Showing posts with label Black Gate. Show all posts
Showing posts with label Black Gate. Show all posts

Tuesday, February 18, 2025

C.S.E. Cooney’s Saint Death’s Herald

 New Treasures and Interview: C.S.E. Cooney’s Saint Death’s Herald

Simulcast on Black Gate : https://www.blackgate.com/2025/02/15/new-treasures-and-interview-cse-cooneys-emsaint-deaths-heraldem/

 Tuesday, February 18, 2025  SELindberg Comments 0 Comment

Black Gate’s interview series on “Beauty in Weird Fiction” queries authors/artists about their muses and methods to make ‘repulsive things’ become ‘attractive.’  We’ve hosted C.S. Friedman, Carol Berg, Darrell Schweitzer, Anna Smith Spark, and Janet E Morris (full list of 29 interviews, with Black Gate hosting since 2018).

This round features C. S. E. Cooney (CSEC), who is no stranger to Black Gate [link to listings]. She is a two-time World Fantasy Award-winning author: first, for Bone Swans: Stories, and most recently for Saint Death’s Daughter. Previously on Black Gate, an all-star crew heralded its release with a video cast including readings of Saint Death’s Daughter by C.S.E. Cooney.

Forthcoming in April 2025 is Saint Death’s Herald, the second in the Saint Death series. In this post, we reveal exclusive details, CSEC’s creative process, and hint of Book #3’s contents! Read this and her contagious energy will infect you! Cripes, simply by doing this interview, I was infected with a buttery aura! Read more and learn C.S.E. Cooney’s real identity and code name too (Tiger of the gods? Or is it Lainey!)

An Interview with Saint Death’s Daughter (a.k.a. C.S.E. Cooney

_______________

SEL:  Saint Death’s Daughter was released in 2022, and we’ll dig into that momentarily.  Mark Rigney interviewed you a decade ago Black Gate (2014 link). How have you changed as an author since then? Were you inspired by your Lord Dunsany readings?

Re-reading that 2014 interview is hilarious. And exuberant. And painful. Oof. That line towards the end about Howard making me read Lord Dunsany? Seth, I have to say that right now, I just want Howard alive again, and making me read anything at all. That’s what I want.

[SEL Sidebar: Howard Andrew Jones, Black Gate print magazine editor, longtime author, and friend/mentor to countless writers, passed away this January after battling aggressive brain cancer. CSEC led the charge with a GoFundMe campaign for his family (with help from a crew including the just-mentioned Mark Rigney), and Black Gate has hosted several tributes (i.e., from John O’Neill, Jason Ray Carney, & Bob Byrne); as one of HAJ’s Skull Interns, I am capturing links to many more memorials. Peace to our dear friend.]

Otherwise, sadly: I don’t recall much about my Lord Dunsany readings. I didn’t even remember that reading Dunsany made me want to be referred to as “the tiger of the gods.” Now, why didn’t that catch on, I wonder? You may henceforth refer to me in this interview as “tiger of the gods,” please.

Have I changed as an author since then? Yes. Yes, I’m not as fast as I was ten years ago, and everything about the world seems harder, and sadder. I think it was always hard and sad, but I’m feeling it more now, I guess.

But also… also, it’s all so much more interesting.

Over the last ten years, I’d experienced such burnout, such weariness and bitterness about the craft, that at one point I announced I wasn’t going to write again until I wanted to write. My friends and family were afraid I was serious. (I was.) They were like, “Claire, what are you doing?”

But I really just wanted to want to write. Was any of the work even worth it if I didn’t want it anymore?

And it took a few weeks of me staring out a window, giving myself permission not to write. But then, suddenly and spontaneously one morning, I had one of those magical “what if” thoughts. That was something that hadn’t happened in literally years of revision and submission and revision and submission. The next morning, that “what if” had built into a whole dang story idea. So I sat down and started writing it out long hand — something I’d also not done in years. The experience was so pleasurable, so permissive, and so, I don’t know. Healing.

The whole world seemed new. Writing was possible again. Phew! I’d made it through the wasteland and to the other side.

Since then, the whole creative process just keeps getting weirder and more wonderful. Concentrating on the unique bizarreness of process has really opened me up to so many branching avenues of boundless curiosity.

Now I know: if I need to stop writing for a while, I will. (After I meet my deadlines, of course. That’s what a professional does.)

For me, the sensual ritual of writing has become the point. And community. Community is the point.

What else has changed? I’ve never done so much body mirroring while writing in my life: writing in silent zooms, or with people in the room. I’ve never done so much timed writing. I even started listening to music while writing — which I never used to do. I still can’t listen to anything with words (some Hildegard von Bingen chanting aside). I started listening to fantasy gaming soundtracks, because if I listen to movie soundtracks, I just have that movie’s story and dialogue running through my brain. But since I’ve not played most fantasy games, that’s not a problem. (I can’t, for example, listen to the Baldur’s Gate soundtrack, because I did play that. Which was awesome.)

I know this now: even when I’m sad, and tired, and lacking all motivation, I still want to want to write. All the rest is hacking my brain to get the motor running. Music, company, handwriting, candlelight… all of those rituals put me in a more celebratory and ludic headspace for writing.

What’s the same? Well… every time I have to write something new, it’s still like learning how to write all over again. Some of the same skills apply, sure, but I’m constantly learning how to write something I couldn’t even fathom before I started.

Like fight scenes. Fight scenes are so hard.

“Henceforth refer to me in this interview as ‘Tiger of the Gods’ ” — C.S.E. Cooney

Saint Death’s Daughter (2023 World Fantasy Winner) Blurb



Nothing complicates life like Death.

Lanie Stones, the daughter of the Royal Assassin and Chief Executioner of Liriat, has never led a normal life. Born with a gift for necromancy and a literal allergy to violence, she was raised in isolation in the family’s crumbling mansion by her oldest friend, the ancient revenant Goody Graves.

When her parents are murdered, it falls on Lanie and her cheerfully psychotic sister Nita to settle their extensive debts or lose their ancestral home — and Goody with it. Appeals to Liriat’s ruler to protect them fall on indifferent ears… until she, too, is murdered, throwing the nation’s future into doubt.

Hunted by Liriat’s enemies, hounded by her family’s creditors and terrorised by the ghost of her great-grandfather, Lanie will need more than luck to get through the next few  months — but when the goddess of Death is on your side, anything is possible.

SEL: At first glance, the summary of Saint Death’s Daughter sounds like a horror adventure, but it reads more like a comedic/fun, coming-of-age story. How would you describe the book to new readers?

TIGER OF THE GODS: Generally, I give this elevator pitch: “Girl grows up in a family of assassins, but is allergic to violence. Her allergy indicates that one day, if she survives long enough, her aversion to violence will be so strong, she’ll be able to RAISE THE DEAD.”

Boom! Necromancy book, baby.

For comp titles, I say something along these lines: “Like if Terry Pratchett and the Addams Family had a necromancer baby who really liked pink frilly dresses and cutie patootie mouse skeletons.”

Those are light, easy ways about talking about my book. My book which is, in reality… much weirder.

BUT! I really don’t want to intimidate people. I want to invite people.

I also like to describe Saint Death’s Daughter as a Bildungsroman — a coming-of-age story. Now, I know that all YA books must perforce be coming-of-age stories. That’s the genre. It’s just that, at no point in the drafting process, did I imagine I was writing YA with Saint Death’s Daughter. But it is still a Bildungsroman.

I am, as I was ten years ago, still under the influence of Lois McMaster Bujold. I wanted to write a character like Bujold’s Miles Vorkosigan. The first few novellas about him may have covered his childhood, but over time, we get to experience him at many ages.

Saint Death’s Daughter is just Lanie Stones’s first book. It’s just one point in the timeline of her full life — perhaps not even the most important part. I imagine her in her thirties. (Sexy beast!) Her forties! (Whoa, what a powerhouse!) I imagine her as an old woman — with even more wisdom and compassion and mischief, and far, far more powerful. (Also, probably a foodie.) I imagine her on her deathbed. I imagine future scholars writing about her as a historical figure of a certain time and place that is perhaps no more. (This makes footnotes very fun.)

SEL: Discuss the media of necromancy which feels very artistic, especially the paint-like, colored essences of panthuama and ectenica.

TIGER OF THE GODS: I made up the word “panthauma” out of the words “pan” (all) and “thaumaturgy” (miracle or marvel-working). I wanted a word for sorcery that was slightly alien, so I could apply my own set of rules to it without previous reader bias. But I also wanted, in addition to that whiff of mysterious, a sense of familiarity, linguistically-speaking.

And then I wanted a new word for “death magic” that wasn’t just, you know “death magic.” “Necromancy” is the obvious word, and I do use it in the book. But its actual etymology has more to do with divining via the dead than raising them up. (All the “-mancy” words have to do with divination.) So I wanted necromancy to be a specific kind of death magic, not the word for death magic.

I wanted a new word, something more flexible, less familiar. A word that evoked ghosts! And also super fun to say. So I took a closer look at our word “ectoplasm,” and then just sort of f*&%ed with it to make “ectenica.” Just say it aloud. All those clicky consonants!

Lanie’s a bit of a synesthete, in that she associates smells and colors with magic; that’s her brain trying to process the unimaginable. So, for panthauma, when the gods are drawing close and lighting up the world with Their attention, her vision goes bright-yellow with hard edges, like faceted topaz, and her body responds with a kind of champagne-y, effervescent reaction. Her sensual reaction to ectenica is much colder. She perceived it as a sort of starry blue. And the smell of her god, and of death magic, is always some variation of citrus. Other gods have other smells. I think, to some degree, most of the sorcerers/saints in my world have synesthesia.

Celerity Stones, one of Lanie’s aunts, was also a traditional artist, and her portfolio included portraiture like “Barely There: The Exquisite Art of Excoriation, With (Predominantly) Live Models”.  I’d love to see her collection. Can you tell us more about Celerity’s inspiration and art?

Celerity had been much in demand for her pen and ink drawings, her sanguine sketches, her oils, watercolors, and illuminated calligraphy. Later, she won renown as an anatomical scientist. Very precise with spreader, was never easy to ignore her most famous work, The Flayed Ideal, which hung on the wall of Stones Gallery and had a way of glaring at you. Its exposed and accusatory eyeballs, rendered in oil on canvas with exquisite delicacy, followed you around the room — and very often out the door and down the hall.

— from Saint Death’s Daughter

TIGER OF THE GODS: You know those stories we have of anatomists and resurrection men in prior centuries who’d illegally dig up bodies in order to study them, to become better doctors? (I’m glad that the laws — and some minds — have changed to allow for voluntary donation in such endeavors, but for a while it was considered absolutely heinous.) And you know all those stories about how powerful people in history — doctors, surgeons, psychologists, prisons, military — exploited marginalized communities, sometimes going so far as to medically experiment on people without their informed consent, for purposes of their own research?

That’s my inspiration for Celerity Stones.

She was not a good person. She was talented and precise and obsessed with her work. But she — like the whole toxic Stones family — hurt people to achieve her greatness.

One of the reasons that the Stones family ultimately falls is that cruelty like that is not sustainable, however it sometimes seems to advance society in the moment. Undoing the Stones’s legacy, and especially the glamorization of the violent family narrative, is something that Lanie has to consciously learn how to do as she gets older.

Every time I’ve seen you at Gen Con, you are wearing impressive regalia. Do you craft the costumes?  Do they represent characters?

TIGER OF THE GODS: I don’t craft costumes, per se. Like, I don’t think of myself as dressing up as certain characters. But I do dress according to my mood that day — or the mood I’d like to have. Heck, I just like dressing up. When I was a kid I had a “dress-up trunk” and I just preferred every secondhand prom dress and thrift store “glass slipper” (plastic with rhinestones) and dilapidated tiara to any of my school uniforms, softball jerseys, or neon skorts in my regular wardrobe. All these years later, I still do. Only now MOST of my closet is “dress-up” trunk.

These days, if I have to dress to go somewhere where there’s an expectation of dress code, that’s when I feel like I’m in costume. Like, when I go into the booth for audiobook narration, I have to wear “soft clothes.” I think of them as “ninja clothes,” but a friend of mine said it just looked like I was wearing pajamas. But you can’t wear anything that tinkles or rustles or chimes!

I was watching a “maximalist” influencer talking on Instagram about how the act of getting dressed is a creative process. And when you put together an outfit (or “fit” as the kids are calling it) to completion, you get that little bump of dopamine, like when you finish a puzzle or complete a recipe or win a game. Creative clothing is a small, achievable goal, and it makes me happy. Maybe, in some ways, I’ve been sartorially self-medicating since childhood!



Saint Death’s Herald Blurb

Much-anticipated follow-up to the whimsical, joyous, zombie-packed World Fantasy Award-winning Saint Death’s Daughter

Lanie Stones is the necromancer that Death has been praying for.

Heartbroken, exiled from her homeland as a traitor, Lanie Stones would rather take refuge in good books and delicate pastries than hunt a deathless abomination, but that is the duty she has chosen.

The abomination in question happens to be her own great-grandfather, the powerful necromancer Irradiant Stones. Grandpa Rad has escaped from his prison and stolen a body, and is heading to the icy country of Skakhmat where he died, to finish the genocide he started. Fortunately for her, Lanie has her powerful death magic, including the power to sing the restless dead to their eternal slumber; and she has her new family by her side.

Grandpa Rad may have finally met his match.

Saint Death’s Herald (preorder link) is coming in April 2025. What can we reveal? Anything special we can say about this, only heralded via Black Gate?

TIGER OF THE GODS: Oh, gosh. Well. A Black Gate exclusive, eh?

Well, here’s the thing. I LOVE spoilers. I don’t even call them spoilers. I call them SPICERS. But not everybody (not even most people) think of them that way. So, with the caveat that those people who consider any information at all a SPOILER, perhaps they could skip this part?

Hush, come close! I’ll tell you, dear Black Gate readers, that Lanie Stones has only grown in power since Saint Death’s Daughter. I’ll tell you that when she enters fully into sympathy with a dead object, she can… SHARE PARTS OF ITS SHAPE.

She is also learning how to communicate through the dead — so if she has a… a toe bone, for example, from a particular corpse, and if you have a different toe bone from that same corpse, she’ll be able to call you. Like a one-way cell-phone.

My plan is, for Book 3, that Lanie will be so good at sharing shapes with the dead, that she can basically take on and maintain the appearance of any dead creature whose accident (physical material) she is in contact with. This makes going undercover to investigate crimes against the death god (totally random plot idea, not the basis for Book 3 at all, doo-dee-doo) much easier.

Can you discuss the cover art creation and artist?

TIGER OF THE GODS: Oh, this is the wonderful, wonderful Kate Forrester! Fantasy readers will already know and love her work from such glorious novels as Zen Cho’s The True Queen and Theodora Goss’s Extraordinary Adventures of the Athena Club trilogy. Basically, for Book 1, my editor Kate Coe consulted me about different cover artist options, and some ideas for the art.

When Kate Forrester was chosen, Kate Coe and I generated a few wild cover ideas to throw her way. Then Forrester came up with the wonderful silhouette idea. My editor asked if I could send the artist a few elements from the book that the silhouette could have trapped in her hair.

Then, for Saint Death’s Herald, my editor David Moore arranged the same sort of information exchange. In Book 2, the silhouette is facing the opposite direction, with different elements caught in her hair. The cover was done long before the book was done — so I had to make sure that my final draft included all the visual cues that I had originally suggested when I was still in the early stages of writing! Phew!

I wonder what Book 3 will look like? Forward facing? Or two silhouettes facing in opposite directions? That would be kind of cool: especially if Lanie spends most of the book incognito — as both herself and not herself!

But that’s years away.

“For me, the sensual ritual of writing has become the point. And community. Community is the point…even when I’m sad, and tired, and lacking all motivation, I still want to want to write” – C.S.E. Cooney

I adore your character names. For example, the protagonist & heroine “Lanie Stones” has a formal name of “Miscellaneous Stones”; and her contentious grandfather  Irradiant ‘Grandpa Rad’ Stones. Can we contract you to assign us pseudonyms with all the grandeur your characters’ names have? I’d love to lure you into calling me names.

Tiger:  That sounds like SO MUCH WORK! But it reminds me of the Fairy Tale Heroines workshop that The Carterhaugh School of Folklore and the Fantastic runs. One of the last things everyone does is assign themselves a “fairy tale heroine” (or hero/non-binary) name. But to do this, here are some questions: What’s your favorite animal? What kind of magic user would you be? If you could choose one of these to be: human, gentry (fairy folk), or goblin, which one would you be? If you were to choose one of the 12 gods from Saint Death’s Daughter, which would you choose? What’s your favorite obscure or forgotten word?

SEL:  Eh gad, return fire. Those are hard questions! I love the return fire. Fairy and “humors” (alchemical medicinal version) … and I am still learning the 12 gods of your stories. I’m too young and ignorant to recall them all and choose (I’m not worthy). I do love Lainey and her scarecrow though.

Tiger: Okay, then, so if you were a Stones, you’d probably be named Butter-of-Antimony Stones, son of Alkahest and Argyropoeia Stones…. Friends would call you “Bu” for short. (We won’t get into what your enemies call you.) And if you were a gentry, you probably would be named Crasis, a cloudskin (sometimes “cloud — skin” and sometimes “clouds-kin”) who can transform into whatever shape they please, though you will be insubstantial as vapor.

SEL: Okay, I want to know your secret Stoneses name too.

Tiger: Miscellaneous, of course!

BU: You are an award-winning poet (Rhysling Award-winning poem “The Sea King’s Second Bride” included in How to Flirt in Faerieland and Other Wild Rhymes), and have written plays. The previous Black Gate interview mentioned you also sing! Please discuss how expression works across media.

TIGER OF THE GODS: Oh, gosh. I’m just drawn to some kinds of media over others. Like, I don’t have any current desire to write a screenplay or a graphic novel or MG/YA. But I often get the itch to write plays and musicals and poetry.

I just wrote a 10-minute play to submit to a local theatre festival for fun, and it felt so good to stretch those playwriting muscles again. My husband Carlos wrote one too! We both submitted to the same festival. Whatever happens now, at least we’ll have done something that challenged us artistically and brought us delight.

Re: musicals and albums: for the past few years, as time allows, I’ve been collaborating with Tina Connolly and Dr. Mary Crowell on a 6-episode musical theatre podcast called The Devil and Lady Midnight. And in 2023, I mounted a short, collaborative musical called Ballads from Distant Stars, with songs by myself, Amal El-Mohtar, and Caitlyn Paxson (with occasional melodies and harmonies by my brother Jeremy Cooney and Dr. Mary Crowell).

Eventually, I’d love to figure out how to bring both of the projects to full audio production. I’ll probably record Ballads from a Distant Star myself, with the help of my awesome musician brothers, and helpmate husband — like I did with my Brimstone Rhine album and EPs. However, The Devil and Lady Midnight will be a lot more complicated and expensive — but super rewarding if we can do the work!

What I’ve learned over the last 10 years about making albums and theatre: without an infrastructure already in place, a space to perform in, and people wanting to produce the work for you, you have to build that infrastructure from scratch. So there’s either a lot of crowdfunding involved, so you can hire people who already know what they’re doing to help you, or you’d better be ready to go full autodidact and learn how to do it all yourself. Whichever way you go, there’s still a cost: in time, in equipment, in the goodwill of the community, etc.

I try to find collaborators who are interested in making art for art’s sake with me. It’s not like I think we shouldn’t get paid, but I don’t really go into a creative project dreaming about all the money it might rake in. That said, I’m interested in collaborative partners who, once the creative process part is done, are also interested in taking that piece of polished art to production or publication — either via crowdfunding, bootstrapping, submitting, or grant-writing. Because it’s really daunting to try to run that gauntlet alone.

I also adore writing poetry. I stopped for a while — though in that lacuna, I did start writing songs — and now that I’m writing poetry again, I’ve got enough for a collection. I’m calling it The Day I Superglued the Moon: 10 Years in the Life of a Speculative Poet. It’s massive. It needs curation. I don’t know what to do with it. Self-publish? Ask my agent to submit it? Approach a small press?

Meanwhile, I feel so raw and tender and personal about it, because it’s poetry! so I keep avoiding doing anything at all. For now.

BU:  ‘Macabre and beautiful’ (and fun) has even taken root in a game! You and your husband Carlos Hernandez co-designed a table-top roleplaying game called Negocios InfernalesKickstarted October 2023. What is this game about? Does it inspire storytelling? Weirdly beautiful stories?

“In the initial design, taking this all into account: here’s what we did. One of Claire’s favorite games is Mysterium, which she loves in part for its gorgeous, surreal cards that have this melancholy timbre to them. You can look at the cards and be inspired, even outside of the game. So I thought: What about instead of dice and all the rules that govern them, you have a deck of beautiful cards, maybe a little macabre, but also inspiring? It’s always very simple to determine success or failure in Negocios, as easy as Candyland. If your card matches one of the cards on your character sheet, success. If it doesn’t, not success! And everything else you just get to make up.” – Cultureslate Interview, Carlos Hernandez quoted

TIGER OF THE GODS: Co-designing a narrative game was a wild departure from my personal normal. And I’m so grateful that Carlos nudged me in that direction, because it opened up the whole world of gaming to me — board games, TTRPGs, and video games!

Carlos is a game designer, and when we first got together, he said I was perfect, I was MORE than perfect; maybe my only flaws were that I don’t like coffee and I don’t really play games.

Dear Black Gate Readers, I now like espresso. Okay, just a little bit of an espresso—¡un pocito espressito!—once every few months, but I can honestly say I like it.

And now, I also like games. But I didn’t always. In fact, I liked board games much better than TTRPGs when we first started playing together, for all that I’m an actor and a writer, and by my nature should be a shoe-in for roleplaying games. But I’d sort of had a “meh” view of TTRPGs, due to some less than stellar experiences, so Carlos suggested we design one together that I’d actually like.

We designed a game that has some moving pieces and some timed elements (like a board game), that’s big on character creation and world building and plot development, that’s easy for beginners, but also incredibly rich for experienced players. It’s so much fun, and so weird, and so moving.

Negocios Infernales’s tag line is: “The Spanish Inquisition… INTERRUPTED by aliens!”

Imagine a fantasy world — Gloriana — much like Earth (Gloriana’s more of a superplanet that’s mostly water, and it has two suns, but bear with me here). Now imagine a country called “Espada”—Spanish for “blade” — which is a lot like our Spain in the 15th century. The queen, Reina Resoluta, is about to sign religious persecution into law. Then… benevolent, enlightened aliens intervene! They offer cosmic powers in exchange for a zero-genocide policy on Espada.

Of course, the Espadans mistake the aliens for devils (because their deelie boppers look like horns), and while they do strike a deal for “magic powers,” they think their bargain is an infernal one.

So you play a “wizard” with “magical powers,” certain that you’ll be damned for all time for it. It is a game of cosmic irony.

One of the best things about it is our “Deck of Destiny.” It’s a 70-card oracle deck, and it’s our main mechanic for character creation, world-building, magic checks, inspiration, all of that.

But separate from the roleplaying game, we use the Deck of Destiny to run what we call “Infernal Salons,” where we invite writers and artists of every stripe to pull a card prompt or three. We set a timer. Everyone writes something, no matter what form it takes. And then, whoever wants to, shares aloud. This creates such fantastic, generative, creative nights. Many published stories and poems have come out of these salons, both for Carlos and myself, and also for many of the people who’ve participated. The “Infernal Salons may be my favorite thing that has come from designing this game.

Negocios Infernales is available for pre-order right now from Outland Entertainment, and should be in our backers’ hands in a few months — if the International Shipping gods are kind.

C. S. E. Cooney

C. S. E. Cooney (she/her) is a two-time World Fantasy Award-winning author: for novel Saint Death’s Daughter, and collection Bone Swans, Stories. Other work includes The Twice-Drowned Saint, Dark Breakers, and Desdemona and the Deep. Forthcoming in 2025 is Saint Death’s Herald, second in the Saint Death Series. As a voice actor, Cooney has narrated over 120 audiobooks, and short fiction for podcasts like Uncanny MagazineBeneath Ceaseless SkiesTales to Terrify, and Podcastle. In March 2023, she produced her collaborative sci-fi musical, Ballads from a Distant Star, at New York City’s Arts on Site. (Find her music at Bandcamp under Brimstone Rhine.) Forthcoming from Outland Entertainment is the GM-less TTRPG Negocios Infernales (“the Spanish Inquisition… INTERRUPTED by aliens!”), co-designed with her husband, writer and game-designer Carlos Hernandez. Find her website and Substack newsletter via her Linktree or try “csecooney” on various social media platforms.



Other Weird and Beautiful Interviews #Weird Beauty Interviews on Black Gate:

  1. Darrel Schweitzer THE BEAUTY IN HORROR AND SADNESS: AN INTERVIEW WITH DARRELL SCHWEITZER 2018
  2. Sebastian Jones THE BEAUTY IN LIFE AND DEATH: AN INTERVIEW WITH SEBASTIAN JONES 2018
  3. Charles Gramlich THE BEAUTIFUL AND THE REPELLENT: AN INTERVIEW WITH CHARLES A. GRAMLICH  2019
  4. Anna Smith Spark DISGUST AND DESIRE: AN INTERVIEW WITH ANNA SMITH SPARK  2019
  5. Carol Berg ACCESSIBLE DARK FANTASY: AN INTERVIEW WITH CAROL BERG 2019
  6. Byron Leavitt GOD, DARKNESS, & WONDER: AN INTERVIEW WITH BYRON LEAVITT 2021
  7. Philip Emery THE AESTHETICS OF SWORD & SORCERY: AN INTERVIEW WITH PHILIP EMERY  2021
  8. C. Dean Andersson DEAN ANDERSSON TRIBUTE INTERVIEW AND TOUR GUIDE OF HEL: BLOODSONG AND FREEDOM! (2021 repost of 2014)
  9. Jason Ray Carney SUBLIME, CRUEL BEAUTY: AN INTERVIEW WITH JASON RAY CARNEY(2021)
  10. Stephen Leigh IMMORTAL MUSE BY STEPHEN LEIGH: REVIEW, INTERVIEW, AND PRELUDE TO A SECRET CHAPTER(2021)
  11. John C. Hocking BEAUTIFUL PLAGUES: AN INTERVIEW WITH JOHN C. HOCKING (2022)
  12. Matt Stern BEAUTIFUL AND REPULSIVE BUTTERFLIES: AN INTERVIEW WITH M. STERN(2022)
  13. Joe Bonadonna MAKING WEIRD FICTION FUN: GRILLING DORGO THE DOWSER! 2022
  14. C.S. Friedman.  BEAUTY AND NIGHTMARES ON ALIENS WORLDS: INTERVIEWING C. S. FRIEDMAN2023
  15. John R Fultz BEAUTIFUL DARK WORLDS: AN INTERVIEW WITH JOHN R. FULTZ(reboot of 2017 interview)
  16. John R Fultz, THE REVELATIONS OF ZANGBY JOHN R. FULTZ: READ THE FOREWORD AND INTERVIEW (2023)
  17. Robert Allen Lupton (2024) https://www.blackgate.com/2024/05/26/horror-and-beauty-in-edgar-rice-burroughs-work-an-interview-with-robert-allen-lupton/
  18. C.S.E. Cooney (2025) You are here!
  19. Interviews prior 2018 (i.e., with Janet E. Morris, Richard Lee Byers, Aliya Whitely …and many more) are on S.E. Lindberg’s website

SE Bio, aka Bu

S.E. Lindberg is a Managing Editor at Black Gate, regularly reviewing books and interviewing authors on the topic of “Beauty & Art in Weird-Fantasy Fiction.” He is also the lead moderator of the Goodreads Sword & Sorcery Group and an intern for Tales from the Magician’s Skull magazine. As for crafting stories, he has contributed eight entries across Perseid Press’s Heroes in Hell and Heroika series, and has an entry in Weirdbook Annual #3: Zombies. He independently publishes novels under the banner Dyscrasia Fiction; short stories of Dyscrasia Fiction have appeared in WhetstoneSwords & Sorcery online magazine, Rogues In the House Podcast’s A Book of Blades Vol I and Vol II, DMR’s Terra Incognita, and the 9th issue of Tales From the Magician’s Skull.

 

Wednesday, January 31, 2024

“The Magical Power of Art” - Foreword and Interview for The Revelations of Zang

Black Gate simulcast Link: THE REVELATIONS OF ZANG BY JOHN R. FULTZ RELEASED BY ROGUES IN THE HOUSE: READ THE FOREWORD AND INTERVIEW (Jan 2024)

The Revelations of Zang by John R. Fultz. The Rogues in the House Podcast (2023). John Molinero cover art.

 

The Rogues in the House Podcast, publishers of the Sword & Sorcery anthologies A Book of Blades Vol I and Vol II, now bring us a re-release of John R. Fultz's The Revelations of Zang (available now in Kindle, Paperback, and Hardcover). John R. Fultz is no stranger to Black Gate having published in the hardcopy magazine and hosting his Skulls graphic story and two of his short stories on the website. We recently highlighted a 2017 interview with the author on his approach to creating weird worlds that are both beautiful and dark (reposted on Black Gate Dec. 2023). I was honored to provide the Foreword and Interview for the re-release, and provided those here to reveal what you should expect, and why you should read, The Revelations of Zang!

John R. Fultz has a burgeoning library. His published novels include Seven Princes (2012), Seven Kings (2013), and Seven Sorcerers (2013), as well as The Testament of Tall Eagle (2015) and Son of Tall Eagle (2017). His short stories have appeared in Year’s Best Weird Fiction, Weird Tales, Black Gate, Weirdbook, That Is Not Dead, Shattered Shields, Lightspeed, Way of the Wizard, Cthulhu’s Reign, and plenty of other strange places. His story collections include World Beyond Worlds (2021), Darker Than Weird (2023), and The Revelations of Zang (re-released now, 2023)!  Now, we will reveal to you the secret arcana of that last volume...

“The Magical Power of Art” - Foreword and Interview for The Revelations of Zang

The uninitiated may ask: who the hell is Zang? What is s/he going to reveal to me? Well, Zang is not human. It is the larger portion of the ‘Continent,’ a forest mostly; but the land is so rich in character, it might as well be sentient. This foreword reveals what to expect in The Revelations of Zang collection, avoiding spoilers, and it showcases the behind-the-scenes context of the stories and the author’s rich history with creating illustrated and fantastical worlds.

If Karl Edward Wagner rewrote The Worm Ourborus (E.R. Edison, 1922) for fans of The Dark Crystal (Jim Henson, Frank Oz, 1982) you’d get the Zang Cycle experience. It is tough to blend action-packed adventure with weird milieus, with doses of royal intrigue and epic, elder lore. Wagner delivered this well with his Kane character; i.e., in Darkness Weaves (1978), and “Lynortis Reprise (1961). Fultz excels at this too. The Revelations of Zang is an epic fantasy delivered in pulpy bites. All episodes share a single, coherent story-arc; each successive tale unearths a layer of Zang’s history with a single primary protagonist who performs as a lone-wolf or general in a world war. Each sortie radiates heroic-fiction vibes. Indeed, seven of the twelve were written as standalone stories and published in esteemed journals such as Weird Tales and Black Gate print magazines. Each episode delivers a wondrous ‘wow’, so expect twelve climaxes, not one (as one would with a novel).

This collection follows this tradition with seven of its twelve tales published in magazines. Conversely, there are five tales that are only available in the collection and the sequence is greater than the sum of its parts. The pages are saturated with sorcery and fantastical elements, but do not expect classic tropes likes orcs and elves. The creatures here are freshly crafted, often from corpses or alchemical elements. Lending awe to the world’s gods and monsters is Fultz’s style, which portrays them with accessible, poetic flare–descriptions reminiscent of Tanith Lee or Clark Ashton Smith. The pacing is rapid, akin to Michael Moorcock’s Elric tales, who had a knack for creating novels out of his short stories with his Eternal Champion cycles; Sword & Sorcery readers will sense echoes of the Melnibonéans’ adventures as Quill and Taizo, the two main protagonists, journey across the Continent. Incidentally, there are some powerful, ancient jewels herein that reminded me of Elric’s “Jade Man’s Eyes” (1973) journey, or even Kane’s titular Bloodstone adventurehence the call out to The Dark Crystal above. You’ll learn more about the mystery of sacred, divine gems soon enough.

In The Revelations of Zang, Artifice the Quill (writer of the End of Sorcery) and Taizo (a thief of weird renown) are your tour guides, both depicted by cover artist Josh Finney for the first publication of this collection (2013, Fantastic Books). For this 2023 edition from Rogues in the House Podcast, cover artist John Molinero focuses on Quill and beautifully amplifies the demonic conflict the book delivers on. Meta-themes on how art (theater and books) can affect the outcome of warring civilizations are spotlighted–but don’t expect any less bloodshed and horror that one would get while reading Robert E. Howard. As Don Webb notes in his hilarious foreword to Fultz’s Darker Than Weird - Fourteen Tales of Horror (2022) where he terms the Fultzian approach as being a one-two punch combination: “Come for the horror, leave with deeper questions about history and metaphysics”, expect the same from Fultz’s Zang Cycle.

The back cover blurb hints at the deep undercurrents: “The exiled author [Quill]… learns the magical power of art and the art of magical power.” In the opening chapter, the royal sorcerers arrest Artifice the Quill because of his book The End of Sorcery by sending out their Vizarchs (humanoids with silver masks reminiscent of Fultz’s Skulls graphic novel 2010 Black Gate website). Then characters in “The Liberation of Lady Veronique” story explain the power of the written word; first, Veronique explains: “What is the power of a mere fiction that it can inspire such hatred among the powerful and such passion among the powerless”; and Arfos adds later, “The book [The End of Sorcery]… is a tool… to free mens’ minds. To wake them from the false dream woven about their hearts and minds.” Literally, both speak of Quill’s banned tome, but figuratively the fourth wall is breached: by reading The Revelation of Zang we are promised access to arcane secrets.

Well, it would be evil to disclose actual spoilers ahead of the stories, but we can gain a larger appreciation of the muses motivating the tales, and perhaps enjoy the stories even more, knowing context. As I prepared for this Foreword, I took notes with journalistic fervor, reading this collection, and delving into my 2017 interview-with-Fultz and my review of his World Beyond Worlds. Instead of reporting those notes directly, I used that material to craft intense questions and re-interview the author. We’ll have the embodiment of Artifice the Quill, Fultz himself, disclose over a dozen secrets:

 

 Kent Burles' illustration for Black Gate's presentation of "Return of the Quill" depicts a performance of Artifice the Quill's Glimmer Faire, an event that prepares the City of Narr for a mystical rebirth.


SEL: Let’s discuss the origins of the Zang Cycle. The story “The Persecution of Artifice the Quill” (Weird Tales #340, 2006) opens the Zang Cycle. In our 2017 interview (link), when asked about your ‘Weird Fiction role models’, we learned this story catalyzed your publishing journey. Witnessing the Zang Cycle, and your portfolio, grow is exhilarating. Please share insights about this catalyst.

JRF: “The Persecution of Artifice the Quill,” which begins this book, was my first professional sale. Not only did the story appear in Weird Tales #340, but I’m pretty sure it got the cover illustration. A dark and menacing piece by the great Les Edwards, which seems to capture the look of the undead Vizarchs chasing after Artifice in his debut story. So, it’s a milestone story for me. I had been trying for many years to sell a story to Weird Tales, so mission accomplished. They bought two more Zang stories before the mag’s management changed, and the next two were not published there after all. Luckily, I moved the Zang series to John O’Neil’s Black Gate, where he published several more stories. About half the stories in The Revelations of Zang were never published outside of its pages—they were new to the volume when it was first released ten years ago. That includes the climactic novella, “Spilling the Blood of the World,” which winds up thematic threads sewn into the first ten stories. I’m forever grateful that I got to be a part of Weird Tales magazine, even if it was only a single story. It opened a gateway to the rest of my career as a writer.

SEL: Is ‘Zang proper’ just the forest, or the whole Continent? I initially interpreted it as the latter, but I wanted to be sure.

JRF: Zang is one half of a mega-continent, and this half is largely dominated by the ancient Zang Forest (hence the name). The other half, Zin, lies beyond the north/south running mountain range known as the Spine. There may be one or more sleeping gods lying beneath those mountains…but no spoilers. Heh-heh. Most of the stories in The Revelations of Zang take place in the Zang area of “The Continent”—but when Artifice travels abroad with the Glimmer Faire, they do a nice tour of the Zin regions. Only one story in Revelations takes place in Zin, and that is “The Bountiful Essence of the Empty Hand.” RoZ focuses mainly on what’s happening in Zang, including the mystical advance and expansion of the Zang Forest. [However, there is one more story set in Zin, “Where the White Lotus Grows,” and it appears in the Worlds Beyond Worlds collection.]

SEL: To follow that, is “Yael of the Strings” (2014, Shattered Shields; 2021, Worlds Beyond Worlds) a Zang Cycle tale?

JRF: Well, it is a tale set in the World of Zang. So is “The Penitence of the Blade” in that same collection. Neither of these Zang tales is related to The Revelations of Zang story-cycle, they simply share the same world or universe. And you could also consider “Where the White Lotus Grows” to be a Zang tale, although it’s set on the other side of the Continent in Zin (as I mentioned above).

SEL:  Sticking with digging into origins, let’s hit on the bonus tale: “The Vintages of Dream” (first published in Black Gate #15, 2011). This twelfth story is the only one not explicitly in chronological order or even part of the canonical Zang Cycle; it is a fun piece that reveals how elements of Zang (i.e., carnivorous flowers, thievery of magical potions, etc.) developed. It is dedicated to Brian McNaughton (Throne of Bones, Word Fantasy Award-winning book, 1997) whom you must have corresponded with. Can you explain your interaction with him?

JRF: I’m sure I’ve told this story before, but let me just say that Brian was a huge fan of this story. After reading his World Fantasy Award-winning collection The Throne of Bones, I became an instant super-fan. At some point I tried to get “Vintages” published but nobody wanted it. I ended up sending it to Brian, and he even called one mag’s publisher and asked them to buy my story. It didn’t work, but I was astounded that he spoke up on my behalf. Brian said my writing reminded him of Robert E. Howard, which was a huge compliment for a young writer just getting started. When you’re first starting out, you run on pure enthusiasm, and a kind word from an established writer can really keep you going. Such was the case with Brian’s championing of “Vintages.” It would be many years later when the story finally saw the light of day in Black Gate. I really wish Brian had lived a few decades longer so he could give us more stories of his wonderfully weird world Seelura. He was a true modern master of the weird tale.

SEL: McNaughton’s Throne of Bones sequence is ostensibly ghoul-focused but has omnipresent themes regarding being-an-abject-person and misunderstood-artist (perhaps offering more depressing versions of your Quill who instead leans toward being an action hero). As an artist yourself, creating protagonists who are also artists, please discuss how you see artists as heroes?

JRF: Great question. Artists ARE heroes. Like heroes, they have fans. Like heroes, they perform feats of wonder, courage, and bravery. My heroes have always been Artists. (Sorry, Cowboys!) With the Zang stories, I wanted to explore the link between Art and Sorcery. I believe that writing IS magic—I teach writing, and I tell my students the same thing—I believe that all art forms have the capability of altering reality in significant ways that we mostly take for granted. Whether it’s a great novel sweeping you away to another world, a film that transports you somewhere you’ve never been, or simply a painting you could stare at all day, Art is a form of magic. It’s no coincidence that when you write, you have to “spell” each word out. It’s no coincidence that wizards “sing” their spells because music is a power all on its own. Writing itself may be the Original Magic, so wizards draw runes and sigils to concentrate their power. In the Zang stories, Artifice transitions from an ivory-tower “scribe” to a wandering playwright whose sorcery manifests in the transformational performances of the Glimmer Faire. I believe in the power of Art to rewrite reality—to make it better—to transcend the mundane, the organic, and the commonplace. To instill wonder, evoke awe, and elevate human existence. Stop me before I get too deep… Heh-heh. I also have to mention that the other “main” protagonist in Revelations is Taizo of Narr, who is not an artist but a smuggler and a thief. At least that’s how he starts…but again, no spoilers.

SEL: McNaughton intentionally avoided making a map for his Seelura milieu; there was no map for the Zang Cycle/Continent in its first two printings, but there was for your Books of the Shaper trilogy. Given your artistic skills and creativity, you are likely to have had one. Did you have a map of the Continent? If so, do you have thoughts on sharing maps for fantasy worlds?

JRF: Nice of you to point that out! I hadn’t realized it, but I guess I did the same thing that Brian did with Seelura: no map. I have this “mental map” of the World of Zang in my head, but I’ve never drawn it out on paper. With the Books of the Shaper trilogy, the publisher (Orbit) asked me if I wanted to do a map for the novels, so I did a rough and they hired a professional artist to do the final version. It looked great. But I don’t think a map is actually needed for Zang. As Brian said of Seelura, the lack of a map keeps the invented world more mysterious. It’s more like wandering through a dark and shimmering dream without any guideposts or direction. I dig that.

"Oblivion Is the Sweetest Wine" introduced the Zang series secondary lead, a clever thief named Taizo. Black Gate magazine commissioned two great interior pieces by Mark Evans to accompany the story. (left) Syyra, Taizo's erstwhile love interest. (right) The catacombs beneath the spider-worshipping city of Ghoth.

SEL: I’m curious about inspirations for the story  “When the Glimmer Faire Came to the City of the Lonely Eye” (BlackGate.com 2013, available online) that involves Quill adventuring with a troupe of powerful, weird actors led by the stage master & sorcerer Mordeau; they venture into a haunted city with lofty goals and the reaction from the crowd/world is beyond epic. Loved this story. The last time I remember a troupe in adventure fiction would be the Grillards featured in James Silke’s Frank Frazetta’s Death Dealer novels (Old Brown John being the stage master); note, the Glimmer Faire is magnitudes more powerful and exciting than the Grillards. Anyway, can you discuss your motivations/muses for creating a theatrical group of heroes?

JRF: As mentioned previously, I wanted to explore the link between Art and Sorcery. So, when Artifice learns to be a playwright (and simultaneously, a sorcerer), it allowed me to explore how the magical power of Drama can literally change the world. I’ve always been a big fan of Shakespeare, and I’d have to say one of the influences for The Glimmer Faire was A Midsummer Night’s Dream. The parallels are obvious, what with the Woodfolk musicians being part of the troupe. I wish I could remember more about what inspired the Lonely Eye concept, but I think the title came first, then the plot. I can’t recall anything beyond that, except that I wanted this story to really show how the Faire’s performance could work miracles and wonders—how their High Art transforms an entire community. But in my ongoing quest to avoid spoilers, I will say no more. Except this: Right around the same time I came up with the Glimmer Faire concept (2003), I saw an excellent historical-drama film called The Reckoning that sort of confirmed and inspired my approach. It stars Willem Dafoe and Paul Bettany as members of a medieval troupe of traveling actors. Fascinating movie. highly recommend it.

SEL: In your World Beyond Worlds collection, you have a story dedicated to Kung Fu actor David Carridine, “Where the White Lotus Grows” (Monk Punk, 2011), that harmonizes demon-killing with the ambiance of TV series. In the Zang Cycle, “The Bountiful Essence of the Empty Hand” features a culture seemingly inspired by Kung Fu too. Any connection there? Do you have martial art muses?

JRF: Absolutely. I grew up watching Kung Fu in the 70s. Revisited it in the 90s, and eventually collected all three seasons on DVD in the 2000s. Immensely inspiring show, and it introduced my young mind to Eastern philosophy. It’s still one of my all-time favorite TV shows. I do sometimes wonder how different it would have been if Bruce Lee (who co-created the show) had been allowed to play the main role. That went to Carradine instead, but he knocked it out of the park and became one of the biggest TV stars in the world during the 70s. The tragedy is that David walked away from the show after season three, when its popularity was white-hot, and he would never find that kind of widespread audience again. At least not until 2004, when Quentin Tarantino cast him as “Bill” in KILL BILL. But I also love old-school Shaw Brothers Kung Fu films, and many other directors in the genre. The Five Deadly Venoms has always been a favorite, and a few years back I discovered the seminal genius of Come Drink With Me. I could go on and on about martial arts cinema, but I prefer the movies that are set deep in the past. They could very well be fantasy films set in alternate worlds, and they inspire me in that way. In “Bountiful Essence” I got to explore the Zin side of The Continent, and I wanted to explore a culture somewhat akin to the Shaolin monks of ancient China, but not be limited to historical accuracy or concepts. So, the residents of the Invisible City in “Bountiful Essence” are visited by the Glimmer Faire in its tour of the eastern realms. Later, I wanted to explore the fate of Kantoh, one of the monks introduced in “Bountiful Essence,” so I returned to Zin and wrote “Where the White Lotus Grows.” It only seemed right to dedicate the story to David Carradine, since he inspired me at such an early age with his portrayal of Kwai Chang Caine. I love the martial arts films of Zhang Yimou, Ang Lee, and Yang Lu. I also find the show Warrior to be fantastically good and totally inspiring. It’s almost like an answer to my above question since it’s produced by Bruce Lee’s daughter and based on his writings. I can confidently say it’s the best martial arts show since the original Kung Fu, and it’s set in the same time period. Great stuff.

SEL: There seem to be crossovers or tie-ins, such as the Ghothian spiders (that have a dominant focus in “Oblivion Is the Sweetest Wine (Black Gate #12, 2008), but also appear in World Beyond Worlds - ‘Yael of the Strings” (originally published in Shattered Shields (2014)). Less explicitly, the nine Sorcerer Kings and Divine Council of the Zang Cycle seems to resonate with the Seven Sorcerer Kings from the Books of the Shaper trilogy. Does the Zang Cycle spill over to other Fultz Universes?

JRF: No, no—very different concepts, and very different stories. The kings in the novel Seven Kings are not all sorcerers. In fact, only a couple of them are sorcerers if I recall correctly; they are the kings of various nations allied and/or divided by a coming war. That book is a completely different universe, totally unrelated to Zang in any way—except that I wrote both of them. In The Revelations of Zang, there are nine Sorcerer Kings who rule a single city (Narr the Golden) and its surrounding empire. They are “the enemy” of our protagonists because long ago they cast down the Gods of Zang and all their temples, replacing the worship of gods with the worship of themselves. They even refer to themselves as the Divine Council. So, a part of the journey in RoZ is the idea that you can’t really kill the gods, so what if they decide to come back? That’s the kind of thing we call an apocalypse…

SEL: Your Moroquin creatures remind me of fleshy versions of the Garthim (Jim Henson and Frank Oz’s 1982 Dark Crystal movie) which are giant clawed, exoskeletal elite guards/warriors serving the antagonists. Did the Garthim inspire the Moroquin?

JRF: No, but I do enjoy the original Dark Crystal film. At the time there was nothing else like it. I just wanted the Moroquin to be absolutely disgusting brutes—the tools of blind fascism and decadent sorcery. Grotesque and demonic.

SEL: You are an accomplished illustrator. Early in your storytelling career you wrote Primordia for Archaia Studios Press and wrote/illustrated the graphic novel Necromancy/SKULLS, available on Black Gate.com (table of contents here: link). Have you ever drawn Moroquin, Vizarchs, or anything else for the Zang Cycle? Please discuss how drawing informs your writing now. If you have illustrations, can we share?

JRF: Well, thanks for the kind words, but actually I’m an amateur illustrator. I don’t have the skill to do professional illustration, but I’ve always loved to draw. So, I indulge that fancy sometimes. In the case of Primordia, I got the great Roel Wielinga to draw it and he did an amazing job. In the case of Skulls, that was back when I was trying to break into the comics industry and got tired of artists bailing out on pitches and projects. So, I started drawing and inking myself. I learned a lot from doing that, and I think my inking worked better than my pencils. Later, I re-envisioned that story as a web comic and repurposed it to run at Black Gate. I don’t really draw comics anymore. I’d love to write them, however, if the opportunity arises.

SEL: Any other behind-the-scenes context you’d like to share about the Zang Cycle?

JRF: Just that I’m so grateful that the Rogues in the House Podcast crew have decided to publish this second edition of Revelations of Zang. It’s been out of print for several years, so it will be great to make it available again for new readers. The Rogues also found a terrific artist, John Molinero, to paint a brand-new cover for the new edition. It rocks!

SEL: We hope that this collection can be an entry into published Fultz works, or perhaps future ones. On social media, there was a tease about two new novels called the Scaleborn series. Can you discuss future Fultz endeavors?

JRF: All I can say at this point is that the Scaleborn series is looking for a home, and I’ve got the first two books already completed. I’m hoping it will find a publisher before too much longer.


#Weird Beauty Interviews on Black Gate

  1. Darrel Schweitzer THE BEAUTY IN HORROR AND SADNESS: AN INTERVIEW WITH DARRELL SCHWEITZER 2018
  2. Sebastian Jones THE BEAUTY IN LIFE AND DEATH: AN INTERVIEW WITH SEBASTIAN JONES 2018
  3. Charles Gramlich THE BEAUTIFUL AND THE REPELLENT: AN INTERVIEW WITH CHARLES A. GRAMLICH  2019
  4. Anna Smith Spark DISGUST AND DESIRE: AN INTERVIEW WITH ANNA SMITH SPARK  2019
  5. Carol Berg ACCESSIBLE DARK FANTASY: AN INTERVIEW WITH CAROL BERG 2019
  6. Byron Leavitt GOD, DARKNESS, & WONDER: AN INTERVIEW WITH BYRON LEAVITT 2021
  7. Philip Emery THE AESTHETICS OF SWORD & SORCERY: AN INTERVIEW WITH PHILIP EMERY  2021
  8. C. Dean Andersson DEAN ANDERSSON TRIBUTE INTERVIEW AND TOUR GUIDE OF HEL: BLOODSONG AND FREEDOM! (2021 repost of 2014)
  9. Jason Ray Carney SUBLIME, CRUEL BEAUTY: AN INTERVIEW WITH JASON RAY CARNEY (2021)
  10. Stephen Leigh IMMORTAL MUSE BY STEPHEN LEIGH: REVIEW, INTERVIEW, AND PRELUDE TO A SECRET CHAPTER (2021)
  11. John C. Hocking BEAUTIFUL PLAGUES: AN INTERVIEW WITH JOHN C. HOCKING  (2022)
  12. Matt Stern BEAUTIFUL AND REPULSIVE BUTTERFLIES: AN INTERVIEW WITH M. STERN (2022)
  13. Joe Bonadonna MAKING WEIRD FICTION FUN: GRILLING DORGO THE DOWSER! (2022)
  14. C.S. Friedman.  BEAUTY AND NIGHTMARES ON ALIENS WORLDS: INTERVIEWING C. S. FRIEDMAN (2023)
  15. John R Fultz  BEAUTIFUL DARK WORLDS: AN INTERVIEW WITH JOHN R. FULTZ (2023 report of 2017 interview)
  16. John R Fultz “The Magical Power of Art” – Foreword and Interview for The Revelations of Zang (2024 Interview)
  17. interviews prior 2018 (i.e., with Janet E. Morris, Richard Lee Byers, Aliya Whitely …and many more) are on S.E. Lindberg’s website

S.E. Lindberg is a Managing Editor at Black Gate, regularly reviewing books and interviewing authors on the topic of “Beauty & Art in Weird-Fantasy Fiction.” He is also the lead moderator of the Goodreads Sword & Sorcery Group and an intern for Tales from the Magician’s Skull magazine. As for crafting stories, he has contributed six entries across Perseid Press’s Heroes in Hell and Heroika series, has an entry in Weirdbook Annual #3: Zombies  He independently publishes novels under the banner Dyscrasia Fiction; short stories of Dyscrasia Fiction have appeared in WhetstoneSwords & Sorcery online magazine, Rogues In the House Podcast’s A Book of Blades Vol I and Vol II, DMR’s Terra Incognita, and the 9th issue of Tales From the Magician’s Skull. For several years he has played leading organizational roles for the Gen Con Writers’ Symposium.