Praise for Twisted Tales Events

'In the past few years Twisted Tales has become a major force in the promotion and appreciation of horror fiction. As well as putting on author readings and signings at bookshops it has expanded into organising larger events, bringing authors and critics together for discussions of the field. I've been involved in quite a few of both and have found them hugely enjoyable and stimulating - I believe the audiences did as well. May Twisted Tales continue to grow and prosper! If you love the field, support them! I do.' - Ramsey Campbell

‘Twisted Tales consistently produce well-organised events for writers and readers of horror. What really distinguishes Twisted Tales for me is the intelligent themes and investigations they pursue, and the high quality of the discussions they always stimulate. As an author I've been invited to three of their events and have been pleasantly startled, to near shocked, by the attendance levels - two out of three were even sold out. I salute anyone who contributes so much to the literary and cultural life of horror fiction.’- Adam Nevill

'Twisted Tales events are wonderful... a great way of promoting 21st century horror fiction. Supported by Waterstone's Liverpool One and really well organised, Twisted Tales brings together established names in the genre as well as new voices and of course readers. Looking forward to much more to come...' - Alison J. Littlewood
Showing posts with label Alison Littlewood. Show all posts
Showing posts with label Alison Littlewood. Show all posts

Saturday, 9 June 2012

Reminder: Event in Liverpool

If you can't make Friday's Charity event in Lancaster then do not despair as all three authors will also be doing an event in Liverpool at our traditional Twisted Tales home of Waterstones Liverpool One on Saturday 16th June.

Twisted Tales of the Supernatural
An evening of horror and dark fantasy stories from some of the top authors in the field

Waterstones Liverpool One, 12 College Lane, L1 3DL
Saturday 16th June 2012, 5 - 6.30pm

With readings by
Graham Joyce
Best-selling, award-winning author of The Tooth Fairy, Memoirs of a Master Forger (as William Heaney), The Silent Land, and Some Kind of Fairy Tale
Alison Littlewood
Author of A Cold Season, as featured by the Richard and Judy Book Club, and with short story publications including Best Horror of the Year
Simon Kurt Unsworth
World Fantasy Award nominated Lancaster-based author of Lost Places, Uneasy Tales, and Quiet Houses

There will also be a Q & A with the authors and signing session.
Free Event


Facebook Event

Thursday, 7 June 2012

COMPETITION: Win one of ten copies of A Cold Season by Alison Littlewood



Win one of ten copies of Alison Littlewood’s debut novel A Cold Season by sending your name and address to us at twistedtalesevents@gmail.com with the subject line: A COLD SEASON COMPETITION by Wednesday 13th June 2012. Winners will be announced on Friday 15th June, their details will be forwarded to Jo Fletcher Books and the publisher will mail out prizes directly, anywhere in the world.

Wednesday, 6 June 2012

PREVIEW: A Cold Season by Alison Littlewood


A Cold Season

Cass is trying to rebuild her life after the loss of her soldier husband, and a renovated mill in the picture-perfect village of Darnshaw looks to be the idyllic spot to bring up her traumatised son, Ben. But the locals aren't as friendly as Cass had hoped, and Ben is beginning to display a hostility she can't understand. Then the blizzards blow in, and Darnshaw is marooned in a sea of snow. Now, threatened on all sides, Cass finds herself pitted against forces she can barely comprehend.

A Cold Season is the fabulous debut novel by Alison Littlewood for Jo Fletcher Books. Gaining widespread publicity after being chosen for the Richard and Judy Book Club, this is classic Brtish occult horror, with strong characterization, an atmospheric sense of place and a plot that keeps offering surprises until the final page. Alison will be appearing at Twisted Tales of the Supernatural in Lancaster on Friday 15th June 2012 and Liverpool on Saturday 16th June 2012. To find out more about Alison's work, visit:
http://www.alisonlittlewood.co.uk

In a new preview for Twisted Tales readers, we are publishing the first chapter of her novel.

 Chapter One
 The fog swallowed everything: moorland, colour, sound. Even Ben was silent in the passenger seat. The road was little more than a narrow track winding across what Cass thought of as God’s own country, which she knew to be wide and rolling and open where it lay hidden behind the fog.
           
Cass caught a glimpse of heather and bracken, everything sapped and rendered colourless. Ahead, the road dipped into a shallow bowl before winding upwards once more. She took her foot from the accelerator and allowed the car to slow.
           
‘What’s up?’ Ben stirred, and she realised he had been asleep. ‘Where are we?’
           
‘Saddleworth Moor.’ Cass braked to a halt and gestured down into the dip. ‘Isn’t it weird? You’d think the fog would gather here, but it’s clear.’ She turned to him. His face was closed, uninterested. ‘You should take a look. You won’t see much of the moor in this fog.’
           
He shrugged. Don’t care.
           
Cass gripped the wheel once more and took her foot from the brake. As the car began to move, she slammed it down again.
           
Ben jerked forward and scowled. ‘What’s that for?’
           
Cass continued to stare down into the bowl.
           
Ben followed her gaze. ‘There’s nothing there.’
           
Her son was right, but Cass tightened her grip on the wheel anyway. ‘Didn’t you feel it?’ She took her foot off the brake and the car rolled. ‘It’s going the wrong way.’
           
This time Ben saw. He straightened, looking back the way they had come.
           
Cass eased off the brake and the car rolled further, back. Up the slope. ‘Damn,’ she said, under her breath. She felt dizzy. ‘It’s a hill.’
           
‘What are you on about?’
           
‘I’ve heard about this. It’s – I don’t know, Ben – some kind of optical illusion. It looks like a dip but it’s really a hill. We’re on an upward slope, not downward.’
           
Ben’s face lit and Cass felt a surge of something. Hope? Joy? She wasn’t sure.
           
‘Wow,’ he said.
           
She reached out and rubbed his knee. ‘Feel. I’ll let it roll.’
           
‘Go on, Mum.’
           
Cass grinned, easing off again. The car started to roll back, slowly at first, then picking up speed. A sound blared into the silence, cutting through the air and dopplering away as a dark shape shot past them. Headlights made everything brilliant; then it was gone. Cass stamped on the brake once more.
            ‘Mu-um,’ Ben complained. His face was closed again, the way it had been when they started this journey. The way he had been since Cass had told him his father wasn’t coming back.
            ‘Sorry.’ Cass checked the mirror, seeing only a solid grey wall. She eased down on the accelerator, going forward this time. Despite this, the car slowed again. Cass accelerated harder but the car stopped anyway and she let out her breath.
            ‘Mum, stop messing about.’
           
The car rocked on its wheels and rolled back. Cass braked heavily, leaning forward, gripping the wheel and staring out at the road. It felt as though something was pushing them, but there was nothing: only that dip, a round, natural bowl as though a giant football had landed in soft earth.
           
She accelerated until the engine roared and suddenly the car was free and shot forward.
           
Ben made an exasperated sound and crossed his arms, turning to stare out of the window.
            ‘Sorry,’ Cass said. ‘I don’t know what that was.’
           
‘You’re doing it.’
           
‘No – it must have been the wind or something.’ Cass’ heart raced. Her hands felt slippery on the wheel. It hadn’t felt like the wind.
             Her son remained silent.
           
The car navigated the dip – the rise, Cass reminded herself – and the fog closed in once more, swallowing sound, swallowing the road save for a grey strip in front of the car and the tufts of grass that marked the edge.


Cass tried to decide whether they were going uphill or down, but it took all her concentration to follow the curves of the road. The white wall of fog drew back as the car approached, permitting them a narrow space into which they could see, and closed again behind them. It deadened everything. Cass listened for the steady hum of the car, but it only seemed to be there when she tried to hear it. The fog was a visible silence.
           
She hadn’t seen another car in a long time.
           
Ben wriggled in his seat. ‘Are we still on the moor? I don’t like it.’
            ‘Yes,’ Cass replied, and wondered how she knew that was true. ‘It can’t be much longer.’
           
She kept her eyes on the road. It was like floating. It reminded her of one of Ben’s video games: she was driving a racing car and the road was nothing but two short lines in front of the stub of a bonnet. It had been impossible to stay between them.
            ‘What’s that?’ asked Ben. He wriggled in his seat and turned to the window. Cass glanced over to see his breath spreading on the pane, fog coming out of his body and into the car.
            ‘Don’t,’ she said, and then thought, Why not?
           
Ben raised a hand and spread it on the glass. Each finger left a dark smudge in the mist. He pressed his face to the window.
            ‘What is it? Ben?’
           
‘I thought . . . Nothing,’ he said, slumping back into the seat. ‘It’s nothing.’


Cass turned back to the road. The fog retreated as the car went onwards, headlights shining on its white wall, making it look solid. She was still shuffling in her seat as it seemed to dissolve, showing its true nature after all – nothing but droplets of water suspended in the air, a shifting translucent thing. The centre of it curled in on itself, revealing something dark in its heart.
           
Cass saw a figure standing in the road, its arms held out. There were no features, only shadow.
           
In that instant Cass remembered the murders that had happened thirty, forty years before. There were murdered children buried on these moors. Had they all been found? She couldn’t remember. She also had no time to think. Even while the idea of lost children formed in her mind she slammed on the brakes and hauled on the wheel. The car slewed and rocked, and then the wheels gripped and she jolted to a stop. Ben jerked forward, was caught by his seatbelt and thrown back into his seat. He didn’t complain this time.
           
Cass and Ben stared at each other. His face was white. Cass imagined her own was too.
           
She glanced in the rear-view mirror. The fog was lurid in her brake lights, pressing in close. If another car came along . . . She glanced out to the side. It was impossible to tell how far across the road she’d finished up.
           
A rattle made her catch her breath. Ben cried out and Cass turned to see a face peering in at his window. Ben leaned away from it, his small arm pressing against Cass’ body. She reached out and drew him in.
           
A tap on the glass. There was a flash of a hand curled up: not a fist, but the casual shape someone might make when knocking on a door, the knuckle of the index finger protruding. Tap tap tap. There was a large ring on the middle finger, something with leaves and flowers in brightly coloured stones.
           
Tap tap tap.
            ‘Ben,’ said Cass, ‘wind the window down.’ He pressed up against her and she remembered she could control the passenger window from her side. She put one arm more firmly around her son and felt for the button with the other. There was a loud whirr and tendrils of fog snaked in, bringing cold, damp air.
            ‘Thank goodness,’ a voice said. ‘Thank you so much for stopping.’ The figure bent and the face resolved into a woman’s, her dark curls frizzed by the moist air. ‘I’m Sally,’ she said. ‘Are you going to Darnshaw?’


‘We’d better get moving,’ Sally said. ‘You don’t want somebody running into the back of you. It’s a bad place to stop.’
           
Cass prevented herself from shooting a hard glance at the woman. Sally was in the passenger seat. Cass had kissed the top of Ben’s head and got him to jump into the back, where he was crammed in amid a pile of luggage. Now the woman’s dark oilskin coat filled the space. When she’d climbed in, Cass saw she was wearing boots with fur around the top. One of them looked soaked, as though she had stepped into a bog. There was a smell too, which pervaded the car. Her hair was wet, and her face and voluminous coat were damp and shining.
            ‘Sorry if I gave you a scare,’ said Sally. ‘I’ve broken down further back along the road.’
           
‘Oh,’ said Cass. ‘I didn’t see a car.’
           
‘It’s pulled into a lay-by.’
           
Cass hadn’t seen a lay-by either, but she didn’t say so. She could have passed within inches of the woman’s car and not seen it. The lay-by could merely have been a break in the tufts of grass edging the road, maybe not even that.
            ‘There’s no mobile phone signal up here – I’m lucky you came along. It’s a long walk home.’ Sally laughed. ‘Sharp left bend coming up.’ She went on in this way, punctuating her conversation with directions, and Cass picked up speed. Was it so obvious she didn’t know the road?
            ‘You’re into the S-bends soon,’ Sally said. ‘We’ll be dropping down towards the village.’ She twisted around. ‘I’ve a son about your age,’ she said to Ben.
           
He didn’t reply. After a moment Cass said, ‘Does he go to the Grange School?’
           
Sally smiled. ‘You’re the lady who’s taken a place in Foxdene Mill, aren’t you?’
           
‘That’s right.’ Small world. Word had spread already.
            ‘Yes, Damon goes to the Grange. All the kids in Darnshaw go there. It gets good results.’
           
‘I heard. It’s one of the reasons I came back.’
           
‘Back?’
           
‘I lived here for a while, when I was a child.’
           
‘How lovely.’
           
‘What’s Mrs Cambrey like?’
           
‘Sorry?’
           
‘Mrs Cambrey. The head. She sounded really nice on the phone.’
           
‘She is – yes, she is lovely.’ There was something in Sally’s voice.
           
Cass glanced at her. ‘I have a meeting with her on Monday.’
           
‘Of course.’ Sally’s voice brightened. ‘Well, I’m sure she’ll be delighted to see you both. I am. It’s very quiet in Darnshaw. It’s time we had some new blood.’
           
They fell silent as Cass negotiated the bends. The road had indeed begun to snake down, edged by a steep bank on one side and a high stone wall on the other. Anything else was lost in the fog – but then the car popped out of it and the view spread around them. It was like emerging from a doorway. Cass glanced in the rear-view mirror and saw the fog as a solid line across the road. Ben twisted in his seat to look at it.
            ‘That’s strange,’ said Cass. ‘It’s stopped, just like that.’
           
Sally didn’t look around. ‘It happens like that sometimes. It gathers on the tops. When you drop down a bit it’s as clear as day. Look!’ She pointed. A pheasant stood on the wall. Beyond it was orange bracken, darkened by recent rain, and a few pines growing at a sharp angle. From the corner of her eye Cass thought she saw pale light flashing on water, but it was too late; it had already gone.
           
Cass remembered something. ‘Sally,’ she said, ‘You know the road further back – it looks like it dips down, like a big bowl.’
           
Her passenger was silent.
           
‘We stopped there. It looked like we were going downhill, only we weren’t. We were going uphill all the time. Do you know the place?’
           
Sally frowned. ‘Can’t say I do. I never heard of anything like that around here. It must have been the fog. It makes everything look different sometimes.’
           
‘But it really looked like a dip – only, we rolled—’
           
‘It’s just the fog,’ said Sally. ‘I’d know if there was something like that. I know this road pretty well.’
           
It was Cass’ turn to fall silent.
            ‘Here we are,’ said Sally. ‘Welcome to Darnshaw.’
           
The first houses came into view, a row of terraces built of stone, blackened by passing traffic or smoke. Cass rounded the corner and found herself on a lane that followed the line of the valley. There were turn-offs to each side, where more houses nestled. She saw a general store, a small post office, a butcher, a greengrocer and a florist. To each side, steep hills rose to an opaque grey sky.
            ‘You’ve gone past,’ said Sally. ‘That was your lane. Still, if you don’t mind carrying on a bit, you could drop me at home.’
           
Cass nodded. She tried to glance down side roads as Sally pointed out a small park and the school. She told them where various walks began, mostly following the river. Then she indicated the road where she lived: Willowbank Crescent. It was ordinary-looking, the houses built from brick rather than the local stone. Sally gestured towards a small semi and Cass realised the woman was shivering.
            ‘I suppose you won’t want to come in,’ Sally said, reaching for the door handle. ‘You’ll want to settle in and all that? Well, thanks again.’ She smiled, got out and pushed the door shut behind her.
           
Cass turned round in a driveway and headed back down the road. As she passed the house, she saw that Sally was still watching. Cass waved and turned onto the main road, only then realising she hadn’t given Ben a chance to jump back into the front seat.
            ‘We’ll be there soon,’ she said over her shoulder.
           
There was no answer. Cass slowed and turned, saw her son frowning.
            ‘I don’t like it,’ he said. ‘The lady smelled.’
           
‘Ben, that’s rude.’
           
‘She smelled bad and I hate it here.’
           
‘You need to give it a chance. I loved it when I was your age.’ Even as she said the words, Cass found herself wondering if that was true. And yet when she had heard the name Darnshaw again, she had pictured Ben here, running about the hills and laughing. Enjoying an idyllic childhood, everything she wanted to give him.
            ‘She smelled like a butcher’s shop.’
           
‘Oh, Ben.’ She didn’t know what to say. And there had been a smell, hadn’t there? A musky smell, a little like wet wool. Something else, underneath the earthy moorland – a richer tang, more animal.
           
Like a butcher’s shop.
           
Cass grinned at her over-active imagination. ‘Let’s go and see the new place, shall we?’


The mill glowed amid wintry skeletal woodland. From the top of the lane Cass could see a grey slate roof amid the reaching fingers of mature oaks. It would be beautiful in summer. Even now, early in the new year, the stone, sandblasted clean, was mellow and warm-looking. The photographs hadn’t done it justice. She grinned. ‘What do you think?’
           
Ben shrugged.
           
The lane led steeply down to a wide gravelled area that crunched under the car’s tyres. It stretched away to either side of the mill, but their eyes were drawn to the front. A central doorway was painted in deep crimson, an etched glass panel proclaiming ‘Foxdene Mill’.
           
Ben stirred at last. ‘Will there be other kids?’ He slipped his seatbelt off and leaned over to get a better look. The building was four storeys high.
            ‘Of course there will,’ said Cass. According to the brochure, the mill had been converted into twenty-one apartments: six on each of the lower floors, with views towards either the valley or the millpond, and three penthouses on the top. ‘There are bound to be lots of kids. You’ll have a great time.’
           
Their apartment was at the back of the building on the left side, so they would have views over both the millpond and the river. Cass had snapped it up as soon as she saw the brochure, though she had opted to rent, not buy. She needed to build a home for Ben quickly, get him settled into something new. Renting meant everything would be provided – beds, wardrobes, tables and chairs. She needed all of those things. They had been hers only while she stayed in Army accommodation, and she couldn’t do that for ever, not without Pete.
           
When the brochure landed at her door and she saw that the mill lay in Darnshaw, it had felt like fate. She hadn’t even waited for a viewing.
           
Cass parked by the door. As soon as she stepped out she heard the river, rushing and burbling down the valley. The air smelled green and fresh: woodland after rain. She stared up at the building, spotted the clock tower she had seen in the pictures. The clock had a white face, as she remembered, but no hands. Time was standing still in the valley – that was appropriate. She remembered herself as a little girl, leaning over the garden gate and listening to the river rushing by.
           
Ben got out and stood by her side. She ruffled his hair and he squirmed, but she didn’t care. ‘Do you smell that?’ she asked.
           
He wrinkled his nose.
           
‘Come on. Let’s have a look at the place before we unload.’
           
‘Where is everybody?’
           
Cass tapped the entry code into the panel by the door. It beeped and she grabbed the brass handle. ‘I could get used to this,’ she said. The door was double-width and panelled. Probably not original, but it looked grand enough.
           
The hall was wide and a little cold. To their left a stairway led up, carpeted in red. Mailboxes, each bearing a brass number, were set into the right-hand wall and ahead was a door which must lead towards the ground-floor apartments. The lobby was flagged, the rough-surfaced stones showing the wear of many years.
           
Cass felt like she already knew the way: up the stairs, through the fire-doors and into the hall. Ben hung back as they went, stomping his feet behind her.
           
The upstairs hall was as grand as the entrance had been, red-carpeted, wide and lined with white-painted doors. Cass went down without looking to left or right until she stopped in front of one of them. It looked like all the others they had passed but somehow she knew it was theirs. Sure enough, the brass number set into it was a 12.
           
A delightful apartment with stunning views to the millpond and down the valley, the picture of peace and solitude . . .
           
Cass pulled the key from her pocket. It had a cardboard tag with the number 12 scrawled on it in biro, along with a dirty fingerprint, a builder’s fingerprint. The mill had been freshly converted. Everything would be new; they were to be the first occupants. Cass felt a shiver of excitement as she pushed open the door. When she turned to smile at Ben, though, there was no expression on his face at all. Cass beckoned him inside.
           
The apartment’s hall was also lined with white doors, all of them closed except the one directly ahead. Cass went through and found herself in a wide lounge with windows set into two of its walls. She went to the nearest, realising as she approached how large it was. She would be able to sit on the sill quite comfortably, reading a book maybe, or simply taking in the view. She looked out.
           
The millpond was a line of acid-green between the trees. Between the mill and the water were piles of gravel and sand, with a yellow digger standing desolate among them.
            ‘Where is everybody?’ asked Ben, and Cass realised it wasn’t the first time he’d asked.
            ‘It’s a Saturday,’ she said. ‘They won’t be working on a Saturday. They must still be fitting out some of the apartments.’
           
‘So where are all the people?’
           
Cass frowned and went to the other window. This one looked over a wide gravel parking area with an outhouse at one end. What looked like bags of cement were piled against its wall and beyond it, a stile led into a field and a path wound towards the river. Behind everything, the hills rose steeply away.
           
‘Look,’ said Cass, ‘we can walk along the riverbank. Won’t that be nice?’
           
‘But where are all the kids?’ Ben scowled, his eyes narrowed. There was a gleam in them Cass didn’t like. She turned back to the window and noticed an odd thing. The parking area was completely empty.
            ‘I want Dad,’ Ben said.
           
‘Ben, please.’
           
‘I want him back – how’s he going to find us now? He won’t know where to look.’ His face crumpled.
           
Cass bent and put her arms around her son. Ben’s whole body was hot to the touch and she felt his forehead. He didn’t push her hand away. ‘I want him,’ he repeated.
           
‘I know. I’m sorry, Ben. But you have to understand, he’s not coming back.’
           
Ben struggled in her arms and she drew him in closer. Holding him. ‘I want him too,’ she whispered. ‘Ben, I want him too. I do. But we’ll be okay.’ She drew back. ‘It’s you and me now,’ she said, ‘and everything will be all right.’

Friday, 1 June 2012

NEW CHARITY EVENT: Twisted Tales of the Supernatural, Lancaster


Twisted Tales of the Supernatural
An evening of horror and dark fantasy stories from some of the top authors in the field

The Borough, 3 Dalton Square, Lancaster, LA1 1PP
Friday 15th June 2012, 7 - 9.30pm

With readings by
Graham Joyce
Best-selling, award-winning author of The Tooth Fairy, Memoirs of a Master Forger (as William Heaney), The Silent Land, and Some Kind of Fairy Tale
Alison Littlewood
Author of A Cold Season, as featured by the Richard and Judy Book Club, and with short story publications including Best Horror of the Year
Simon Kurt Unsworth
World Fantasy Award nominated Lancaster-based author of Lost Places, Uneasy Tales, and Quiet Houses

There will also be a Q & A with the authors, signing session and raffle

Ticket price: £3
Purchase from Waterstones, 2-8 King Street, Lancaster, LA1 1JN (T: 0843 290 8435) or on the door (subject to availability)
 
Proceeds from tickets & raffle will be donated to Lancaster District Women’s Aid, a charity that supports women and children who have been the victims of domestic violence


Facebook Event Page

Wednesday, 11 April 2012

Twisted Tales at World Book Night

April 23rd is World Book Night and as part of Liverpool's celebrations there's a big event featuring all sorts of authors at Waterstones Liverpool One. We'll be there to close off the evening with some great Twisted Tales readings from Ramsey Campbell and Alison Littlewood.

The whole evening starts at 5pm, but the Twisted Tales segment will begin closer to 7pm.

Other events on the night include a quiz, a raffle with some great prizes (horror and otherwise), poetry readings, and a reading and Q+A with local favourite Maureen Lee.

The event is FREE to attend.

Part of the World Book Night celebration is the great book give-away, there are some great horror books in this year's list and we'll have some copies to give away on the night to the first few audience members to arrive.

 Facebook link for event.


Monday, 28 February 2011

Dorothy reviewed by Alison Littlewood

Dorothy
Directed by Agnes Merlet
Released in 2008
Certificate: 15


Dorothy is an atmospheric, intriguing and disturbing film that revolves around a young girl – the eponymous Dorothy – and the question of whether she is the subject of multiple personality disorder or supernatural possession. Billed as the new exorcist and with taglines such as ‘evil chose her’, the film is actually a thoughtful exploration of the conflict between science and faith as expressed in an isolated and repressive community.

It seems particularly fitting to re-examine this film in the context of Women in Horror Recognition Month, since it is the product of a female director Agnes Merlet and female writing team (Merlet, and Juliette Sales). Their vision results in a quietly haunting film which keeps the viewer unsettled; which examines what it is like to be a woman with no allies or connections in a society with a prevailing sense of masculinity, where both male and female roles are warped by a cold, unforgiving authority. The film also centres on the relationship between two women, Dorothy (Jenn Murray) and her psychotherapist, Jane Van Dopp (Carice van Houten), with fine performances by both lead actresses. As Dorothy, Murray demonstrates an incredible range, portraying a multitude of personalities of different ages, genders and types. It’s a challenging role, and one which she acquits with considerable aplomb. 

The film is set on a small island off the Irish coast and the opening, with its views of bleak, windswept cliffs, creates a sense of loneliness. This cuts to a small community church, where the pastor is talking about God’s presence being everywhere on this earth and in the heavens. The dour faces of the congregation and relentlessness of the message give a sense of claustrophobia and threat, one that suggests the impossibility of escape rather than spiritual comfort: “Where can I flee from Your presence?” In a neat counterpoint we cut forward in time to see the psychiatrist, Jane, talking about her placement in Ireland. She talks of it as a need, somewhere she had to go “before the city smothered me,” and we have a sense of her seeking her own escape. The resulting sense of foreboding builds, as we see her clearly placed as an outsider even while still on the ferry to the small island community where the young Dorothy has recently attacked a baby in her care. The brutality in this act, of a child choking another innocent, is naturally shocking; it also raises, more explicitly, the concept of being smothered.

Jane herself is almost overwhelmed before she even reaches Dorothy. Upon arrival on the island, she is driven off the road and into a lake by a bunch of wild youths and a girl who are taking part in a reckless car chase. The islanders arrive at the scene of the crash and their response is cold and bloodless: “The Lord giveth and the Lord taketh away”. However, Jane manages to survive and is taken to the local inn.

When Jane meets Dorothy she finds her a withdrawn and unhappy child who doesn’t want to speak because “no one listens to me.” She has no memory of hurting the baby and denies even being there. Jane concludes that Dorothy is scared to death – she just isn’t sure what she’s afraid of, or even whether the child is only afraid of herself. At Dorothy’s next session she says she is now Mimi and that she is three years old. The way Dorothy then begins to switch between different personalities is disturbing to watch: one moment she is an infant, the next an older individual whose hostility and latent violence hover just beneath the surface. The sense of mystery at her core is unsettling, particularly as it seems there may be a supernatural cause. This is coupled with the way the islanders close in around the child: this is a community that takes care of its own. Dorothy lives with her aunt, who at one point tries to take the child away from Jane. Interference is not appreciated, no help required. At the same time we see the influence that Pastor Ross has over Dorothy: even as the Mimi personality, she looks to him rather than to her aunt for instruction.

The islander’s influence over Dorothy doesn’t stop there. Jane discovers that they believe the child to be special, one who has been granted access to the “realm of the dead”. Far from protecting her, it seems each person has their own reasons for wanting to exploit Dorothy. We see them gathered around her, calling down divine light onto the child so that she can be used to channel the dead back to the living. We see one mother using Dorothy to try and speak to her dead son. This raises parallels with Jane, since she is in the process of grieving her own son, David, who drowned before she came to the island.

Even while the sense of Dorothy’s strangeness grows, the viewer gains sympathy for her. At her ‘channelling’ sessions she is physically restrained, distressed and protesting. When her other personalities surface, one says that Dorothy is asleep inside her and “the others” don’t let her out because she only tries to kill herself. Even wild child personality, Mary, says that Dorothy is probably “moaning or praying or something in here”. Where Dorothy surfaces she expresses a longing to escape. In a rare moment of brightness we see her poised on a cliff edge, the camera panning around her to show a clear blue sky above, the sea crashing on the rocks below: there is a sense of freedom but also of being hemmed in, showing the impossibility of getting away other than through her own death.

Director Agnes Merlet sustains the uncertainty between natural and supernatural explanations for Dorothy’s condition until well into the film, with moments of revelation being undercut by countering viewpoints. Breakthroughs in Dorothy’s therapy sessions are undermined by increasingly mysterious events. Supernatural developments are given a scientific explanation, revolving around Dorothy’s ‘flighty’ mother and childhood trauma. Jane’s own desire to help and her belief in science is balanced by her grief and longing for her dead child, resulting in an internal conflict that intensifies as events unfold.

Above all, though, Jane is a seeker of truth, and it is this that brings her into more overt conflict, with the islanders. The pastor’s lesson to the local children is “curiosity – sin or flaw?” For him, there is no other possibility, nothing that would justify any risk to the community. Belief and obedience permeate society: even on the wall of the inn it is written, ‘God alone is lord of conscience’. As a setting, the island raises comparisons with Summerisle in The Wicker Man (1973), with its isolation and strange, insular ways. Everyone seems to know more than they are letting on, at least to an outsider like Jane, and the islander’s commitment to faith above anything else not only forms the bedrock on which their community is built but is the foundation of the pastor’s power and influence. There is a similar sense of being trapped, with Jane beholden to the irregular ferries and frustrated by her inability to contact the mainland.

As well as conflicting with the community norms in her role as a scientist, Jane becomes a counterpoint to its emotional sterility by becoming a friend to Dorothy. She is the one who wants to listen to and understand her, to give the child a voice. Both enter the situation with their own need, and ultimately, each finds a connection in the other. This female bond also contrasts with the pervading masculinity; on the island women hover about the edges and men hold all the power.

The threat of violence increases throughout the film, with warnings from the local garda (policeman) and indeed from several of Dorothy’s personalities that Jane’s actions are placing her in danger. As Jane finds out more about the child’s various personalities, events from the past are being uncovered and another story is being told, of secrets kept and the need for revenge and revelation; of more voices crying out to be heard. In the climactic scenes of the film, it becomes clear that there will be no escape until the past is faced and dealt with.

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Alison J. Littlewood is a writer of dark fantasy and horror fiction. Her short stories have appeared in issues 7 and 16 of Black Static and issue 11 of sister magazine Crimewave. She recently contributed to the charity anthology Never Again, edited by Allyson Bird and Joel Lane.

Other publication credits include the anthologies Read by Dawn Volume 3, Festive Fear II and Midnight Lullabies, as well as magazines Ballista, Murky Depths, Dark Horizons and Not One of Us. Her life writing has appeared in The Guardian. Alison is currently seeking a publisher for her first novel, A Cold Season. Her website is www.alisonlittlewood.co.uk.

Alison also gave a reading at Twisted Tales #3 in January 2011.

Monday, 14 February 2011

Women in Horror Recognition Month

We've put aside normal content this week to pay tribute to Women in Horror Recognition Month.

From Mary Shelley to the late Ingrid Pitt. Horror would be a pale imitation of what it is today without the work of fantastic women such as Allyson Bird, Poppy Z. Brite, Angela Carter, Mary Harron, Susan Hill, Shirley Jackson, Tabitha King, Sarah Langan, Tanith Lee, Sarah Pinborough, Cherie Priest, Ann Radcliffe, Anne Rice, Alexandra Sokoloff, Barbara Steele, Lisa Tuttle, and of course Twisted Tales friends and supporters Laura Bettney, Alison Littlewood, Amanda Norman and Sharon Ring. And those names merely skim the deep, dark lake of women in horror, to all the legions of other authors, artists, bloggers, reviewers, directors, actors, and fans - we salute you!
(From left to right) Mary Shelley, the Godmother of Gothic Horror; Ingrid Pitt, one of the great Hammer Horror actresses, who sadly passed away last year; Mary Harron, director of one of our favourite horror films of the 21st century: American Psycho; Sarah Pinborough, one of the most talented horror writers working in the UK at the moment - in any gender.
Alison J. Littlewood entertaining the masses at our most recent Twisted Tales event
Find out more about Women in Horror Recognition Month at the official website. Also, follow the cause on Twitter and Facebook

Monday, 31 January 2011

Twisted Tales #3 Roundup

On Friday 28th January we had our third Twisted Tales event. After the fantastic benchmarks set by the first two events we always knew we'd have a difficult time with this third event - not being tied into a specific book launch or another event such as Halloween. The support of the people of Liverpool, and indeed the wider area as well, however has bowled us over and the third event was as much a success as the previous two. Below you can see some pictures of the event which featured three authors giving readings: superb Twisted Tales debuts from Alison Littlewood and Joel Lane and a repeat performance from the ever brilliant Conrad Williams. Once again our readers were a joy to work with and we cannot express our gratitude enough, but big thanks also has to go out to the crowd of supporters who came along to hear the readings, ask questions, buy books and get them signed. I'd especially like to thanks Ramsey Campbell and his wife Jenny, Simon Bestwick, Allyson Bird, and Sharon Ring. Last but not least we should thank TTA Press's Roy Gray who sold copies of Black Static and Interzone on the night and helped to publicise the event, the support of such respectable publications and figures from the horror community fills us with confidence that we can keep running Twisted Tales events both in Liverpool and beyond promoting horror into the 21st century.
 
We'd love to get your feedback on the event so that we can improve future ones. Please enjoy the photos below and then leave us a comment or two:

Alison J. Littlewood giving her reading

Joel Lane reading with Alison and Conrad in the background
 
Joel reading to the crowd
Conrad giving his reading

Thursday, 16 December 2010

Alison J. Littlewood interviewed by David McWilliam

Alison J. Littlewood is a writer of dark fantasy and horror fiction. Her short stories have appeared in issues 7 and 16 of Black Static and will appear in issue 11 of sister magazine Crimewave. She recently contributed to the charity anthology Never Again, edited by Allyson Bird and Joel Lane. Other publication credits include the anthologies Read by Dawn Volume 3, Festive Fear II and Midnight Lullabies, as well as magazines Ballista, Murky Depths, Dark Horizons and Not One of Us. Her life writing has appeared in The Guardian. Alison is currently seeking a publisher for her first novel, A Cold Season. Her website is at www.alisonlittlewood.co.uk.

DM: What made you want to write horror fiction? What do you consider to be its attractions over other genres and mainstream fiction?
AL: At first, I didn’t consciously choose to write horror. I wasn’t even a huge horror fan when I was younger, though I enjoyed the occasional Stephen King or James Herbert. My early reading was pretty eclectic – I’d read anything (or everything). I just loved books and devoured whatever came within reach.

When I started writing, though, I found myself focusing more and more on genre fiction. Those were simply the ideas that came to me. They were the ones that made my fingers tingle. William Faulkner said, ‘I never know what I think about something until I read what I've written on it’. I get that completely. I discovered what I love most in literature through writing, and it’s completely changed my reading habits. The last couple of times I picked up a mainstream book I ended up thinking, ‘what’s the point?’

Ultimately, I’m drawn to horror because it looks at issues that are deeply ingrained in me. As a genre, it isn’t just about giving people a scare. Horror is concerned with the mysteries in life and death – the things we can’t understand, or solve, or ever be entirely reconciled to. Not to mention the fact that I’m a born worrier. When you’re always thinking of what’s the worst that can happen, I guess that will come out in your fiction!

DM: Which writers influenced your early work and how, if at all, have your influences changed throughout your career?
AL: I guess with any writer you learn by a process akin to osmosis. Even if it’s the nuts and bolts of grammar and spelling – I don’t consider anything I’ve read to have been a waste. I still have huge admiration for Stephen King, not only for the ease with which his characters draw you along but because some of his metaphors are wonderful – they act like a good prod with a sharp stick! I also adore Neil Gaiman’s novels. He builds such mythical richness into his work that it resonates incredibly deeply.

Among the newer voices in horror, I enjoy Sarah Langan’s novels – they’re dark, and gritty, and chilling. I also like Nate Kenyon and Joe Hill. On this side of the pond we have amazing writers like Graham Joyce – The Tooth Fairy is wonderful - Tim Lebbon, Sarah Pinborough, Conrad Williams and Christopher Fowler.

Not really an influence as such, but I also have a secret penchant for Derek Landy’s Skulduggery books. A wisecracking skeleton detective – what’s not to love?! Rupert Degas’s audio versions are brilliant for a long drive.

DM: In light of you placing a story with Crimewave, are you interested in the intersections between crime and horror? What crime fiction do you consider to be an influence on your work?
AL: Genres often bleed into each other and crime/horror are easy bedfellows in that both can look at the dark side of human nature. My story in Crimewave is right on the boundary between the two - the prison setting and characters lend themselves to crime fiction, but the plot and resolution stray more into the supernatural and mysterious. I’ve come at it more from a horror angle, I guess, although this is the ‘ghost’ issue of Crimewave and the magazine does seem to favour stories in that kind of borderland.

I do read some crime fiction, though not so much as horror. I tend to prefer novels which have other-worldly forces at work! I do admire the sometimes complex plotting and intricate interlacing of events to be found in crime. Recently I enjoyed Blacklands by Belinda Bauer – an unusual one which has a child protagonist becoming involved with a serial killer.

DM: Could you tell me about your first novel, A Cold Season? What have been your experiences when trying to find a publisher for it?
AL: A Cold Season is a tale of Faustian pacts against a background of isolation and broken families. It looks at just how far a mother would go to protect her child, and the psychology of faith. Oh, and it has snow – lots of snow.

My experiences of trying to find a publisher are few and narrow at the moment! I wrote it during the really cold spell we had last winter (appropriately enough) and didn’t finish the editing process until about September. I’ve only submitted it to one agent so far, but I’m starting to think about submitting direct to publishers, probably starting in the New Year. Subbing short fiction to the independent presses is a good way to gain awareness of the markets and I met some great people at Fantasycon so I will start with people I know. It would be nice if it found a home during another snowy spell! In the meantime, I’ve started writing the next one…

DM: Which leads neatly to my final question: what are your plans for 2011? Could you give our readers an insight into what your second novel will be about?
AL: The new novel is set partly in a small town, partly in London, though a London that is peopled with angels and demons as well as humans. It’s about divided loyalties, and what you do when you really have become your own worst enemy. At least, I hope that’s what it’s going to be about. It probably won’t be fixed in my own mind until after I’ve written it (it’s that William Faulkner thing again!).

There are so many things I’d like to do next year, time permitting. I want to finish drafting the novel, and then dedicate some time to short stories again. No doubt there’ll be a post-novel slump when I wonder where on earth that big project has gone that has been occupying my days...but short stories are pretty much pure fun, and it’d be good to let my imagination fly off in different directions for a while. I’d also like to start thinking about a collection, and I want to do something thematically linked, so that will mean producing some new material.

Then it’ll be time to go back and edit the current novel, and maybe think about the next one...

Tuesday, 7 December 2010

Twisted Tales #3

On Friday the 28th of January we will be presenting you with your third helping of Twisted Tales.

Twisted Tales #3 will take once again take place at the same venue, Waterstone's Liverpool One, at the same time, 6pm, and it will bring you the same high quality short fiction from published authors. TTA Press's Black Static will also be reappearing to co-present the event and all three of our authors Conrad Williams, Joel Lane and Alison Littlewood, have graced its pages at some point in their careers.

For now I'm going to leave you with the sumptuous poster designed for us by TTA Press but check back here for more news, further information about our three authors, and possibly some interviews.

It might seem like the 28th of January is a long time away (being next year and all) but it'll be here before you know it and demand for tickets is expected to exceed previous events so don't miss out on this brilliant opportunity to see top quality authors reading their own work.

Friday 28th January, 6-8pm
Waterstone's Liverpool One
Tickets £2*
For more information, or to book, call 0151 709 9820

*Redeemable against the price of any horror fiction bought on the night AND they enter you into a draw to win fabulous prizes (see TT#2's prizes for examples).