I have only just recently learned of the pleasures to be had in mid-afternoon bath-time reading. It is the most marvelous, most delicious thing.
This past weekend, I drew myself a bath and did a little photoshoot of the tub, the books I planned on indulging in while the water grew cold and my toes pruned up, and arranged all of the related accessories, to include my beautiful new bath tray from Peg & Awl. Full disclosure: I am actually taking a product photography course over on SkillShare, and I just wanted to try out some of the concepts and techniques that the instructor was sharing! You can laugh if you like, I guess it is a little silly; I don’t have any professional reason to be learning these things, but I thought it might be nice to figure out a few ways to make the pictures I take of my food and my knitting a little bit nicer.
…which doesn’t really explain why I was taking pictures of my bathroom, but I was pretty excited and I had to start somewhere, right?
In a strange turn of events, I woke up this morning and the trio of tub photos that I posted to Instagram had been deleted! Was my tub too sexy for Instagram? Was the reflection of phantom nipples in the bathwater too scandalous to behold? Was my tray lacking the requisite Cobb salad, two computer monitors, and a woman laughing uproariously at nothing in particular? I am still trying to solve the mystery of what exactly might have offended someone’s delicate sensibilities here, and got my photos removed.
I mean, come on, people! If you don’t like baths or books—that’s on you, man. Don’t make it my problem.
As it turned out, I didn’t end up reading either of these books in this particular bathtub session. I grabbed something else instead…. but I am very much looking forward to reading them both, and I have a sneaking suspicion that many of you will be interested in them, too: Unknown Language, which I believe is a sort of fictional narrative attempting to convey Hildegard von Bingen’s expansive impact, and A sonnet to science: Scientists and their poetry
Also: if you’re curious about the geode planter sitting above the soap dish, it came from Tal & Bert! And the bath salts I was using didn’t really turn my water this acid green shade. It was more like “I did an accidental pee” yellow. So you can imagine why I tweaked the colors!
Featured image: Woman Reading by Candlelight by Peter Ilsted (1861 – 1933)
As 2020 ended, reading and books were the glue that held my fragile, frazzled human seams together, binding me back into myself, and keeping me from crumbling into a brittle, bitter heap of dust.
In our Stacked feature at Haute Macabre this week, I review some of these titles that, good, meh, or otherwise, kept me together as we entered 2021.
Typically at the end of the year, I compile a list of all the books I’ve read and share it here on the blog, but eh, that sounds like a lot of work for a year that was so stupid. If you’re curious, though, you can see them all over on my Goodreads books read in 2020.
I’d have to say my favorite fiction was found in the best of the weird, the bizarre, the off-the-wall stories: Bunny,Where the Wild Ladies Are, and Drive Your Plow Over the Bones of the Dead are the first three that come to mind. The ghostly, chilling arctic horror of Dark Matter was my favorite audiobook of the year, and in terms of nonfiction, my top picks are the macabre biblio-adventures involving books bound in human skin found in Dark Archives and the exploring the mystical wonders of creativity with the exercises, practices, and rituals in The Magical Writing Grimoire.
What books did you thoroughly enjoy in 2020? What titles, in particular, got you through that spectacular dumpster fire of a hell year? And what have you got in your TBR stack for 2021? (There’s a lot of exciting horror in this fantastic Tor roundup, if you need some ideas!)
I’m not crying, you’re crying! Pictured here is my dear little sister, one of my favorite weirdos in the world, wrapped up in the hopes and dreams of the divorce blanket I started knitting for her six years ago, and which I finally completed a few weeks ago. “Hopes and dreams” and “divorce” probably don’t sound like words that go very well together, except that sometimes, I think, they quite splendidly do. She wrote about it on her blog, which you can find here.
Below I have included a gallery of some images of the process if you’re curious. And here is a link to my Ravelry page for more! And so many thanks to the thoughtful, generous friends who shared yarn, and well-wishes, and stories of their own along the way.
I’d love to know what stuff and things, tangible or intangible, and however small, or mundane, or banal (or grand and luxurious, why not?) got you through the latter part of 2020!
I probably never would have gotten around to starting a YouTube channel in 2020– or any other year, for that matter–if not for the badgering of my baby sister, who has been on me to start one up for a while now. I’d personally rather read a blog post about something than watch a video about it, but I’ve accepted that not everyone feels that way, and so to keep up with the rest of the world and to practice being flexible and adaptable and learning new things in general, I chose this ridiculously terrible year to get started. And I’m pretty proud of myself! Nine months later, I continue to upload videos, although not exactly consistently, and while I’m no award-winning cinematographer, I daresay my efforts have visibly improved along the way.
From reading lists and hauls, to author chats and Q&As, to my obsessive love of perfume to those “what I do in a day” type videos, I think I’ve got a handle on the things I want to present on my channel, and surprise, surprise–it’s exactly the same type of thing I would write about on my blog. Which is okay, I think! Because people who are reading my blog aren’t necessarily stopping by here to watch my videos, and vice versa–and that’s fine! I’ll just try and connect with people wherever they are.
So what’s the plan for 2021? I literally have no clue, but I’d like to keep on track with my one-video a month plodding progress, so if you’ve got any ideas or suggestions or anything, in particular, you would like to see or hear me talk about, leave a comment and let me know!
See below for links to everything mentioned in the Hexmas holiday gift haul!
And a bonus that didn’t make it to the video, are these incredibly snazzy dangle earrings that my Best Good Friend sent me! A bonus about having hair that looks like a Fizzgig is living on your head, is that now everyone can see my ginormous danglers! From Haus of Sparrow on Etsy, if you are interested.
Today I am over-the-moon thrilled to cozy up with the extraordinary Lisa Marie Basile for a magical, mystical year-end giveaway! If you are interested in ritual, the occult, history, writing magic, poetry, journaling, or magical symbols, this little book bundle is for you!
Jakub Schikaneder (1855–1924), Podzimní červánky (Autumn Red)
I am tired. I bet you are tired, too. This has been a weird year. Has it even been a year? Has it been a thousand years? I feel like I’ve aged immensely in these last 365 days and yet…I’ve experienced nothing. I can’t quite convince myself I’ve done nothing, I won’t allow myself to think that. No matter how furiously that self-effacing little demon on my shoulder tries to bully me into thinking it! I have idle tendencies, but I’m not lazy.
And I don’t mean to say that you are lazy if this year has been too much for you and you can’t function. No. But “I’m not lazy” is a mantra I have to repeat to myself, internally, all the time until I believe it. I grew up thinking I was lazy. I was told in so many ways that I was lazy. I came to believe that I am, indeed, a lazy, indolent person. Perhaps because I am slow to move and act. Often times this has to do with fear and anxiety. Also because I have a tendency to act only when I am ready to act. Don’t rush me! Perhaps also because I am not hugely ambitious, at least in the ways that the rest of the world, and perhaps my generation, define success. But I am not lazy! A few years ago, I made myself look at my progress and motivation and drive, and dammit, I am not lazy. But I still remind myself of this, every day.
I am always working on something. Baking, gardening, knitting, researching, writing, sometimes even making myself do the things that scare me! I mean, I published a book this year! This year, of all years! That counts for something right? But at the same time, I don’t feel like any of it counts at all, like it is entirely possible that this year hasn’t actually counted for anything. Although I have done things, learned things, made progress on, and completed personal projects… I have not gone anywhere new or exciting (or even old or boring) or seen or met anyone. All of these things are different marks that add up on the yardstick for which I measure my years, and this year is terribly off balance.
This past summer, I think I felt that keenly, and so I overloaded myself with tasks and projects and all manner of what I suppose amounts to busy work. I may not have been able to travel to see friends or family, but I dabbled in a multitude of cuisines, I perfected my sourdough starter, I finished a knitting project that I have been working on for five years–I can’t say that I didn’t do anything. I did all of the things. But…it all feels pointless? Wasted? And now it’s December and the year is ending in just over two weeks and I am tired. And I need to rest. Why is that so hard to admit?
On the knitting front: I think this is the first time I’ve worn something I knit in over a decade!
While I love to knit, I discovered that it’s more about the process and the journey for me, than it is about the destination and end result. When I am done with a project I set it aside until I feel I’ve found the right recipient, or, more frequently, they reveal themselves to me mid-stitch, before the pattern is even complete. I’m never sad to say goodbye to these projects because they were never meant for me to keep.
This sweater, though…maybe it’s going to stay with me a while. I hadn’t knit a sweater in a very long time. I tend to stick to things that don’t actually have to fit, like intricate shawls and the like. Measurements mystify me! But I was gifted a book of patterns late in 2019, so I thought I’d give it a another go. It was probably a fluke (because I did no maths, and much like merging onto the highway, I just close my eyes and prayed for the best!) and wouldn’t you know? It was perfect!
Of course, living in Florida, there are not many opportunities to wear such things. But today is chilly and here we are! Warm and cozy and it fits beautifully.
I think this one has found its home.
This was meant to be a divorce blanket for my baby sister. She could have gotten married and divorced again in the 4-5 years it took me to knit this!
Each and every square was knit with my deepest heart’s love for this beautiful, brilliant, brave woman, and with wishes and dreams that her life as she goes forward is exactly as she wants it to be. And more or less it has been, I think, and utterly without the help of this blanket! Well, it’s the thought that counts, anyway.
Thank you to the many friends who have contributed yarn to this project over the years. I appreciate you all for your help.
Reading: Though I’m a life-long fiend for all things horror, my love for the genre does tend to wax and wane. Sometimes I become a bit unplugged, only to dive back in with a voracious ferocity that’s probably a bit alarming from an outsider’s perspective.
Recently I was gifted a copy of Matt Glasby’s The Book of Horror: The Anatomy of Fear on Film, and it has marvelously rekindled my love for all things horrid, haunting, and harrowing. Glasby examines some of the most frightening films created and explores with us what it is exactly, that makes them so scary. Which sounds like it might be a dry, scholarly affair, but it’s not even a bit! The analysis is tightly written, wryly humorous, and exceptionally insightful, and, coupled with the spare elegance of Barney Bodoano’s striking black and white artwork—I’m utterly immersed and enthralled and I haven’t been able to put it down.
The advent of the winter months are casting their strange spell and making me forget, as I do every year, that baking in Florida in November is pretty much the same as baking here in July. Still, the heart wants what the heart wants (even though the heart doesn’t even care for sweets) and so that means Swedish cardamom buns and cranberry scones.
I really don’t have much to say about them, but I did think they were nice photos!
I have been feeling some kind of way in the last few weeks. I can’t put my finger on what it is, or why…it’s somewhat inexplicable and mostly inexpressible and it’s for sure not a particularly nice feeling.
The closest I can get at it is this: I have been hearing various friends at various points in time say that they need to delete their Facebook accounts or stop scrolling through Instagram or maybe even stay off of social media entirely, because it makes them feel crappy about themselves. They compare themselves to friends and acquaintances who have perhaps had more achievements and successes, who have gotten married or had children, who have traveled the world, who seem beautiful, valued, fulfilled, and happy…and in seeing all of this, they find that they are coming up short in their own lives and wonder where they went wrong. Rather than be bombarded by their social media reminding them of these short-comings every time the page refreshes, they delete these platforms from their devices, removing the temptation to subject themselves to these feelings.
I thought that I never really understood or properly empathized with the dissatisfaction or disappointment or depression/despair they experienced from these interactions (oh, the arrogance!) because I believed that I measured my success differently. I genuinely believed I wasn’t paying that much attention to what everyone else was doing. Or if I was, I was happy to see that they were doing well. And I am!
But I suspect…I’m more attentive than I thought I was to what X/Y/Z person was progressing with, making strides toward and ultimately achieiving and succeeding in. And inevitably, we relate information about others to ourselves, and it would appear that I am not immune to that, no matter how much I imagined myself to be! And while I might not covet the lifestyles and timelines of say, that enthusiastic person posting pictures from their themed-engagement photo shoot, or the third-time mommy-to-be celebrating milestones in her kid’s lives, or the career woman who was just promoted to Regional Director of Whatever…I do take notice of the various ways in which the people whose interests align with mine are putting themselves out there and achieving things. And I wonder what is wrong with me that my expectations for myself are so vastly different and what opportunities I might be missing because of that.
I guess when it’s stripped down to essentials, what I’ve been feeling of late is the dull hum of inadequacy. It’s been buzzing through my brain at a frequency I couldn’t quite attune to, but in writing about it just now, I think I’ve dialed it in. And I hate to blame social media, but it’s so easy to lose ourselves in what we think we should be doing/wanting/having because we see those individuals whom we admire involved in all those things…but are those things really the things we want for ourselves? Or is the algorithm just brainwashing us into thinking so? And so maybe it is better to step back. To remember who we are and what we want for ourselves, and use that clarity to both connect with our identity and cultivate our self-esteem.
Psychology today writes that:
“A stable sense of self comes from thinking about who you are absent any feedback. What are your values and preferences in the absence of anybody knowing about them? Can you be proud of the person you are who isn’t publicly posted?”
So I can certainly see how taking a step back from Instagram and Facebook can provide some time for self-reflection, to strip away all the clutter that you’re constantly barraged and the constant need to “create/curate content”.
I don’t know where I’m going with any of this navel-gazing, because while social media creates these uncomfortable and upsetting comparisons for me, it’s also a source of so many wonderful connections. And while I realize that my efforts fall far short of anything that would be described as a journalistic or literary tour-de-force, I do like to try to keep my finger on the pulse of things, so to speak, for writing purposes– and social media platforms can be such an amazing source for the sorts of tidbits that I like to stay on top of. So what can I do? Just keep it all in perspective, I guess. As poet and writer Lisa Marie Basile wrote on Instagram recently: “The universe is nearly 14 billion years old. I promise that bitch on Instagram doesn’t matter.”
Seen too, just today, via Sarah Faith Gottesdiener’s Instagram:
“It is a fucking relief to dive deep into your own well, to move forward in your own integrity, and forge your own path. It is a breath of fresh air to acknowledge your own needs, dreams, and particular talents. We all have our own unique roles to inhabit and our own particular calls to heed. The more we stay in our own energy, the easier it is to attract what is for us. Do you understand?” (Read the rest of it here, it’s exactly perfect.)
I think I do understand. And so maybe you will be seeing a little less of me in my familiar haunts. You can always find me here, though.
WOW! It’s been a long dang time since I have compiled a list of wished-for Hexmas gifts. WAIT, no it hasn’t! I made one just last year. How could I have forgotten that? Oh yeah, I know why: because last year, as we who can still joke about such things like to say, was approx. one thousand weeks ago.
I’m into the mustardy yellows now, which is a bit of a new thing to those who are used to my monochromatic palette, and overall I think in these lists you’ll see a bit more color than I’ve had a preference for in recent years. Interesting! What does it all mean? (Is a thing that I am sure no one is asking.) All in all, these lists today are a bit of a mishmash, none of it really connected or thematic… although I suppose the slippers and teas and bath related items would certainly point to a longing for calm and comfort and soothing experiences? And maybe a few sparks of magic for the kitchen and the home? Well, I guess let’s not try to overthink it.
It’s really just an opportunity to say, here’s some stuff I like! I don’t actually expect anyone to buy and gift these things for me; as I have noted before, there’s no one who can shop for you as well as you can. So I like to make these lists for myself every December, and then slowly treat myself to the things on them over the course of the winter and throughout the next year. And don’t get me wrong – I love it when people think of me enough to buy me a gift, and I am grateful…I just don’t ever expect that someone is going to read my mind and get me that thing that I really, really, want. And god forbid I actually tell them!
So here it is, then. The luxuries and fripperies I’ve got on my personal 2020, utterly selfish Hexmas wishlist. I’m not sure that these things will be of any interest to anyone but me, but perhaps you will find some last-minute gift ideas here, for either friends or family…or yourself. Happy Hexmas to us!
Have you ever realized that you “knew” someone before you, well, actually knew them? Such was the case for me with artist Carrie Ann Baade, whose work “Artemis” (above) I was wonderfully privileged to include in the “Higher Beings” chapter of The Art of the Occult...and I own a stunning, real-life print of the same work perching, propped up against a bookcase, while we find the perfect space for it on our walls.
Though I was vaguely familiar with the artist’s work from seeing it over the years, perhaps posted on Tumblr or Pinterest–perhaps I’d even posted it on Tumblr or Pinterest!–and I became intimately familiar with it while doing research for the book…I only realized much, much later and after becoming friendly with Carrie Ann Baade herself…that I’d actually shared her work in the form of a portrait of Pam Grossman on my own blog here at Unquiet Things! Somehow I hadn’t connected the art with the artist, which makes me feel profoundly silly, and yet it was a sort of wonderfully electrifying jolt from the universe when I finally put two and two together. Listen, no one ever accused me of being the smartest in the room, okay?
Carrie Ann Baade is a contemporary painter whose work quotes from, interacts with, and deeply relates to art history. Linking the power of historical masterworks with her own experience as a contemporary artist, she is a reverent scavenger salvaging lost aesthetics in an attempt to reconcile the irreconcilable and piece together the sublime.
See below for our interview wherein we chat about the origins of her Dr. Frankensteinian technique, the mythic energies that she is compelled to “hyper-incarnate”, and how we can heal and grow and create profoundly intimate relationships with ourselves through art.
…and can I just say how deeply thankful that I am to the artists over the years who have taken the time to answer my questions and share their insights with me? In reading this interview over again, I was moved to tears and I am so grateful for all of the creators who have spared a moment or two to discuss their works and practices with me.
…aaaaand speaking of artists sharing their works with me, the artwork featured immediately below, “Dominions”, is a brand new piece from Carrie Ann Baade, an astonishing vision that Unquiet Things readers can get a first, ecstatic glimpse at.
Unquiet Things: I love the densely layered aspect of your work, how it contains this surreal stratum of personal biography and allegory and history. Moreover, you’ve stated in the past that you think of yourself as a kind of “Dr. Frankenstein attempting to piece together the sublime.” What a fabulous notion of these interconnected many-layered puzzles pieces of myth and meaning! I’d be very interested to hear about not just the process itself, but where along the way of your artistic journey did this technique coalesce into an artform that felt somehow, uniquely “you.”
Carrie Ann Baade: In graduate school, I had one of those breakdowns that were indistinguishable from the breakthrough. I got out my scissors, cut up my artbooks and made collages of the paintings. However, figuring out what to do from there was a process. It required lots of trial and error to make this work. Anytime we do something new, it takes time to process what we are doing. Maybe I am still in the process of comprehending what cutting up and making new things means or does. It’s synergistic, it’s mad scientist, it’s conjuring; it’s also a bit like a tarot reading. But also, art is about seeking and making inquiries. If I truly solved or understood anything completely about what I was doing, I would likely quit doing it. The chase is towards mystery and this process allows it.
By allowing chance into my process, it allows the pieces to talk back to me and say things through a message detectable amid the potent symbols. I stoke my container of cut ups images like a fire. What it yields is often untranscendent and then after more play, it will yield a composition for a painting when I need ten. It’s a mystical process for me. With the world of symbols comes meaning and storytelling. The images wish to speak. As much as I want to speak through them, very often they are speaking through me.
I am intuitive and I find the safest place to exercise my gifts is through art. Art can take it. Why? Because although intuition can be irrational in day-to-day life, it is highly functional in art. I do find this process works best when I have a question…like “what happened to female genius” and the answer the images returns shocked me to my core. It’s a radical submission into a process of dialog with the world of symbols that results in my painting.
“Seraphim”
I believe I read that you were raised in Colorado, you studied in Chicago (and Italy) and now you live in Florida. Many varied locales and landscapes! I am wondering what role, if any, does environment play in your artistic endeavors? I ask this as a Floridian myself–in our sultry, sweltering semi-tropical climate, for 9 months out of the year I don’t even want to move, let alone create anything!
Strangely, I have found where I am informs what I am making. I have painted in Florence, Valencia, Poland, and London… as well as, Florida. I think different places have different energies. Different houses do. The location seeps in. And then the paintings themselves are pretty demanding… I once had painting insist on being put outside in the moonlight for it to absorb. I had another painting that wanted to be left alone to cook in the 100-degree sun. I listen to the work and it tells me all kinds of things.
“Hellmouth”
As a professor, you have read a fair amount and taught art history, so no doubt you have considerable knowledge of mythology, religious symbolism, stories of creation–I’m curious about some of your favorite stories to tell. Or if not “favorite”, perhaps most compelling, or urgent. The myths and narratives that for whatever reason, you return to again, and again?
I am an advocate for serpents; they are present in all creation myths in the form of snakes or dragons. I am curious about these perhaps being conscious wavelengths? Serpents move through symbolic representations of the goddess, genius, Medusa. Perhaps they represent the presence of the archetypes themselves. What is a snake but a wavelength with eyes? All of these have been and continue to be significant for me over the past 25 plus years.
When I align myself with a myth like Medusa, there is usually an act of embodiment, I become an alter ego. This energy through embodiment or hyper-incarnating, as I like to call it, results in a painted image. It allows me a small glimpse into being more or different than I am. The Medusa myth has also allowed me to work through rape, victim shaming, anger, and processing feelings of being abject or monstrous. It’s a way to learn and potentially process experience. Once I work with a myth or narrative for a while, I will shed it and move on, to work to develop another aspect of myself in a new form. Perhaps this is no more than an actor taking on a new role but that too is a way to unlock and explore our human potential and get some breathing room in our identity. I was reading a book on transpersonal psychology last year and the author described research as “soul work”. I like that. I hope that is what I am doing.
“Angel at the End of Time”
Again, referencing that Dr. Frankenstein quote about “piecing together the sublime”, how do you experience the connection between spirituality and creativity?
When I am a making, it starts by doing time. This is sometimes going through the motions. Yet, when the flow state hits, this is what I call going from “fraud to gawd.” Every night I die and every night I am reborn through the creative act and working in the studio. When I start, I am lower than dirt and this never seems to get any easier. After a period of struggle, I am let inside the greater mystery of connection as I make. A feeling that one could assign to ego, or as I believe, that there is a oneness that permits exquisite technical and conceptual acts. For me, I humbly assign the better work to a greater genius or insert your definition of god. I am a decent painter but when I am truly connected it’s more like something moves through me. Whatever it is, it is a natural high that is very addictive. I struggle to get back there and then the process is worthwhile… but man, I would not wish the low on anyone. Who wants to be separate from that sense of creative flow?
“Caritas”
As an artist with many years of personal practice and experience, as a teacher who guides and encourages your students, what is a piece of advice you might give to someone, a friend perhaps, who has experienced a life-long artistic itch, a powerful inclination…maybe they feel deeply, they have big ideas…but they don’t know how “to art.” They don’t even know where to start! And I don’t even mean making a living with their art. Just starting something for the fun of it! I just mean…what do you do if you feel like you’ve got art in your blood but you’re afraid to bleed?
By all means! You don’t want to die with the music still in you! Let it out! I think we all need to art in all its multifarious forms. This is how we heal, how we express ourselves, how we learn about ourselves, and how we grow. Set aside designated space in which to make! Give yourself the gift of time! Be detached from the results. No one prepares us for how much self-confidence to do what we love. Give yourself permission!
One should always be learning something new. This is the process of being a life-long learner. Embrace the cultivation of new interests and experiences! A healthy mind is curious and interested.
I am writing a book now and I never wanted to be an author, but somehow I got book pregnant. I have a book bun in the oven. A book requires a dedicated focus but it’s made of micro acts… not on focusing on the whole big final project but on bite sized recollections: by making myself write three pages a day. This and giving myself permission not to be worried about the outcome are letting this happen. Publishing is not the goal at this time …this act is just for me. I need to write about my life and my work in a dedicated and cohesive way. I don’t want to ask permission or care who is alive that it might impact, I just need to let it flow. It’s the most dangerous and wonderful thing I have done in our newfound captivity. I nearly made myself vomit from confessions and realization; I had no idea how visceral this experience would be.
No therapist I could pay could do what I am doing for myself. It’s a gift of time. It’s a reflection on my life that will hopefully yield the fruit of self-understanding. I find this a scary, yet magical experience. I am most turned on to create by author Helene Cixous, who says:
Woman must write herself: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies – for the same reasons, by the same law, with the same fatal goal. Woman must put herself into the text – as into the world and into history – by her own movement.
In short, we all need to create deeper more intimate relationships with ourselves to be alive and art is a way to do that. I encourage you to move into that feeling of comfortability… learning happens when we get outside of our comfort zone.
“Of Ergo and Ashes”
Do you have a particular process you use when entering into your work? What gets you in the mood to create? Any rituals or practices?
It’s not easy to go into the studio every day. But because a studio practice must happen every day to be a professional artist, it’s kinder to flow and not to force this act. It’s best to try to seduce myself.
For this reason, I am a total romantic in the studio. I need to be focused by candles… I ritualistically put on perfume to transport me. I generally only paint at night. Knowing the world being asleep makes me feel like I am alone and undistracted from my work. I desire to in my own world with my paintings. It’s a lovemaking.
“Bride”
In our chats, you mentioned a ladies’ tea that you used to participate in. Why do you think that sense of community for artists/creators is so important? Given the isolated nature of 2020, what, if anything, are you doing to conjure community for yourself right now?
The tea I refer is the Salon de Femme or as I refer to it “the Ladies Surreal Tea Party.” This a group of artists that I founded with Tina Imel in 2007. The founding members include: Lori Field, Pam Grossman, and Madeline Von Foerster. We met annually in New York City until 2014 and then I had a couple with dear friends in Paris. The event was simple, bring a female artist friend to tea and we all hung out and talked shop. Once we invited boys which was fine, but really it was about girl power support and love in the artworld. This resulted in events at Cynthia Von Buhler’s, a private tour of a gallery, an exhibit in Brooklyn, a couple of national curation projects, lots of networking, and lifelong friendships. The motivation was that while we had met online, we wanted to meet in person. Some of our guests included Julie Heffernan and Allison Sommers. I think I was always inviting lesser known artists that I thought could use help. What this did do, is it gave me a mission to meet living artists in person. Studio visit reveal so much and they help inform me as a teacher.
After a long dormancy, I will be hosting a tea again before the holidays. Our inaugural zoom tea will allow us to be all over the world, with some of us living in Europe and the U.S. We need our sisters now more than ever. We need connection, understanding, and support. Art is not just paint and ideas, it is community and belonging. We are constructing culture.
That I have any friends at all is something that constantly surprises me, and sometimes when I think I’ve missed an opportunity at friendship, that deeply saddens me.
I met G.A. Alexanderbriefly on a side-trip to Seattle, a branching-off from a trip to Portland, that I took a few years ago, in order to spend some time with friends. G.A. Alexander was the partner of one of these friends (a human whom you are all very familiar with, poet and writer Sonya Vatomsky, whom I have interviewed previously!) and I maybe said two words to him at the time. I met him again on a trip back to Seattle and was deeply privileged see him and Sonya get married…and again maybe only spoke a handful of words to him. I am very shy and I did my best!
As I know we share similar enthusiams–a love for the horror genre, and what I broadly think of as “goth musics”– I have kinda low-key, stalkery been following his projects with great interest over the last four years or so. As a musician and writer, G.A. Alexander has played in the bands Golden Gardens, The Vera Violets and Push Button Press, and is the writer of Kickstarter comics success Keepsakes, along with short stories published by Eerie River Publishing and Nocturnal Sirens Publishing. His new project, OBSO/LETE, is over on Kickstarter right now, and I am very much looking forward to these dystopian tales of terror.
In the meantime, I thought it might be fun to ask him a few questions about this forthcoming effort, and his inspirations/enduring influences, as well as wrangling some recommendations from him to share with all of you!
See below for our chat on all things horror from the grimy and lo-fi, the the elevated and possibly “too beautiful” and be sure to check out OBSO/LETE on Kickstarter!
Unquiet Things: I’ve written previously about how much I thoroughly enjoyed your first comic, Keepsakes. It had that sort of retro-anthology vibe, with stylized imagery recounting horrific yarns, that took me back to the feeling of reading copies of Eerie and Creepy magazine when I was way too young to understand them. And maybe, too, my more recent memory of watching Tales From The Crypt and wishing I had seen it when I was younger! Your new project, OBSO/LETE, which I understand to be cyberpunk body horror set in a collapsing future, sees a very different direction and vision! Can you tell us what OBSO/LETE is about? What should readers know prior to diving in?
G.A. Alexander: Thanks for noticing that about Keepsakes! A lot of people brought up the Tales from the Crypt similarities, but I was also a fan of things like Creepy, Eerie, House of Mystery and other horror books that were either active or were enjoying a period of extensive reprinting when I was a kid.
OBSO/LETE is definitely a different beast altogether from Keepsakes. The book is set in an alternate future where technology (especially anything using networking) was severely restricted for the average person by the American government from the 1990s-onward. In the meantime, however, development for things such as medical research and the military have experienced no hindrance at all. Due to the stunted development of technology and the way society developed, the power grids in the large MegaCities that have sprung up have become overburdened to the point of near-collapse, and so different districts have started experiencing rolling blackouts which have come to be known by the population as “Cold Spots”.
The first issue of the book tells the story of Sandra and Juliette, two bartenders working in District 4, an extremely blue-collar part of a large, un-named MegaCity. As their neighborhood is hit by Cold Spot after Cold Spot, they begin to notice that things may not quite be what they seem: the constant power fluctuations in the city seem to have ignited something buried deep below the city. Things that appear to be neither completely human, nor machine are now lurking in the shadows of the city, waiting for their opportunity to strike.
Could you share where the idea for OBSO/LETE came from, and what inspired you to tell this type of story? And what ‘type’ of story would you say this is?
OBSO/LETE’s main influences came from a few different sources: I noticed a lot of modern cyberpunk media had adopted a sort of “neon palm tree” sort of aesthetic, which eventually became a bit too ubiquitous to be fun for me, and so I really wanted to make something that could be considered “Cyberpunk” under its original idea of “high tech, low life”, but could be dirtier, nastier and grimier. Aside from that, a lot of the inspiration came from the movies Tetsuo The Iron Man and Hardware, the comic books Akira and BLAME! and the box art and aesthetic of 90’s FMV computer games like Under a Killing Moon and Phantasmagoria 2 along with 90’s cable television shows like The Hunger, Max Headroom and Highlander.
The story’s genesis came from mis-remembering a scene from Hellraiser III. After re-watching it and quickly realizing my memory had distorted it into something else entirely, that then turned into the inciting incident in OBSO/LETE (and which you can read on the Kickstarter campaign). From there, pieces started falling into place. The rolling blackout concept was something I had been thinking about for a few years after reading about how certain countries had actually implemented it.
The premise of technology being hampered for regular people but completely unhindered by any restriction for the military came from living through Y2K while also working in an office park directly next door to a military contractor.
I’ve got a fair amount of techo-skepticism in me and some very distinct worries about the growing alienation we’re experiencing due to social media and other technological things that past few decades have inserted into our lives, but I’m also very well-aware of how these things have absolutely improved certain peoples’ lives and how much of a net-benefit they can be. I wanted to tell a story that explored what the world would (possibly?) be like without some of these things. I didn’t want to come into that story with a pre-conceived black-or-white “Technology Bad/Technology Good” perspective at all, but I really wanted to think about and depict how I believe human interaction and the world may develop without mass-media communication as we currently know it.
Also, I wanted to take that world and put monsters in it.
You’ve got some stories on the popular horror r/nosleep subreddit and you’re a musician/songwriter(?) as well. As a writer of all sorts of interesting things, I’m curious as to who you consider your biggest writing influences?
I’ve come to writing very late in life, having done most of my creative work as a musician and songwriter. I’m very influenced by who I grew up reading, including people like Billy Martin (who wrote under the name Poppy Z. Brite), Clive Barker, Stephen King, Brad Meltzer, William Gibson, Caitlin Kiernan, Neil Gaiman, Grant Morrison and many others.
The writers who really “clicked” for me as an adult, and who kinda pushed me into a mode where I not only felt “I can do this” but also “I need to do this because they’re so good and I have to catch up!” are Thomas Ligotti, Nicole Cushing, Kathe Koja and Matthew M. Bartlett. I would recommend anyone with a taste for left-of-center horror with a VERY distinct sense of setting (which is a thing I find really appeals to me) check out any and all of those authors.
And in terms of horror cinema, if you had to narrow a list down to two or three films that shaped your view/appreciation of the genre, or that you recall as particularly profound, what would they be? (and why, if you’re feeling expansive!) Is there anything going on with horror right now that you find inspiring?
A lot of the horror movies over the last two or three years that have been connecting with me have been somewhat low-budget affairs. On the micro-budget end, Nigel Bach’s Bad Ben series has been an absolute delight to watch, as you get to see a filmmaker find his voice and his “style” as he goes. I really enjoyed Brandon Cronenberg’s Possessor, as well, which utilized a ton of practical makeup effects, which I REALLY enjoy.
Historically speaking, my favorite horror movies would have to be Hellraiser, Halloween and The Thing. These are obviously fairly pedestrian takes, but I struggle to think of stronger and scarier works. I’m a big fan of Takashi Shimizu’s Ju-On The Grudge, as well, and I think it’s an unfairly overlooked classic.
I feel a lot of modern horror can be sabotaged by how modern technology had granted us access to beautiful cinematography. The modern “elevated horror” subgenre has put out SO many great movies, but most of them have failed to connect with me and on reflection, I think it’s because so many of them are TOO beautiful to look at. Having been raised in the VHS era, I think there’s something with film grain and tracking static that my brain associates with “scary”.
You and your wife and cat just made an international move during a pandemic! Well done! I know that was challenging to say the least, and that whole process almost seems like a horror story in and of itself. I’m always interested in how one’s geography shapes one’s fears and inspirations in that vein. Can you speak to how aspects of place and environment, and perhaps even culture, find their way into your writing?
That’s an interesting question, and one that I think I’m just starting to grapple with. Having grown up and spent most of my life in the USA, how does or should my writing change now that I’m, for all intents and purposes, a British Writer?
A lot of my previous stories are set in and around North East Pennsylvania, which I only spent a couple of years living, in my 20s, but left a very specific impression on me. How long can I go on writing about America, while not living there, and have my stories feel grounded in reality? How long should I immerse myself in the UK’s culture and places and idiosyncrasies before I can safely write a British Horror story? It’s odd because on one hand, I have these very specific experiences and memories and on the other hand, I worry about how long those will feel “Valid”.
For example, in Keepsakes, there’s a short story “An Open Letter to Blue American Petroleum”. That’s directly inspired by actual experiences I had moving cross-country in the United States, filling up at little gas stations in little towns off the highway. I don’t think the same sort of experiences happen here.
While that’s the case, every place has its own strange culture and unique features. The city I live in now has an extensive canal system and you have the ability to travel from neighborhood to neighborhood through tunnels underneath bridges and by the side of long stretches of water. I can see this, and many other features of where I now live sneaking into my work soon.
Keepsakes felt very North Eastern USA to me. Keepsakes 2 (which will be a standalone story, tangentially connected to the original collection) will be Pacific Northwestern. OBSO/LETE’s setting feels Chicago to me, while its characters feel very St. Petersburg, Florida. I always seem to want to write about places after I leave them more than when I’m there.
I’m extremely fascinated by the personal routines of creators. Do you have a particular process you use when entering into your work? What gets you in the mood to write? Any rituals or practices?
I wish I had a better or more structured routine. A lot of my process feels like “stealing time” from other things. I recently bought a couple of notebooks and a fountain pen to try and make my writing process feel a little less tethered to a keyboard, but I’ve found that the notebook is its own tether.
Some of my favorite work has been typed into my phone at 11:30pm at night while laying in bed, dealing with insomnia.
I only just realized that you stream on Twitch! Horror games, is that right? I am not very good at these things, but I recently just tried my hand at World of Horror, an H.P. Lovecraft/Junji Ito-inspired RPG horror game set in a quiet Japanese town filled with eldritch beings, wild-eyed cultists, and impossibly twisted human forms. I died a lot! Have you played anything lately that you really enjoyed and that you might recommend?
I tried out World of Horror on-stream a few months back!
I died a lot too. I think my issue is that I have exactly zero history with RPGs. My game of choice was always point-and-click adventure games.
The Twitch stream, Welcome to Frankenstein House, came as a result of wanting to fill time when the pandemic hit. Initially the idea was to do comic book reviews but that quickly evolved into abandoning the review format about 10 minutes into each stream and them proceeding to goof around about whatever we wanted (usually complaints about the Stuart Townsend depiction of Lestat in the Queen of the Damned movie, or how Alfred from Batman is in fact an interdimensional sex god) for 2-3 hours every week.
After that, we started adding in horror gaming streams, which then took over the whole thing. We’ve been on pause for a couple of months due to the movie and the time difference but we’re planning on restarting soon and we’re probably going to be switching to more of a variety show format.
The games I’ve really enjoyed playing lately are:
Detention: Scary point-and-click adventure game set in a haunted school during the White Terror in Taiwan
Love, Sam: I dubbed this a “Reading Simulator” on the stream as a joke, but it was REALLY scary. You play an unidentified character, reading a school friend’s diary in their tiny apartment. As you read, things in the apartment being to move and change. Doors appear, taking you to different places. You realize that the diary may have opened the door for something to haunt you.
Stories Untold: Sort of a puzzle/adventure game. It’s 4 different games that each tell a story in different ways. The first game, The House Abandon, is a retro text adventure and each of the others keep the sme spirit if not the same mechanics. It has a great early 80’s style aesthetic to it.
The Glass Staircase: Made by Puppet Combo, one of the more interesting “auteur” game creators out there right now. This is effectively a take on the Resident Evil or Clocktower style survival horror gameplay, but in an Italo-horror environment. It’s really cool, but really difficult.
Speaking of recommendations! I am normally constantly on the hunt for, and learning about new music–although in 2020 my interest in this has regrettably waned quite a bit. I have to imagine that as a musian you’re constantly finding and listening to new things! I’d love to know your favorites from 2020.
The most recent I Like Trains album Kompromat was fantastic, a really great return for a band I was half-sure was done. It’s odd post-punk, extremely politically outspoken, dark and upsetting.
Creux Lies’s The Hearth is absolute The Cure-worship, but the songwriting and performances are so on-point.
This question is a bit silly, but I hope you’ll indulge me! Your wife Sonya sometimes shares your thoughts on the perfumes that they’re sampling, and I know I’m not the only one who loves to read about them! Unquiet Things readers are fragrance fiends as well, and I think I speak for all of us when I say that I’d love to know what perfume of theirs you’ve smelled recently…that you might base a horror story around! Tell us everything about this aromatic atrocity, please!
Oh god. So, the problem with writing a horror story about Perfume is you don’t want it to be derivative of the Patrick Suskind book!
So for anyone unfamiliar with Sonya’s “My Husband Smells” posts, Sonya collects all these samples from various boutique perfume companies and has me smell them and say what I feel they smell link.
The gimmick is that I have no idea what I’m talking about. I have no frame of reference for what traditional perfumes or colognes are “supposed” to smell like. This is only compounded due to the fact that I have bad sinuses which affect my sense of smell.
Ultimately, you’ll end up with a $400 bottle of expensive perfume and a review from me that just says “Smells like Dracula makeup?” because some chemical in it smelled sort of like Halloween makeup I put on as a kid and it triggered a sense memory.
The Story:
My perfume horror story would be based around us receiving a number of samples from some company that Sonya couldn’t remember ordering from, and that doesn’t have a website.
Rather than triggering sense memories, the perfumes would cause us to relive entire moments in our lives. As we went down the series of samples, the memories would get more and more recent, and we would find ourselves unable to stop sniffing each of the samples.
The story would end with us testing the last of the samples, in a jet black, unlabeled nebulizer. As we each breathed it in, we would feel the air disappear from our lungs, the lights disappear and the walls close around us – we wouldn’t be in a memory from the past, we would be trapped in a memory of something that hasn’t happened yet.
We would be “remembering” being dead and being interred in a grave, unable to breathe or speak or escape.
The End.
Back to OBSO/LETE as we wrap up! Is there anything else you want to share about this project or what we can expect? I’m really looking forward to it!
We have about 7 days left on the campaign and we’ve just debuted our second of two t-shirt designs.
It’s really been a labor of love, and I’ve gotten the opportunity to make some new friends in the industry, Justin M. Ryan (penciller and inker) is also an accomplished writer on his own and has a fantastic graphic novel he put out a while back called Tresspasser. Todd Rayner (colorist) has an awesome comic book he does called Icepick.
In addition to OBSO/LETE, I also have a scifi-horror story called “Flickering” which just came out in an anthology from Eerie River Press called “It Calls From The Sky”.
