Things I Learned in the Asylum

by Tim Lees

What’s your image of a psychiatric ward? Something from the movies, probably – the sterile cruelty of Cuckoo’s Nest, or the gothic nightmare of a thousand horror films. Or maybe you’ve read Szasz and RD Laing, or other critics of the mental health system. One thing they all agree on: a psychiatric ward is nowhere you would ever want to be, in any circumstances.

But I had no real choice. I wasn’t a patient, but I was out of work, and desperately needed a new set of references.

So I went into health care.

Or, to be honest, I was dragged into it. After a year of futile interviews, suddenly, here were people begging me to take the job. I put up every objection I could – I’d seen Cuckoo’s Nest, too – but it was no use. They wanted me. And a few months later, after the standard police check, I found myself on the secure ward of a psychiatric hospital, very nervous, and not at all sure what I was meant to be doing there.

It was nothing like the films. If anything, it looked like a slightly run-down social club, with patients playing cards in the dining room, or dozing in the TV lounge. In other aspects, though, it would prove profoundly alien.

Almost every door was locked. The gym, the clinic, the office, the kitchen – all locked. The cupboards – locked. Perspex had been fitted to the inside of the windows, and we existed, for the most part, in fluorescent light and recycled air. More surreal was this: the window ledges tilted at 45 degrees, like a set from Caligari. You couldn’t climb on them. Or, for that matter, stand your cup of tea on them.

Most of us, I think, are frightened by the prospect of insanity – either of losing our own grip, or dealing with someone else whose toe-hold on the world is coming loose. I was no exception. Yet from here on, I’d spend a large part of my life with such people. Many, at first glance, seemed surprisingly “normal”. But the regular staff told frightening stories. I was warned about a tall, gangling young man who looked constantly anxious; he’d been known to pick up one of the dining room tables and hurl it across the room like a discus. “That hits you, you’ll know about it,” said my informant. “Or, more like, you won’t.” I spent time with another patient, an obsessive pool-player. He was quiet, subservient in manner, and seemed a safe person to be around – until I read his file. According to his notes, he’d had a dispute with a female patient at a previous hospital, knocked her down and stamped on her until she died. (This was the official version. Years later, we discovered he’d almost certainly been scapegoated for some bad management decisions, and the woman’s death had likely been an accident. No stamping, no intent to kill. Nonetheless, our patient suffered eight years in Rampton High Secure as a result.)

Needless to say, I did not intend to stay in this job. I’d stick it long enough to collect new references, then move on. Or that was the plan. So why was I still there, nearly ten years later?

I had good reasons.

First of these, and something I had not found elsewhere, was the teamwork. It’s a buzzword in a lot of organisations, but in my experience, “teamwork” was a concept largely honoured in the breach. Here, on the other hand, it was essential. On my first day, a patient threatened one of the nurses, and she set off her alarm. I was impressed by the speed with which everyone ran to help, and their obvious concern for her safety. On that occasion, the incident blew over; but it wouldn’t always go like that, and when the bad times came – which they did – you needed to know that help was just a few seconds away. (Those seconds, however, could feel like an eternity…)

I liked the humour, and that, too, stemmed from the dangers that we lived with daily. “The tougher the ward, the darker the jokes.” And they were dark – obscene, brutal and hilarious, and no-one was exempt, from the ward manager on down. Later, I worked on easier wards – safer wards – where the mood among staff was relentlessly,  pointlessly grim. I missed the laughs we’d had on the locked ward, where the dangers were real, but so was the trust, and the comradeship.

Mostly, though, I stayed because of the patients. They quickly resolved from the bunch of unkempt weirdos I’d encountered on my first day to familiar and varied individuals, many of whom I grew to like. Getting to know them, I realised they weren’t much different from the rest of us; they had the same feelings, the same wants and needs, though they’d often express them in unusual ways. I’d known people with mental health problems before, but the bizarre, complex delusions I encountered now were entirely new to me. One woman, a probable incest survivor – and gifted painter – would narrate wild tales of her adventures with old lovers, half soap opera, half Mafia thriller; she was also inclined to call the police and complain that Margaret Thatcher had stolen her poems. Another believed himself the King of Scotland, or (more modestly) the CEO of Sainsbury’s. At various times, we had Jesus, the Buddha and James Dean in our midst. Florid as these symptoms were, the one that really shocked me, early on, was comparatively mild. A patient had complained to me about a particular staff member picking on him. I knew the ward ethos by then, and I was sceptical. He grew agitated, then cried out, “Look! He’s doing it now!” So I looked. The man in question was fifty yards off, walking away from us down the corridor to fetch the dinner trolley. But what was the patient seeing? I was too taken aback to ask.

These were people whose lives had been derailed by illness, and whom we were trying, as best we could, to return to some sort of functional and, hopefully, satisfying life. For most, it was an uphill climb, exacerbated by the effects of long-term hospitalisation. Patients might hate being locked up, but for some, the outside world had become a daunting place. I coaxed many a nervous young man through bus journeys and other everyday activities most of us would take for granted. Even a trip to McDonald’s could begin to look like an Arctic expedition, planned for days and undertaken with the utmost care and gravity.

I recently published a novel, The Other Country: Adventures in an English Asylum (IncunabulaMedia), based loosely on my experiences, and it made me wonder what I’d learned from this unlikely detour in my life.

Firstly – and forgive the philosophical pretensions – I think it changed my sense of what it means to be human. I saw people stripped of everything we might consider baseline humanity – perception, reason, language itself – yet they remained, not just human beings, but complex, recognisable individuals, with their own tastes, moods, habits and mannerisms. I sat with people talking what, in any other circumstances, would be dismissed as nonsense; yet they were clearly trying to tell me something they thought important, and sometimes, I could tease out the deeper meaning – even if it was just, “Please listen to me.”

The idea that the mentally ill “can’t communicate” is a fallacy. But sometimes, you need to know them very, very well to work out what they’re trying to say.

We are social animals, and like all social animals, status is important to us. This went double on the wards. Delusions of grandeur were common, and no doubt served as compensation for people who in all other respects had hit bottom. So we had our share of messiahs. On a more mundane level, there was dominance behaviour and bullying, which as staff we were always trying to stamp out. Yet, as I suggested above, what people wanted most was simply to be listened to, and taken seriously – to be treated, in short, like human beings. Rejected by society, caught up in the vast, impersonal machine of the mental health system, they needed to know that somebody, at least, was hearing them, and taking their views into account.

What else did I learn? I learned that acts of kindness, no matter how small, are remembered.

I learned that a diagnosis is not a person. Even if you accept the medical model, which not everybody does, treating mental illness can be as much an art as a science. Everyone responds differently to their condition, and to their treatment. I knew people who were floridly psychotic, yet likeable and good-hearted;  several who had committed horrific crimes while ill, but, once recovered, were sociable, trustworthy – and deeply regretted what they’d done; a majority, who could be difficult in certain circumstances; and a few, a very few, who would have been nasty pieces of work, no matter what their mental state.

Caring for the vulnerable is one of the most important functions of a civilised society. Yet it’s a sad fact: for most of us, care work is what we do when all else fails. It’s low-paid, low status, sometimes dangerous, and, to do it well, it requires a range of skills that can’t (officially) be learned in school. I hold a Master’s degree, but on the wards my most useful talents lay in playing pool and hand-rolling cigarettes.

Over time, I came to see the shortcomings of the system, especially in the lack of rehab places, and – beyond that – the shortage of support for people returning to the outside world. As a result, we had a bottleneck of patients stranded on wards they should have left long ago, still waiting for a suitable place to become available.

Psychiatric wards have a poor reputation, and sometimes, sadly, they deserve it. It’s true that for many people, they are places of imprisonment. But they are also places of healing, providing help, support and safety in the midst of a crisis, and rehabilitation for those likely to return to normal life. For those who don’t, they offer asylum – a word I’d like to see lose some of its negative connotations and return to its first meaning: sanctuary.

Tim Lees is the author of The Other Country: Adventures in an English Asylum, IncunabulaMedia, 2024, available at https://www.lulu.com/shop/tim-lees/the-other-country/paperback/product-nvq8g9d.html?q=tim+lees&page=1&pageSize=4

This piece originally published in Life in Limbo Literary Magazine. Take a look: https://lifeinlimbomagazine.substack.com/

Short Stories

A quick round-up of short fiction that’s currently out in the wild, hunting for readers. Don’t say you weren’t warned.

First off, there’s another Lovecraft-inspired anthology from PS Publishing, Cold War Cthulhu, edited by Darrell Schweitzer. It’s a hefty volume even in paperback, and with some great writers involved. In “The Well”, I finally get to tell what William Burroughs was up to in Ecuador, and for once, it had nothing to do with drugs.

https://pspublishing.co.uk/cold-war-cthulhu-trade-paperback-edited-by-darrell-schweitzer-6542-p.asp

A further volume should be out in the not-too-distant future, Lovecraft’s Dark Dreamlands, which I was also lucky enough to get a piece in. “Mapping the Dream House” is a kind of re-take on HPL’s “Beyond the Wall of Sleep”, with the death of Queen Elizabeth thrown in. Again from PS Publishing, probably later this year or early next.

Ruádan Books is a relatively new company, based in Boston, MA. Their anthology Winter in the City (https://ruadanbooks.com/product/winter-in-the-city/), edited by R.B. Wood and Anna Koon, is an absolute gem. The brief was simple — a city, a season — and it’s produced some fine work from some excellent authors. For a city, I picked Amsterdam, and you can learn all about the Ahn, annoying supernatural creatures  who appear to the lost, the hopeless and the unemployed, utter a little saccharine advice, then vanish, leaving no-one better off… maybe. For Spring in the City (https://ruadanbooks.com/product/spring-in-the-city-a-collection-of-dark-speculative-fiction), from the same folks, I wrote about my old home town, and revealed a little of the secret history of Manchester. Despite the fantastic elements, these are two of the most autobiographical pieces I’ve ever published.

What else? Well, available online, there’s “The Zee” (https://www.unchartedmag.com/stories/the-zee/), the tale of a TV cryptid investigator, which earned a few nice comments recently; and, away from the fantastic, Syncopation Literary Journal Vol 4, Issue 2, has “Starstruck” (https://syncopationliteraryjournal.wordpress.com/short-stories-8/), a tale from the Manchester music scene. So you wanna be a rock’n’roll star? You might prefer to think again…

If you like any of these, you might want to try the collection, The Ice Plague and other inconveniences, available here: https://www.lulu.com/shop/tim-lees/the-ice-plague/paperback/product-m22g9kv.html?q=the+ice+plague&page=1&pageSize=4

The Other Country

All Ray wanted was a nice, safe office job…

Instead, he’s working on the locked ward of a psychiatric hospital, out of his depth and very, very nervous. But he’s struck by the camaraderie of the staff, their care for the patients, and by the patients themselves, beneath whose quirks and delusions he quickly recognises a common humanity.

There’s the jumping man, who believes himself the new messiah, and Sandra, a talented artist, whose fantasies conceal an ugly family secret. There are shocks and surprises: the mild, nervous man with whom Ray plays pool was convicted of a vicious killing, and a cocky youngster proves terrified of life outside the ward. The patients’ oddities are plain enough. Those of the staff become apparent only over time.

For those who work there, a locked ward is like a pressure cooker, and close teamwork hides a wealth of old alliances, resentments and affairs. It’s a work hard, play hard culture, and it can take a heavy toll… The world of mental health care is a hidden one. Unless you’ve experienced it first hand – either as staff or patient – you’re unlikely to know what it’s really like.

The Other Country lays it bare as never before.

Buy it here: https://www.lulu.com/shop/tim-lees/the-other-country/paperback/product-nvq8g9d.html?q=tim+lees&page=1&pageSize=4

The Ice Plague — a new book!

I’m hugely excited to have a new book out, this one from Incunabula Media. The Ice Plague and other inconveniences (to give it its full title) is a story collection, my first in a few years — “tales of cognitive dissonance and dark fantasy,” as the publisher’s blurb has it.

Here’s the back cover copy:

Tim Lees’s fiction has been compared to that of Michael Moorcock, Ray Bradbury, Franz Kafka, Ted Chiang and Mervyn Peake. In this, his latest collection, you’ll meet a couple of artistically-inclined hit-men (“Scenes from Country Life”), a woman caught up in an interdimensional war, whose friends are far worse than her enemies (“Love and War”); you’ll visit a Heavenly realm invaded by monsters (“Gumps”), and witness a terrifying ritual which nonetheless sustains the peace and stability of the world – and causes hell when it’s disrupted (“The Shuttered Child”). From familiar city streets to strange, inhuman landscapes, from the fields of England to the unknown cities of America, these are stories which push the boundaries of genre and show human life adapting to the weird, the alien – and the outright terrifying.

You can buy this directly from https://www.lulu.com/shop/tim-lees/the-ice-plague/paperback/product-m22g9kv.html?q=the+ice+plague&page=1&pageSize=4, and I’d recommend a visit to the Incunabula site https://incunabulamedia.com/ just to check out everything else they have on sale. It’s an eclectic range, from classics through gritty realism to the fantastic and surreal. I’m very happy to be included in their catalogue. The cover illustration, up above, is by the very talented Mr David Mitchell.

It may take a while to get posted, but the book should also be available at the Barnes and Noble website, and on Ingram — and, eventually, Amazon (though it may cost a little more there).

Happy reading!

New stories…

I’ve been a bit negligent of this poor website recently, so I’m taking a moment to plug some new stories that are out now or due out in the near future.

First of all, and because it has a wonderful Richard Wagner illustration, there’s “Vermin Control” in IZ Digital:

IZ Digital is the online spin-off of Interzone, Britain’s longest-running SF mag, now edited by Gareth Jelley — check out https://interzone.press/iz/ for details. Meanwhile, “Vermin Control” can be read for free at https://interzone.digital/vermin-control/. I was really impressed with the illustration for this, which captures the spirit of the piece perfectly.

Andrew Hook published my first story collection, The Life to Come, and he’s back with a new crime-oriented imprint, Headshot Press https://headshotpress.com/. Bang! is an anthology of modern noir, opening with my piece, “Out of Town”. Get your cynicism, fatalism and moral ambiguity right here, folks:

https://headshotpress.com/store/

Andy Cox is another editor who’s played a significant part in my life. Andy published my first story in The Third Alternative, and went on to publish a fair quantity of my work in both Interzone and Black Static. Sadly, all good things must end, and he’s now retiring from the fray, leaving behind a legacy of extraordinary fiction and criticism. The final Black Static, a double issue comprising 82/83, includes my story, “Summer of Love”, a kind of meta-horror piece that… well, you can find it yourself here:

https://shop.ttapress.com/collections/black-static

I had a few stories in PS Publishing’s excellent Postscripts some years ago, and now I’m in their anthology of Lovecraftian tales, Shadows Out of Time, edited by Darrell Schweitzer. PS has really grown in the last few years and is well worth checking out. My story here is a short one — “Genghis at the Gate of Dreams” — but the good news is, there’s going to be a sequel, Cold War Cthulhu, featuring a very odd Lovecraft/William Burroughs mash-up… of which more news later.

https://www.pspublishing.co.uk/shadows-out-of-time-trade-paperback-edited-by-darrell-schweitzer-5960-p.asp

Then we’ve got a reprint. “Soldier’s Things” appeared in Interzone, got some kind reviews, and even a little Hollywood interest (which came to nothing, as these things do). Still, it was nice to be noticed — it doesn’t happen often. Now Shacklebound Books have reprinted it for Eric Fomley’s SFF Excursion series. If you like military SF, this is the one for you. You can find it on Amazon — type “War Pawns Fomley” and it should show up.

All the above anthologies contain stories by other authors, most of them far more illustrious than I am. Aside from the sheer entertainment value, it’s worth checking them out to see what’s happening in the field as a whole. Personally, I’m delighted to be included in these publications, and share shelf-space with so many great writers. Thanks to all the editors involved.

There’s more to come, but for now I’ll just plug Sophie Essex’s upcoming anthology At the Lighthouse, due from Eibonvale Press https://www.eibonvalepress.co.uk/index.htm. Also, take a look at Incunabula Media https://incunabulamedia.com/. If your taste runs to the weird, the off-beat and the just plain odd, you should find something here you’ll love. I’ll tell you more later…

Thanks for reading, and take care of yourselves — it’s a rough old world out there.

Life is hard and few survive it

Not everybody’s taste, perhaps, but to my mind William S. Burroughs remains one of the greats of Twentieth Century literature. Some aspects of his work have ceased to seem as relevant as perhaps they once did; the cut-up techniques which won so much attention in his lifetime now seem merely interesting curiosities, similar to the techniques of the Dadaists or OuLiPo; and the charges of “obscenity” simply look silly. There is plenty to shock here, but it’s in the ideas, rather than the sex and violence (of which, it must be said, there is a fair amount).

His best work remains endlessly re-readable: the ice-cold  noir of Junkie, the melancholy passion of Queer, and the phantasmagoria of the late novels (Cities of the Red Night, The Place of Dead Roads, The Western Lands) all maintain an extraordinary power. Like Ballard in the UK, his take on the world was unique; but there’s little trace of Ballard’s fierce logic. Burroughs’ essays, for example, are a strange, sometimes infuriating mixture of razor-sharp perception, intelligence, and unhinged lunacy – often on the same page.

He’s buried in a beautiful cemetery in St.Louis, in the family plot. We got there just after a storm. There were broken branches lying on the ground, cluttering the roads, and the great obelisk dedicated to his grandfather – the inventor of the adding machine – loomed over the whole scene. Tucked away around the back is a little plaque dedicated to the wayward son Billy, himself an accomplished memoirist, but a more accomplished drinker: he died long before his dad.

I don’t know why, but there was something somehow wonderful about being there – my wife felt it, too, and she’s not such a fan.

I left him a pen. Wherever he may be, out there in the Western Lands, I hope he’s using it.

The Transcendent Mr. Harrison

 

Nothing hides an author better than a genre label.  M. John Harrison is one of the very best living British writers, and a recent recipient of the Goldsmiths’ Prize (for “fiction that breaks the mould”) to prove it. He’s been producing unique, mould-breaking fiction for years, usually marketed as SF or fantasy, though his reputation has spread largely by word of mouth, tending to brand him as a “writer’s writer”, which is hardly fair; his books are dense but engaging, entertaining even when you’re left thinking, “What the hell was that?” and immediately start flicking back to key passages, trying to answer your own question. They’re like puzzles that have to be lived in for a while, labyrinths that need to be explored — slowly, perhaps even over years.

His origins go back a long way. In the ‘60s and ‘70s there was a thing called New Wave SF. The British version was a little different from its US cousin, in the same way that British punk was different: overtly political, casually cynical, keen to experiment with both form and content. I grew up on this stuff, though I was a little late to the party and read it mostly in the Best SF from New Worlds collections, where I found several of Harrison’s very early tales and… didn’t like them.

Sorry, but I didn’t. He was relatively young when he first appeared in print, so much of his growth as a writer has been public; and I, as a reader, was younger still, so can’t vouch for the validity of my opinions. But back then, those early pieces struck me as imitative — of Ballard, or the more literary bits of Moorcock. When I read The Pastel City, in fact, I assumed Harrison was trying to “do a Moorcock”, ie. write a fantasy novel in order to finance more literary ventures elsewhere. I don’t remember much about the book, though I liked the strange, decadent poetry scattered through it (“Rust in our eyes, we who had once soft faces…”), and the beautiful landscape descriptions. Landscape would become a Harrison speciality, and remains so to this day.

His essays, on the other hand, were fierce, astute and persuasive. Usually he’d take some revered figure from SFF (Tolkien, Heinlein), point out everything that was fake, spurious and second-hand about their work, then contrast it with something by a lesser-known author whom he, Harrison, admired (Mervyn Peake, Harvey Jacobs). These essays were little master-classes in writing. He’d highlight a work’s authentic moments, its carefully-caught dialogue and precise choice of words, and a host of other techniques none too common in the SF of the day. What he disliked, and disliked vehemently, was literature that pandered to its readers’ prejudices, and made them feel comfortable (I think one of the essays was actually called, “A Literature of Comfort”). Harrison certainly knew what he didn’t like, but his own creative path still seemed uncertain.

He cites the story “Running Down” as the point where he found his own voice. But to me, there were two other stories that completely knocked my head off, and presaged things to come.

One was the Jerry Cornelius story, “The Ash Circus”. Harrison’s use of Cornelius was subtly different from Moorcock’s, and his fragmented narrative skips easily through elements of thriller, SF and more contemplative story-telling. There is landscape, yes, and the lists of Fortean events which would become a recurring element in his fiction. Above all, though, there is a sense that the characters know what they’re doing, and why, even if the reader doesn’t. It’s this hint of the mysterious — of seeing only half a picture — that has persisted, and haunts so many of the recent tales in You Should Come With Me Now.

The other piece I liked was “The Causeway”, an SF story which doesn’t read like SF (we’re talking early ‘70s here, so what is and isn’t SF may have changed a fair bit since). The style is intensely realistic. The beach setting was perhaps inspired by Ballard, but it’s not a Ballardian beach — it’s windswept, dotted with marram grass, and decidedly English, meaning cold and inhospitable. As an adolescent I was inevitably drawn to the plight of the narrator, who seems to misread everyone (again: so much remains unseen, unknowable). He pursues a girl, only to have her fall for the local thug, who beats him up. But there’s no self-pity here, only a sense of people stumbling about, trying to find their way in a world they fail to understand. For some, there are ancient rituals which appear to offer purpose, but are inherently destructive. I’ve stolen from this story many times, one way and another, and I certainly don’t intend to point out where.

After that came the stories in The Ice Monkey, particularly “The New Rays”, another piece in which an unexplained, fantastic element intrudes into a dark, shabby realism. It has the feel of something set in the ‘50s or ‘30s rather than the present day. Harrison’s characters may lead drab half-lives, but there is a sense of something numinous, magical — wonderful or terrifying — just out of reach, and if they could only get to it, their lives might be changed. Yet the risks involved are huge. The Course of the Heart describes the after-effects of a magic ritual gone wrong; it’s also a lament for lost youth, lost dreams, and the kind of lives we all imagined we were going to live, but somehow didn’t. His work is haunted by such notions, yet defies mere allegory; it’s more subtle than that, and places demands on the reader: how do we interpret this? How does this relate to our own experience, our own, half-seen lives? Thus, I suspect, his books are different for everyone who reads them. They are personal and universal, both at once. Even the stunning space opera which began with Light is about people living in the shadow of phenomena they can’t comprehend, while the naturalistic Climbers follows a group of sportsmen seeking an experience out of the ordinary, somehow beyond their normal, mundane lives. The transcendent might be near, but it remains, tantalizingly, just out of reach — glimpsed, hinted at — gone, almost the moment it’s perceived.


And still MORE stories…

Firstly, Ellen Datlow’s Best Horror of the Year Volume 12 is now out in all formats, containing a (small) story by me, and a whole load of amazing authors. leaving me mildly shocked to be in their company. Remember that, in the current climate, independent bookshops, like all small businesses, are finding it tough going. If you have one near you, please use it. If you don’t, I might suggest www.bookshop.org as an alternative to… um, you know who. For the Datlow, that’s https://bookshop.org/books/the-best-horror-of-the-year-volume-twelve/9781597809733.

Secondly, a new story in Interzone, following my long piece in issue 287. “Cryptozoology” appears in issue 289, and it’s the story of a marriage… with monsters. “Like a collaboration between John Updike and Bernard Heuvelmans,” said no critic ever. It has a great illustration by Richard Wagner:

Plus, this rip-roaring cover by Warwick Fraser-Coombe:

Find that at https://shop.ttapress.com — you might want to consider a subscription to Interzone and Black Static, both of which publish some extraordinary work.

New Stories

I’m delighted to say I have a new, long, long story coming out in Interzone #287 (May-June, 2020). If you thought your childhood was strange… this could make you think again.

We’re living through difficult times,  so don’t look for this in shops (assuming they’re open). There’s an online shop here: https://shop.ttapress.com/ with lots of exciting stuff. Take a look!

It’s been a good year for me in terms of short fiction (or “shirt fiction” as I recently misspelled it for an author bio). “Watching”, which originally appeared in Black Static, has been selected for Ellen Datlow’s Best Horror of the Year Vol 12, due out in early autumn. There’s another piece due in a prestigious Lovecraft-themed anthology from PS Publishing, edited by Darrell Schweitzer (look for news at https://www.pspublishing.co.uk/). Then, yesterday, I sold a story to the venerable Space and Time magazine here in the US (http://spaceandtime.net/). So that was nice.

Writing has its lean years, but it’s great when things hits home. A big thanks to all the editors involved, and I hope readers find something to entertain and amuse them. Cheers, everyone!

PS. Here’s the cover of Space and Time #137, now available at https://spaceandtime.net/. I’ve only seen an on-line PDF so far, which is not my preferred method of reading, but what I’ve seen looks great, and I loved the illustration for my story, “Dogs of Mars”.

In addition, since writing the above, I’ve sold another piece to Interzone — “Cryptozoology”, a journey through some of the weirder backwaters of the USA. Writers are notoriously bad judges of their own work, but I really think this is one of the best stories I’ve ever written. And again, a big thanks to the editors, designers, artists and writers who make these magazines special — and the readers, without whom none of them would exist at all.

IT’S ALIVE!!!! – or, the most frightful and horripilating return of Frankenstein’s Prescription

Let’s forget about “art” and “literature” for a moment, shall we?

Most books fail. They don’t make you rich, they don’t make you famous, and they certainly don’t make you pretty. But now and then, a book finds a champion, and that’s a very special thing indeed. Sometimes, it even turns out to be a champion with benefits — and before you conjure up  some lewd scenario for that, let me explain…

There’s a new edition of Frankenstein’s Prescription out. It’s paperback, beautifully done, with a deliciously creepy cover, and it’s available here: https://brooliganpress.blogspot.com/2018/05/frankensteins-prescription.html

What’s the history? Well, the original book’s a few years old now. I wrote it pretty much headlong, in the space of maybe five or six months, which is fast for me. It was a very difficult period. My Dad was dying, my life was falling apart, and I was quietly losing my marbles. (OK. Sometimes, not so quietly.) All of this, one way or another, went into the book. Where my marbles got to is another matter.

The book came out from Tartarus Press, a very fine publisher specialising in beautiful hardback editions of classic horror – Machen, Walpole, Sarban, Aickman – as well as a number of contemporary writers. The reviews were enough to turn my poor head, but, like I say, fame, fortune and improved good looks weren’t in the package.

I was, however, pleasantly surprised to get a message from Stephen Gallagher, author of some amazing novels, including The Bedlam Detective, The Real William James, and the classic Chimera; plus TV shows like Bugs, The Eleventh Hour, and Dr. Who. We kept up an occasional correspondence over the years and shared silly jokes on Twitter. Then, he told me that he’d started his own publishing imprint, and was interested in putting out a paperback of Frankenstein’s Prescription.

Now, for those of you who want the deluxe hardback (and it really is a thing of beauty) or the e-book, those are still available from Tartarus at http://www.tartaruspress.com/lees-frankenstein-s-prescription.html. Take a look at their other stuff as well. You’ll find things you’ve heard of but never seen and things you’ve neither seen nor heard of, but want to know about – a perfect mix of old and new.

If, on the other hand, you prefer the paperback – go on. Treat yourself. I’m even going to give you the link again, because I’m generous like that:

https://brooliganpress.blogspot.com/2018/05/frankensteins-prescription.html

and, if you’re not already familiar with it, check out Stephen’s work, much of it available on the same site.

Enjoy!