really want to spoil anything here, but if you have read Lanmo, you can pretty much guess what that “sin” is.
The only major holdover from Dwelling and Emerging is Bobby Weeks. I don’t want to say too much about Bobby, as it may inadvertently give away something from the previous book. However, I will say that Bobby is attempting to move on with his life. He gets a job. Makes a real go at being normal, despite his curse. Poor Bobbs. Nothing ever seems to pan out for the guy. Eventually, he will spiral and be consumed with revenge, set on a trajectory back to Jotham.
There are a lot of new characters, but the most important ones are Boris and Neville Petry. And yes, Neville is a girl. And I love these two people. I know I wrote them, but that doesn’t make them mandatory to love. And yet, I do. They represent, for me, a young American couple seeking a piece of the American Dream. Boris is a history professor who is offered a job teaching at Baelo University, an obscure little school on the outskirts of Jotham, Texas. Neville, while reluctant to leave behind their life at Ole Miss, agrees, hoping in part that the change will maybe help cultivate the family, the child, she so desperately desires. Weeks following a faculty party, it seems her wish has come true. But dark nightmares plague the happy pregnancy…as does her husband’s strangely distant behavior towards her.
I could say more…but why spoil the fun!
And there you have it, folks. The low and dirty of Conceiving. Plenty of dark twists and history and story to unraveled. And again, you do not need to have read Dwelling and/or Emerging to follow the plot in Conceiving. It certainly helps, especially in understanding Bobby, but the guilt he carries is made pretty clear within the pages of this new story. I am really excited about this one. When I wrote it and turned it into my publisher, I immediately started working on Book 4…which is finished and contracted with Limitless. News on that one to follow soon. In the meantime, I hope you enjoy this new book. Lots of horror to devour. Voodoo priestess. Werewolves. Cults. Extra-dimensional insectoid creatures. Strange pregnancy. And my own personally take on the Frankenstein monster. Plus all the human drama and humor we love to feed on.
Conceiving is now available for preorder. Due to release on November 29, 2016. You can get your copy here. Or if you fancy getting a paperback, you can order that here. And if you are curious about my other books, you can find them on Amazon by following this link here. And as always, you can connect with me on Facebook here, where I post new book info and other horror related topics. Thanks for reading everyone!
Looking back on the start of this series, I’m wishing we’d done these reviews in chronological order instead of random selections. Tracking the progression of certain characters now that we’re in our twilight hours of Universal Monsters in Review, it is becoming quite difficult. Considering especially Frankenstein’s monster, which has already appeared on film four times since the original 1931 fright flick. AND, ole Frank-in-monster has also changed hands twice already, from the granddaddy, Boris Karloff (who defined the role as Monster), to Lon Chaney Jr. (who played the Monster in Ghost of Frankenstein) and now with Frankenstein meets the Wolf Man, and the more questionable of choices for Universal Studios, Bela Lugosi. Later on, Glenn Strange will also don the endless hours of makeup and prosthetics in future Frankenstein movies. As for the Wolf Man, his progression is much easier to follow. In fact, Frankenstein meets the Wolf Man is considered to be a direct sequel from the original 1941 The Wolf Man. It ALL can get rather confusing. Oh well. What is done is done. Perhaps moving forward in our discussion here, we should consider Frankenstein meets the Wolf Man has not a direct sequel from Ghost of Frankenstein, but rather, a sequel for The Wolf Man. And besides, most of these movies are basically stories in and of themselves, holding only quasi connections to the originals. As I will be your host for the evening, shall we begin our review?
Here’s a synopsis so that we’re all on the same page:
Larry Talbot’s (Lon Chaney Jr.) grave is being robbed, but strangely, despite the passing of four years since the events of The Wolf Man, his body is remarkably preserved. And covered with blooms of Wolfs Bane. The grave robbers soon realize that perhaps Mr. Talbot is not as dead as they originally believed. The next scene, we find Larry in an asylum, recovering from an operation performed by good natured yet strictly scientific Dr. Mannering (Patric Knowles). Inspector Owen (Dennis Hoey) finds him there, too, wanting to question him about a recent spate of murders. Talbot escapes and finds Maleva (Maria Ouspenskaya), the old gypsy woman who knows his secret: that when the moon is full, he changes to a uncontrollable werewolf. She travels with him to locate the one man who can help him to die – Dr. Frankenstein. The brilliant doctor proves to be dead himself, but they do find Frankenstein’s daughter, Baroness Elsa Frankenstein (Ilona Massey). Talbot begs her for her father’s papers containing the secrets of life and death. She doesn’t have them, so he goes to the ruins of the Frankenstein castle to find them himself. There he finds the Monster (Bela Lugosi), whom he chips out of a block of ice. Dr. Mannering eventually catches up with him only to become tempted to to use Frankenstein’s old equipment to fully power the monster.
Before this series, in the long ago, before I had ever dreamed of becoming a published author and creating my own tales of fright, Frankenstein meets the Wolfman was the first Universal Monster movie I had seen. I’d watched bits and pieces of the other movies before, scenes made infamous and those that became direct inspirations for other movies that I had watched. But this one, this was the first. Gathered together with a group of buds for a “guys movie night.” The host’s dogs, Bear and Willie, begging at our feet and scheming for morsels of popcorn. Displayed on the big screen of some monstrous TV birthed from the late 90s, my eyes beheld for the first time, in its completion, a Universal Monster movie. Later on, inspired by this film, would go on to watch The Wolf Man, and then later Dracula and Frankenstein, and so on and so on. There is not much that I remember from that first screening, only that it did ignited a desire to see the others, to return to the past of cinematography. And my History in Film classes in college certainly helped with that desire too. Going back and watching the movie again, for this review, after consuming most of the others, all of the originals, the story played out a little more defined in my mind. And at bottom, I have to say, this is not a Frankenstein movie, at all. This is a Wolf Man movie. And it is a movie about certain ideals and the dangers of obsessive behavior and mob mentality.
The story focuses almost/nay exclusively on Larry Talbot’s quest for an end to his life. The movie opens at the Talbot crypt four years after the events of the original Wolf Man film. And Larry is still somehow alive, though seriously injured. The place on his skull where his father had struck him with the silver cane is fractured. Next, we see Larry’s collapsed body being discovered by police and ushered quickly to the hospital. The doctor, a very scientific minded Dr. Mannering, is shocked at how fast Larry recovers from his surgery. Its all very supernatural. Keep that word in mind while watching this movie. Screen writer, Curt Siodmak, the creator of The Wolf Man character, is taking us on a journey in which the ideals of supernaturalism and science (logic) will clash, head to head. I found it somewhat thought provoking that Larry is completely obsessed with ending his life and that the monster, representing science, is a misunderstood creature…well, until the end in which he becomes an unstoppable machine. There’s a quote from Siodmak that I used in my debut novel, Reinheit, it goes, “You’ll find superstition a contagious thing. Some people let it get the better of them.” And while watching Frankenstein meets the Wolf Man, you get a sense of what he’s saying. The villagers on the stage of this idyllic Germanic town, full of song, wine, and good cheer, also harbor anger and resentment, not just to the Frankenstein name, but also strangers and gypsies, mostly fueled by antagonists who insight the rage of the community by reminding them of the injustices that had transpired in the past. Is all this starting to sound familiar? Considering Curt Siodmak was a Jew escaping the growing threat of Nazi Germany, it ought to sound familiar.
The deeper meaning in Frankenstein meets the Wolf Man is commendable, but there are still some unresolved issues with the movie itself. I felt like the entire movie was brilliantly set up and had a wonderful progression as we followed Larry on his quest toward suicide. The end felt tacked on. Dr. Mannering’s character did not feel fully vetted nor relatable. His motivation seemed very sudden. From wanting to take Larry back to the hospital to becoming obsessed with seeing how powerful he could make the monster. Everything until then was golden. And like with most Universal films of this era, the final scene was very abrupt. With the manic villager blowing up the dam, releasing the river, destroying Castle Frankenstein, along with the Wolf Man and monster, and the town itself, presumably, all happens within a span of 60 seconds. Boom. Boom. The End.
Judging the film as a whole, yes,while Mannering’s character did feel very unbelievable regarding “re-charging” the monster, and with the ending being rushed to its final conclusion, the other meanings are hard to dismiss, how our obsessions, be it science or superstition, will ultimately destroy us in the end. Its a powerful message, especially when considering the history of the screen writer and the decade in which the film was made. Looking at the film as a direct sequel to The Wolf Man, Frankenstein meets the Wolf Man was an excellent continuation in the story, introducing new branches to the werewolf mythos. The casting couldn’t have been more perfect. Except for perhaps Bela Lugosi as the monster. To me, despite trying very hard to be a dim witted creature, he still sounded too suave. Watching Bela as Frankenstein’s monster was too disconnecting and his mannerisms seemed desperate to separate himself from his more iconic role as Dracula. Honestly, some actors just aren’t built to play certain roles. One could surmise the same about Chaney and how he should never have played the Mummy. My favorites for the film were Maria Ouspenskaya, who was was once again wonderful, as was Lon Chaney, likewise at his best as the very tragic and sad Larry Talbot, both utterly magnetizing and wonderfully depressing.
My rating: 4/5
“Who the heck is Mr. Blasko?” you may being asking yourself… And not to be nefarious or tricky on my part, Mr. Blasko is simply one of many names of one of the great pillars of horror, and certainly a reluctant one at that. The King of Horror Bela Lugosi, the man most recognizable as Dracula, was born Bela Ferenc Dezso Blasko on October 20, 1882 in Lugos, Hungary, which was then part of the Austro-Hungarian Empire. His birthplace was only some fifty miles away from the western border of Transylvania and the Poenari Castle, the legendary home of Vlad the Impaler, the historical Dracula, whom Lugosi would portray to great acclaim on both stage and screen. Bela came from farmers and bankers but would never find his place there. He would be a runaway, a traveler in search of himself in the world. Bela became captivated by the touring theatrical troupes that came through Resita and set his heart on becoming an actor…
What is it about horror that seems to take hold of certain careers and never let go? For some stay for only a short while, a place for struggling up and comers to make a splash in the dark pool, a place for actors and actresses to earn their bones, so to speak. Consider the likes of Kevin Bacon or Johnny Depp for example, who played in Friday the 13th (1980) and Nightmare on Elm Street (1984) respectively…while both also growing to see much success, would often dabble in horror, they were never typecasted into horror as some tend to be. Its a tragic disposition for many of the classic actors, from their own perspective. They wanted to be actors and not just the strange ones, but as it would be, the world, or Hollywood for that matter, would only allow the strange and menacing portrayals they played so well. Some would dawn these cowls with glee, I think Vincent Prince is an excellent example of someone accepting that history would always look upon him as one of many faces of horror. Bela Lugosi fell into this…though from the very beginning it seem he was always destined for the cowl as King of Horror.
In 1919, when Bela fled Hungary (interesting side note: in 1914, Bela served in the Hungarian Army against Russia during The Great War, discharged in 1916 for health reasons, he would later support the Hungarian Revolution…however, when the revolution collapsed Bela found himself a wanted enemy of the new government) for Germany and broke into the Wiemar era films of the 1920s, he played in many dark films, including The Head of Janus and Dr. Jekyll and Mr. Hyde. He was a great success in Germany. Its curious why he decided to immigrate to the United States…
Yet it was for our benefit, was it not? Bela came first to New Orleans during the last waning week of 1920 and then eventually made his way to New York City, working for a Hungarian theater as a stage actor. Again, he found great success performing for his native trope, making it all the way to Broadway. And he even made his way to film, in America, silent-pictures were still dominate and Bela had not yet mastered the English language. Though, it would be in 1927 when Bela’s biggest role would come to fruition.
It was in 1927 when Bela Lugosi first dawned the cope and cowl of Dracula. First it was a play, based on Bram Stroker’s gothic novel of the same name. Apparently, it was one of the more romantic and alluring renditions. According to his biography, Bela was handsome, mysterious and seductive, so much so that its reported audiences gasped when he first spoke with his strange albeit mesmerizing accent. Whoever cast Bela as Dracula for the stage is a genius. For in the minds of those who read the book, he was the perfect depiction for that haunting place known as Transylvania…this unknown, dangerous, yet, romantic place.
The introduction of talking pictures, also known as The Age of Sound, or just “talkies” for short brought a new era of filmography. Universal Pictures at this point had produced some of the most memorable silent-era films, including the more memorable Lon Chaney pictures, like The Phantom of the Opera (1925), and there were also Mary Philbin and Conrad Veidt pictures, The Cat and the Canary (1927), and The Man Who Laughs (1928) to name a few. In 1931, Universal set their sights on adapting the famous stage play, which was based on the famous novel by the same name, Dracula. The equally incredible Tod Browning would direct what would be nicknamed, “The Strangest Passion the World Has Ever Known, while Bela would make his own into a major Hollywood role, keeping to his adaptation of Dracula, Bela will forever be idolized and synonymous as the character. The 1931 film was a smash hit, and for obvious reasons. Despite the struggling of production, the film, even today, felt dark and foreboding. Bela was and still is the perfect Count immortal.
Bela would dawn the cowl of Dracula many times throughout the rest of his life, even in roles that were not technically Dracula, directors would want his essence of the immortal count. Throughout the 1930s and 40s, he would never venture far from horror. His most notable performances were Murderers in the Rue Morgue (1932),White Zombie (1932), International House (1933), The Raven (1934), Dracula’s Daughter (1936) and Son of Frankenstein (1939). The 1940s would bring the era of spoofs, the terror ebbed away by the effects of another world war, in such films as, The Ghost of Frankenstein (1942), Frankenstein Meets the Wolf Man (1943) and Abbott and Costello Meet Frankenstein (1948). While none of these roles were especially noteworthy in isolation, Lugosi’s cumulative body of work during the 1930s established him as one of the first great stars of the horror genre. Nevertheless, throughout his entire career Lugosi was frustrated by his inability to break through into other types of films. In 1956, while in production of Plan 9 From Outer Space, he would be buried wearing the iconic costume.