Allan, Nina “Four Abstracts,” New Fears.
Allred, Rebecca J. “Mother’s Mouth, Full of Dirt,” Horror Library Volume 6.
Allred, Rebecca J. “When Dark Ophelia Sings,” Nightscript III.
Anderson, G.V. “I Am Not I,” F&SF July/August.
Anderson, M. K. “Grizzly,” Nightscript III.
Aposhian, Ahna Wayne “Old Hag,” Horror Library Volume 6.
Arkenberg, Megan “But Thou, Proserpina, Sleep,” A Breath from the Sky.
Arnoldi, Oliver “Katharine,” The Stinging Fly #35.
Arnzen, Michael A. “Fresh Catch,” The Beauty of Death II.
Bailey, Michael “Underwater Ferris Wheel,” The Beauty of Death volume II.
Balázs, Thomas P. “Waiting for Mrs. Hemley,” Horror Library Volume 6.
Baptiste, Tracey “Ma Laja,” Sycorax’s Daughters.
Barron, Laird “Swift to Chase,” Adam’s Ladder.
Bartlett, Matthew M. “Deep into the Skin,” Tales from a Talking Board.
Baxter, Alan “The Book Club,” (novella) PS.
Benedict, A.K. “Departures,” New Fears.
Benedict, R. S. “My English Name,” F&SF May/June.
Berry, Patrick “Divided They Fall,” Blood Business from Beyond.
Bestwick, Simon “The Tarn,” The Beauty of Death volume II.
Blooms, Ashley “Fallow,” Shimmer 37, May.
Boley, Rob E. “The Hygienist,” Better Alive Than Dead.
Bond, Charlotte “The Lies We Tell,” Great British Horror 2: Dark Satanic Mills.
Bonfanti, Daniele “The Gorge of Children,” The Beauty of Death volume II.
Booth III, Max “Disintegration is Quite Painless,” Shadows over Main Street volume 2.
Booth, Ruth E. J. “The Anniversary,” Black Static #61, November/December.
Boskovich, Deserina “Cargo,” Ride the Star Wind.
Boston, Bruce “Deserted Altars in the Mutant Rain Forest, (poem)Visions of the Mutant..
Boston, Bruce “Ghost Devils Deep in the Mutant Rain Forest,” (poem)Visions of the..
Bradley, Regina N. “Letty” Sycorax’s Daughters.
Braum, Daniel “Palankar,” Nightscript III.
Braum, Daniel “The Fourth Bell,” The Beauty of Death volume II.
Braum, Daniel “This Is the Sound of Your Dreams Dying,” The Wish Mechanics.
Brazos, Rhoads “The Blue Ruin of Victor Junípero…”,The book of Blasphemous Words.
Brenchley, Chaz “The Fold in the Heart,” New Fears.
Broaddus, Maurice “The Ache of Home,” Uncanny 17.
Bruce, Georgina “Little Heart,” Imposter Syndrome.
Bulkin, Nadia “Live through This,” Looming Low.
Bulkin, Nadia “May You Live in Interesting Times,” Tales from a Talking Board.
Bulkin, Nadia “No Gods, No Masters,” She Said Destroy.
Bunker, Karl “Delicious, Delicious SQ 30, March.
Burke, Kealan Patrick “Go Warily After Dark,” Tales From the Lake Volume 4.
Burke, Kealan-Patrick “The Mannequin Challenge,” Halloween Carnival Volume Four.
Byrne, Lucy Sweeney “To Cure a Body,” The Stinging Fly #35.
Cacek, P. D. “One Small Change,” Tales from the Miskatonic Library.
Cade, Octavia “The Better Part of Drowning,” The Dark 30, November.
Cahill, Martin “Salamander Six-Guns,” Shimmer 38.
Calder, Natasha “Troll Song,” (poem), The Stinging Fly #35.
Campbell, Ramsey “Speaking Still,” New Fears.
Campbell, Rebecca “On Highway 18,” F&SF Sept/October.
Campeau, Chris “Our One Night a Year,” The Furious Gazelle, Halloween.
Carey, Mike “In That Quiet Earth,” Nights of the Living Dead.
Casey, Meghan “Banewort,” On Spec #104.
Casson, Tim “The Process of Chuddar,” Black Static #58, May/June.
Chambers, James “A Song Left Behind in the Aztakea Hills,” Shadows over Main St 2.
Chin, YZ “To Dance Is Feline,” Black Static July/August.
Clark, Chloe N. “Like the Desert Dark,” Gamut #5.
Clark, Stephen J. Out of Bounds,” (novella) Murder Ballads.
Clarke, Stephen J. “On the Edge of Utterance,” Nightscript III.
Cluley, Ray “In the Light of St Ives,” Terror Tales of Cornwall.
Cluley, Ray “The Swans,” Black Static #60 September/October.
Coney, S. L. “Prey,” Gamut 10.
Cook, C. Michael “The Night Crier,” Horror Library Volume 6.
Cosby, M. R. “The Other Side of the Hill,” Nightscript III.
Crooks, Morgan “Implicit Order,” Lamplight #2, December.
Crow, Jennifer “Masques and Mayhem,” (poem), Mythic Delirium, Sept.
Curran, Tim “Night of the Hopfrog,” The Children of Gla’aki.
Curzon, Colette de “Paymon’s Trio,” chapbook.
Cypess, Leah “Neko Brushes,” F&SF May/June.
Daniels, Gillian “Scott and Lara Go to the Woods,” Not One of Us #57.
Darlington, Andrew “The Shifter System,” Hellfire Crossroads 6.
Dawson, Len “Z Haulers,” Hellfire Crossroads 6.
Dean, Claire “Bremen,” Nightjar chapbook.
Dean, Claire “The Unwish,” Nightjar Chapbook.
Demchuk, David “Dacian,” The Bone Mother.
Demchuk, David “Gregor,” The Bone Mother.
DeMeester, Kristi “The Language of Endings,” The Dark 23, April.
DeMeester, Kristi “The Small Deaths of Skin and Plastic,” Looming Low.
DeMeester, Kristi “When We Are Open Wide,” Black Static #59, July/Aug.
DeMeester, Kristi “Yesnogoodbye,” Tales from a Talking Board.
Devlin, Malcolm “The Last Meal He Ate Before…” You Will Grow into Them.
Devlin, Malcolm “We Can Walk It Off in the Morning,” Shadows and Tall Trees 7.
Doig, James “Early Stages,” Darkly Haunting.
Dornan, Clare “Dark Time,” The Dark Half of the Year.
Dowling, Terry “No Nets Can Catch,” The Night Shop.
Dowling, Terry “Still Life, with Stranging Glass,” The Night Shop.
Dowling, Terry “The Other Séance at Kenmyre,” The Night Shop.
Eads, Sean “Predestination’s a Bitch,” Horror Library Volume 6.
Edelman, Scott “Faking It Until Forever Comes,” Liars, Fakers, and the Dead..
Edwards, Malon “Shadow Man,” Shimmer 35.
English, Tom “A Handful of Dust,” Weirdbook 35.
Erdelac, Edward M. “Hear the Eagle Scream,” Horror Library Volume 6.
Evenson, Brian “Line of Sight,” Shadows and Tall Trees 7.
Evenson, Brian “Lord of the Vats,” Ride the Star Wind.
Evenson, Brian “Sisters,” Haunted Nights.
Evenson, Brian “The Second Door,” Looming Low.
Files, Gemma “Distant Dark Places,” Looming Low.
Files, Gemma “Lagan,” Unspeakable Horror 2.
Ford, Douglas “Count von Cosel’s Great Love,” Mrs Rochester’s Attic.
Ford, Jeffrey “Five Pointed Spell,” Horror Library Volume 6.
Ford, Jeffrey “The Murmurations of Vienna Von Drom,” Black Feathers.
Ford, Jeffrey “The Twilight Pariah,” (novella) Tor.com Books.
Ford, Jeffrey “Witch Hazel,” Haunted Nights.
Fosgate, Tony “Just Visiting,” Hellfire Crossroads 6.
Fox, Andrew “Youth Will Be Served,” Nightmare 53 February.
Fracassi, Philip “Mandala,” Behold the Void.
Fracassi, Philip “Soft Construction of a Sunset,” Behold the Void.
Fracassi, Philip “The Baby Farmer,” Murder Ballads.
Fracassi, Philip “The Horse Thief,” Behold the Void.
Frazier, Robert “The Tale Within,” Visions of the Mutant Rain Forest.
Freivald, Patrick “Earl Pruitt’s Smoker,” Behold: Oddities, Curiosities & Undefinable…
French, Gillian “The Mumbler,” Weirdbook 36.
Freudenberg, Andrew “The Cardiac Ordeal,” Great Brit Hor 2: Dark Satanic Mills.
Fricke, Carla “Good Creatures, Small things,” The Masters Review.
Fry, Gary “The Tidier,” Supernatural Tales 36.
Gam, Doungjai “blood, cold like ice,” Now I Lay Me Down to Sleep.
Gardner, Cate “Fragments of a Broken Doll,” Great Brit Horror 2: Dark Satanic Mills.
Gavin, Richard “Banishments,” Looming Low.
Gladstone, Max “Crispin’s Model,” Tor.com, October 4.
Golaski, Adam “The Beasts Are Sleep,” Nightscript III.
Golden, Brady “The Family Car,” New Fears.
Golden, Christopher “The Abduction Door,” New Fears.
Goodfellow, Cody “Diablitos,” A Breath From the Sky.
Goodfellow, Cody “The Last Night in Sodom,” Darker Companions.
Grant, Helen “Gold, “ Supernatural Tales 35.
Grau, T. E. “To the Hills,” Tales From the Lake Volume 4.
Gray, Caspian “Promises of Spring,” Nightmare 58, July.
Gray, Murial “Roundabout,” New Fears.
Grey, Michael “Grind,” Pacific Monsters.
Griffin, Michael “Meriwether,” Darker Companions.
Griswold, Amy “Still Tomorrow’s Going to Be Another Working Day,” F&SF, Sept/Oct.
Grunigen, Jenn “Figs Detached,” Nightmare 55, April.
Haddon, Grace “The Cloud Monster,” Mrs Rochester’s Attic.
Haddon, Mark “The Bunker,” Eight Ghosts.
Halbert, Marianne “Housing the Hobgoblins,” Now I Lay Me Down to Sleep.
Hambling, David “The Mystery of the Cursed Cottage,” Black Wings VI.
Hamilton, Steve D. “That Brightest Void,” Hellfire Crossroads 6.
Hanberry, Gerard “Freckles,” (poem) The Stinging Fly #35.
Hand, Elizabeth “Eat the Worm,” Mixed Up.
Hand, Elizabeth “Fire,” Fire. Plus.
Hannett, Lisa L. “Outside, a Drifter,” Looming Low.
Hannett, Lisa L. “Something Close to Grace,” Murder Ballads.
Hardy, K. S. “The Daemons,” (poem), Not One of Us #58.
Hargadon, Stephen “A Short History of Tedium,” Tales from the Shadow Booth 1.
Harrison, M. John “The Crisis,” You Should Come With Me Now.
Hart, Megan “A Bad Romance,” HWA Poetry Showcase IV.
Haskins, Maria “Hare’s Breath,” Shimmer 39, September.
Haskins, Maria “Metal, Sex, Monsters,” Gamut #5.
Headley, Maria Dahvana “The Orange Tree,” The Weight of Words.
Heller, Jason “Numeral Eleven,” Blood Business from Beyond.
Hellisen, Cat “A Green Silk Dress and a Wedding-Death,” F&SF, March/April.
Henneman, Noelle “Skin,” Lamplight #2, December.
Hensley, Chad “The Chimera,” (poem) Weirdbook 36.
Heuler, Karen “The Reordering of Tonia Vivian,” Aliterate, spring.
Hill, Joe “Loaded,” (novella) Strange Weather.
Hill, Joe “Rain,” (novella) Strange Weather.
Hill, Matt Neil “Thou Shalt Not Suffer,” Witches, Weirdbook Annual 1.
Hinton, Billie Trauma Tattoo,” Not One of Us #57.
Hobb, Robin “Her Father’s Sword,” The Book of Swords.
Hodge, Brian “I’ll Bring You the Birds From Out of the Sky” chapbook
Hoffman, Nina Kiriki “Rings,” F&SF May/June.
Holman, Peter “No Surrender,” Darkly Haunting.
Holmes, Carly “A Small Life,” Black Static #61, November/December.
Howard, John “Speck,” The Scarlet Soul.
Hurley, Andrew Michael “Mr Lanyard’s Last Case,” Eight Ghosts.
Insole, Colin “Bluebells I’ll Gather,” Darkly Haunting.
Insole, Colin “Old Maid,” Murder Ballads.
Jacobs, John Hornor “Luminaria,” Apex, March.
Jakeman, Jane “In the Rigging,” Supernatural Tales 36.
Jarvis, Timothy J. “And Yet Speaketh,” Murder Ballads.
Jarvis, Timothy J. “The Yellow Book,” The Scarlet Soul.
Jarvis, Timothy J. “Who Is That on the Other Side of You,” Imposter Syndrome.
Johnson, Clay F. “Krysten,” (poem) Weirdbook 36.
Johnson, L. S. “To Us Whom Grace Has Been Given,” Gigantosaurus, Oct.
Johnson, MP “Necksnapper,” The Dark 31, December.
Johnstone, Carole “/’d3Λst/” Great British Horror 2: Dark Satanic Hills.
Johnstone, Carole “Skyshine (or Death by Scotland)” Black Static #60, Sept/Oct.
Johnstone, Carole “The Eyes Are White and Quiet,” New Fears.
Johnstone, Tom “How I Learned the Truth About Krampus,” chapbook.
Johnstone, Tom “Oldstone Gardens,” Horror Library Volume 6.
Johnstone, Tom “The Chiromancer,” Supernatural Tales 36.
Jones, Holly Goddard “Parts,” Gamut #5.

 

Call for Submissions

I am editing the anthology series Best Horror of the Year (Night Shade Books) and am currently reading for the tenth volume, covering material published in 2018.

I am looking for stories and poetry from all branches of horror: traditional-supernatural to the borderline, including high-tech sf horror, supernatural stories, psychological horror, dark crime, or anything else that might qualify. This is reprint, so I’m only reading material published in or about to be published in 2018. Deadline is December 15th 2018. Authors should check that their publishers are sending review copies to me as I only request them once. If a book or magazine is coming out after the deadline, I’ll look at galleys or manuscripts.

I will look at e-versions of anthologies and collections if they are navigable and have running heads. Otherwise, I will not read them. I always prefer print, if your book is available that way.

You can query as to whether I have your collection or an anthology/magazine in which you have a story at datlow@yahoo.com

There is a summation of “the year in horror” in the front of the volume. This includes novels, nonfiction, poetry, art books, and “odds and ends”– material that doesn’t fit elsewhere but that might interest horror readers. But I must be aware of this material in order to mention it.
Ellen Datlow
Best Horror of the Year Volume Eleven
PMB 391
511 Avenue of the Americas
New York, NY 10011-8436

****I regularly read many magazines/webzines that publish horror (Black Static, Dark Discoveries, Cemetery Dance, F&SF, The Dark, Nightmare, and crime digests, etc) and I receive many anthologies and single author collections.

Again, ask your publisher to send me the magazine or book. For online publications, email individual files, mentioning on the ms where the story has been published.

If I choose a story you will be informed. For confirmation that I‘ve received something, enclose a self-addressed-stamped postcard and I will let you know the date it arrived.
thank you
Ellen Datlow
Editor and reviewer
www.datlow.com

For those interested:
What I’ve worked on as an editor in 2017:
I acquired and edited the novellas The Twilight Pariah by Jeffrey Ford and Mapping the Interior by Stephen Graham Jones for Tor.com Books.

Edited the anthologies
Black Feathers (avian horror) Pegasus
Haunted Nights (Halloween horror) (with Lisa Morton) for HWA/Blumhouse
The Best Horror of the Year volume 9 (Nightshade)
Mad Hatters and March Hares (Alice in Wonderland inspired stories) Tor

Acquired and edited three short stories for OMNI Magazine
“Sidewalks” by Maureen McHugh
“Every Hour of Light and Dark” by Nancy Kress
“Verweile Doch (But Linger)” by Richard Richard William Larson

Acquired and edited the following stories and novelettes for Tor.com
Novelettes:
A Human Stain by Kelly Robson
Come See the Living Dryad by Theodora Goss
Excerpts from a Film (1942-1987) by A. C. Wise
Sweetlings by Lucy Taylor
Bourbon, Sugar, Grace by Jessica Reisman

Short stories
The Last Novelist (or A Dead Lizard in the Yard) by Matthew Kressel
Dark Warm Heart by Richard William Larson
The Martian Obelisk by Linda Nagata
These Deathless Bones by Cassandra Khaw

Romantic Times was only able to use a very small portion of the responses to two questions about Alice in Wonderland and its influence on me and my contributors. Here is the link to what they published
http://tinyurl.com/yamfg4lf

Here are the rest of the Q&As with Katherine Vaz, RIchard Bowes, C.S.E. Cooney, Stephen Graham Jones, Matthew Kressel, Angela Slatter, Priya Sharma, and Kaaron Warren.
Unused Romantic Times Q&A
Katherine Vaz:
There are so many adaptations of Alice’s Adventures in Wonderland; what was your first piece of Alice media? What significance does it hold for you?
My parents were huge readers–and my dad was a painter–and I was transfixed by the copy with the John Tenniel illustrations. I was so shy, and Alice was fearless and moved magically in a world with strange animals. I wanted her headband. We also had an LP record of the story and I think it made the words, recited, into living things…like listening to songs that I still remember.

-Alice’s Adventures in Wonderland is a favorite among readers of all ages, both for its prose and its social commentary. What about the original story most influenced your contribution?
The tea party always frightened and haunted me…the Hatter’s madness was one thing, but what they did to the Dormouse was truly awful. They torment it, and they try to stuff it headfirst into the teapot…I know Wonderland is a magical dreamscape, but that’s one patch where cruelty and insanity rule, and Alice runs. My story is about a mother who lost a child in a terrible way suggested by this scene. A reminder of the grim side of fairytales. I do love tea shops, though…they feel like an oasis of pleasure and taste. So I put those elements together, mostly to say how little we know of the histories of each other.
C.S.E. Cooney
There are so many adaptations of Alice’s Adventures in Wonderland; what was your first piece of Alice media? What significance does it hold for you?

My first Alice encounter was either a stage adaption or the Disney cartoon. The Jabberwock came later, separately; I don’t think I knew then that it was part of the Alice mythos. It was so outrageous and delightful: its own entity. The poem might have been framed on someone’s wall, or something we studied in class, or my father might have started spouting it at a gas station, until I cried, “What is that? What is that?” (That was not uncommon in my childhood.) I have an early memory of the roses. Cartoon roses, so it must have been the Disney. I think it was one of my earliest observations of something so beautiful being so cruel. I recall the Cheshire’s slyness; he was never trustworthy, not from the get-go. I remember that the caterpillar made me uneasy, but I didn’t know why—just, there was something unctuous about him. I don’t remember how I first encountered the Walrus and the Carpenter, but I think it was in an illustrated book of poetry, again, separate from the thing I knew as _Alice in Wonderland_. It made me feel a bit sad, a bit sick. I vowed never to eat oysters. (I still don’t like them to this day, but I’m not sure that’s Lewis Carroll’s fault.) I was very young. The stories, it seemed, were everywhere; Alice is something I feel I’ve always known, without knowing it was, as it were, _Alice_.

-Alice’s Adventures in Wonderland is a favorite among readers of all ages, both for its prose and its social commentary. What about the original story most influenced your contribution?

Once, when I was fretting over something that would not be happening for at least six months—Delia Sherman (another contributor to this anthology, and a long-time friend) looked at me and said, “Oh, you’re White Queening it. I do that too.” I had no idea what she meant, so she reminded me of Alice’s encounter with the White Queen in Through Looking Glass, when the Queen starts screaming that she’s about to prick her finger on her broach, and Alice has no idea what she’s making such a fuss about. But when the
White Queen does prick her finger, she’s very calm about it, even though she’s bleeding, and it’s Alice who’s distressed and frightened. I went home immediately and read Through the Looking Glass. I loved the idea of a character with the ability to “forefeel”—it makes her ideal in a crisis, for she would have already reacted before the bad thing ever happened, and would be able to think clearly and coldly, and to solve problems. It would make her, I thought, an ideal detective.

Priya Sharma
There are so many adaptations of Alice’s Adventures in Wonderland; what was your first piece of Alice media? What significance does it hold for you?
Mine was the Disney version. Anything involving magical, hidden worlds captured my imagination, like Alice’s Wonderland or Narnia in The Lion, the Witch and the Wardrobe.
Alice’s Adventures in Wonderland is a favorite among readers of all ages, both for its prose and its social commentary. What about the original story most influenced your contribution?
I was interested in the Mad Hatter as he was the most striking character for me as a child. Hatters in that period used mercury to prepare the beaver pelts from which they made the felt for top hats. It was toxic, causing personality changes, emotional instability, timidity, memory and cognition loss, speech problems, tremors, headaches and even delirium.
Stephen Graham Jones

-There are so many adaptations of Alice’s Adventures in Wonderland; what was your first piece of Alice media? What significance does it hold for you?

Children’s board book, I’m pretty sure. So, very abridged, and nothing scary. Mostly I remember the rabbit with the pocketwatch, and how it was both running and waiting at the same time, like it did have somewhere important to be, but it had also been tasked with luring Alice in with it, but at the same time it couldn’t just tell her what it was doing, as if it was bound by rules we don’t know. That’s the way it always is with demons and supernatural entities, isn’t it? I like that white rabbit.

-Alice’s Adventures in Wonderland is a favorite among readers of all ages, both for its prose and its social commentary. What about the original story most influenced your contribution?
What I always dug about Alice in Wonderland was that you could say she fell asleep, dreamed all this, but at the same time, it’s now in my head, so it’s real, too. The cat and the caterpillar and the Mad Hatter and all them, they’ve gone from being her idle mind, churning with no real intent or direction, to people whispering in my head, with what feels like purpose. That’s the magic of fiction, dramatized. I think it’s why this story’s stuck around so long, and infected so wide.

Kaaron Warren
-There are so many adaptations of Alice’s Adventures in Wonderland; what was your first piece of Alice media? What significance does it hold for you?
My first piece of Alice media was the book. I can’t remember where the copy came from but I know it was the full book, not the picture book version. Its significance to me lies in the content, because even at seven, when I read it first, I wanted to be a writer, and Alice is full of humor, horror, adventure and imagination. I feel as if it helped give me the freedom to write stories that are not constrained by the ordinary.

-Alice’s Adventures in Wonderland is a favorite among readers of all ages, both for its prose and its social commentary. What about the original story most influenced your contribution?
When I re-read Alice while thinking about my story for this anthology, I was struck again by the humor of it all, and by the sadness. There’s a lot of loneliness in the book, from Alice herself, wandering off alone, to the White Rabbit, living alone in his big house, and the strange separateness of the guests at the Mad Hatter’s Tea Party. Then there’s the poor old Mock Turtle, whose so-called friend The Gryphon says of him, “It’s all his fancy, that; he hasn’t got no sorrow, you know.” I was struck by the cruelty and the reality of this, the friend who is cruel, unsympathetic, and really no friend at all. I felt sorry for the Mock Turtle and thought of him as a very lonely character. So that’s the mood I tried to capture in my story “Eating the Alice Cake”.
Angela Slatter
There are so many adaptations of Alice’s Adventures in Wonderland; what was your first piece of Alice media? What significance does it hold for you?

I think the first thing would have been the original animated film. I recall the brightness of the colours and the glorious representation of somewhere that was quite distinctly “other” – familiar in places, but so very strange. I think the visuals still stand out in my memory of one of my earliest encounters with the Fantastic – one of the first things to set me on my path into speculative fiction.
-Alice’s Adventures in Wonderland is a favorite among readers of all ages, both for its prose and its social commentary. What about the original story most influenced your contribution?

Well, as I am a writer of dark fiction and this is an anthology of dark and twisted tales, I guess I was never going to write something warm and fuzzy. I was always going to pick up on the stranger aspects and try to answer the darker questions the story made me ask. Like, what was that weird little rabbit doing luring little girls down holes?

Matthew Kressel
There are so many adaptations of Alice’s Adventures in Wonderland; what was your first piece of Alice media? What significance does it hold for you?
I’d encountered Alice’s echo a thousand times before I read the source material. I’m sure I saw the Disney film when I was young, but my first read of the source text was much later, in my 20s. What shocked me was how much of the story I had already absorbed from other sources. The story is everywhere in popular culture, even in our expressions (e.g. “down the rabbit hole.”)
-Alice’s Adventures in Wonderland is a favorite among readers of all ages, both for its prose and its social commentary. What about the original story most influenced your contribution?
You hear a lot today about how an author’s behavior can affect our appreciation of their work. So, for example, we are rethinking our appreciation of H.P. Lovecraft when confronted with his racism. I went to an Alice exhibit a short time before I wrote the story “In Memory of a Summer’s Day.” And what struck me was that Charles Lutwidge Dodgson, a.k.a. Lewis Carroll, is this shady, pervy man, and almost none of the thousand and one echoes of his work touch on this subject. I mean, here’s this guy who took lewd photos of Alice Liddell (and other children) when she was just eleven, and Alice’s parents let this happen. That just seemed so wrong and horrible to me. In my story, I imagine how this would have traumatized and scarred the real Alice, and what she might do when given power of her own. Even though most of us think of Alice’s Adventures in Wonderland as this magical, charming story, it has a truly sinister underbelly.
Richard Bowes
There are so many adaptations of Alice’s Adventures in Wonderland; what was your first piece of Alice media? What significance does it hold for you?

Long ago at the age of four, I first encountered Alice when the book was read to me as bedtime stories. It was my first novel. Hearing the words, being shown the Tenniel illustration, imprinted the story on me.

I was very fortunate. My parents were actors and weren’t afraid to give Alice all the drama she deserved. I saw two of their friends play the White Queen and the Red Queen in a children’s theater version of Alice.

On early 1950’s TV, I saw a movie of Alice with W.C. Fields as Humpty Dumpty and Hollywood stars in lesser rolls.

Just out of college in the 1960’s I was in a now lost underground movie version of Alice. I was the Caterpillar complete with hookah.
-Alice’s Adventures in Wonderland is a favorite among readers of all ages, both for its prose and its social commentary. What about the original story most influenced your contribution?
For my story, “Some Kind Of Wonderland” I created a narrator who comes to Alice in a much different way than I did. He is a Greenwich Village street kid, a runaway who knows his way around but has never read a book. He meets a young guy who is obsessed with making a film version of Alice set in the current 1960’s Village.

To see how they do this, read my story! Read all the stories!

It’s available as a hardcover, paperback, ebook, and audio:
http://tinyurl.com/y863gqrh