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Book Review: Shagging the Boss by Rebecca Rowland

Shagging the Boss by Rebecca Rowland
Filthy Loot, 2022
ISBN-13: 978-1088029046
Available: Paperback Bookshop.org )

 

Before anyone starts quoting Austin Powers in a bad accent, the shagging Rebecca Rowland refers to is quite different. The title does fit the novella though, yet I can’t divulge too much. It’s unique and a quick read, easy for one sitting but this story stuck to me like a great meal– more on that later.

 

Publishing is a bloody business. It makes strolling through hell feel like petting puppies in a field of flowers. It’s not for the weak-hearted or those who want validation. When the unnamed main character arrives at a book conference, fresh in the field and looking for bites, she’s looking for a foot in the door, something to break into a world that is full of monsters of the human kind. What she finds isn’t exactly what LinkedIn typically suggests. A strange man, Daniel, greets her at a book convention and invites her back to his hotel room, but the favor he offers isn’t exactly the sexist situation that too often occurs in the corporate world. It’s something much different. He makes her an offer after she awakes to find he took something from her– something physical– but reassures her all will be well, because of what he is, a boogeyman of sorts. To be specific, a yara-ma-yha-who, a creature of opportunity who consumes their prey, only to expel them– somehow changed. To say more would ruin the novella’s magic. The relationship and interplay between the apprentice and Daniel is pure fun to read. The book begs to be completed in one enjoyable sitting (yet I’ve gone through it twice and picked up on some cool nuances I missed the first time).

 

Rowland has been moving like a banshee, editing anthologies left and right (her Generation-Exed is perfect for the best group of people out there!), but this is my first time reading her prose. It won’t be the last. Comparisons are not necessary, yet one could be drawn between Elizabeth Massie and Joe R. Lansdale due to the smooth writing and easy dialogue.

 

Highly recommended, especially for anyone who is involved in the shark-infested world of writing and publishing.

 

Reviewed by David Simms

Book Review: End of the Road by Brian Keene

cover art for End of the Road by Brian Keene

End of the Road by Brian Keene

Cemetery Dance, 2020

ISBN-13 : 978-1587677939

Available: Paperback, Kindle edition Amazon.comBookshop.org )

 

End of the Road is a memoir consisting mainly of weekly columns horror writer Brian Keene wrote for the Cemetery Dance website to finance his 2016 signing tour, the “Farewell (But Not Really) Tour”,  which lasted from May to December of 2016. It also contains some additional material, including an introduction by Gabino Iglesias and a piece written by Tom Piccirilli, as well as epilogues going through about April 2017.  In addition to chronicling his journeys to bookstores and conventions across the country, Keene shares his experiences with grieving the recent deaths of three close friends including writers Tom Piccirilli and J.F. Gonzalez and his reflections on mortality. He attended the last World Horror Convention during the tour and recalls fond memories of past conventions and friendships, and, as a member of the planning committee for the charity weekend Scares that Care, gives that some space as well.  He writes about meeting up with friends and fans he’s made in the horror genre, the value of independent bookstores and local conventions, and the loss of individuality he sees in towns as he drives across America. His focus is definitely not on the controversies going on in the horror writing community at that time: he is looking back, not forward.

Keene also muses over his generation of horror writers (he had been a published writer and outspoken advocate for the genre for about 20 years at that time), touching on the changes in publishing and selling since he started as both a reader and a writer. From about 2000 on, I watched many of the changes from the sidelines, seeing the conversations on Shocklines on ebook vs. print, the effect of the failure of Dorchester Publications, the changes from almost entirely small-press limited editions to easier availability to a much wider variety due to ebooks.  He describes his own vision of the six “waves” of horror writers, putting himself in the fifth wave, and ready to let go for the and let the most current wave to take over the direction of the horror genre. His prediction is that independent niche bookstores and Amazon will take over and drive chain stores out of business. As a former public librarian, I think it’s telling that none of his signings were in libraries, who often feature local writers and midlisters: maybe neither of his publishers thought he would find buyers there, or lists his titles with wholesalers, but Pressure, the book he was promoting, is the only one of his books available in my public library (on a personal note, my husband, the founder of Monster Librarian, who died at the age of 40 in 2014, loved and reviewed many of Keene’s previous books, and recommended them for library collections).

Keene is at his best in this book when he writes about the people and places he cares about. His description of his grandmother, and of West Virginia, is nuanced and vivid, and his frustration over the lack of recognition for Hunter S. Thompson comes through pretty solidly. His self-proclaimed middle-of-the-road politics make the book pretty much an artifact of the times, but he really puts himself out there in speaking about his grief, his love for family and friends, and his feelings about the horror genre.

I’m not sure why it took so long for the book to come out, given that (according to Keene’s epilogue) the epilogue ends in February 2017 and the foreword was written in April 2017. While it is an interesting read ( and will be reflective of many interested readers’ experiences), it is not likely to be of wide interest outside the horror community. That said, current members of the horror community may enjoy his reminisces and appreciate his musings on the state of the horror genre circa 2016. Keene still has a blog, a newsletter, a Patreon, and does podcasts, so readers who are interested in what’s going on with him currently have many opportunities to do so. End of the Road is really a snapshot of his state of mind at that particular time, and a way to support a writer readers and friends want to support.

 

Reviewed by Kirsten Kowalewski

 

Editor’s note: End of the Road is a nominee on the final ballot for this year’s Bram Stoker Award in the category of Superior Achievement in Nonfiction.

The “National Emergency Library”, the digital divide, and the future of literacy

I was going to wait a little longer before posting this, but then I saw that a number of news sites are now summing the situation up effectively. Here’s a link to NPR’s story, which includes an acknowledgement that they failed to mention the issue of piracy when they initially reported, favorably, on the National Emergency Library last week.

The “emergency” library set up by the Internet Archive is not an acceptable response to the shutdown of practically everything in the wake of the coronavirus; it cheats authors, booksellers, and publishers out of money they’ve earned the hard way. But the response also reveals something about the privilege necessary to be a reader, and, in particular, a reader of ebooks. I find it fascinating that the same people who were totally against ebooks 20 years ago are now evangelizing them, as if they are the great solution to having our bookstores and libraries closed.  Libraries have free access to ebooks, right? Well, not really. What libraries have is expensive access to ebooks. Libraries pay for each ebook license they purchase, much more than they would for a hardcover copy, and can only check out the book a limited number of times before the license expires and they have to get a new one.  The same ebook can only be checked out to one person at a time. The result, unless you live in a community that is willing to empty its pockets and then some to fund a library ebook collection, is that most libraries have limited ebook collections.  I actually do live in one of those communities, and there are still a lot of books that don’t show up when I search them in ebook format.  So yes, libraries can provide “free” access to ebooks, but not all libraries have all ebooks available to their users.

Accessing ebooks also requires technology. It is a privilege to have an ereader, a tablet, or a smartphone to read off of (it’s also a privilege to be able to read off a computer screen but I find it practically impossible) There is a literacy gap, a digital divide, that is uncrossable when the only access to books is electronic and there’s no tangible community space for books to be shared. Those ebooks nearly always exist in some kind of account in the cloud out there so you can find them when you want them.  An account probably means some kind of personal information on file.  For those of us who can’t find what we need in our library’s ebook collection, it is a privilege to be able to afford to purchase ebooks, even on the cheap, and probably the majority of those are purchased through Amazon or read through their app (yes, even library ebooks).

Something like the National Emergency Library exists in part because Brewster Kahle saw an opportunity and grabbed it. Many people assumed it was the same kind of thing as Project Gutenberg, with all the works legally available, because it presents itself as legit. But it becomes popular, in spite of the knowledge that many works are pirated, because reading is a privilege, one many can’t afford.

I think one thing that is becoming increasingly obvious as people  “shelter in place” is how deep the divisions are when it comes to access to even the basics. As all parents have now suddenly become homeschool teachers, the socioeconomic and educational disparities affecting children’s education and their reading skills are going to become more and more evident. I was able to check out a Chromebook from the district for my kids to use to do their schoolwork on remotely, but some kids in other districts are working their way through paper packets.

For those people who have the technology and the funds, this is less of a big deal. But for those who don’t, well, without the necessary technology at their fingertips, we are poised to lose a generation of readers.

There is something inherently wrong with a bookish ecosystem where the majority of writers and booksellers are struggling to keep afloat, libraries are begging for funding, schools are falling apart, access to technology is scattershot, and the people who need  information, help, and books the most are least likely to receive it.  I don’t know how we fix this, but the beginning is recognizing that the surprise creation of the National Emergency Library is not something that needs a one-time fix. It’s a sign of a systemic failure in the bookish community, and that’s bad for all of us.

I am heartened to see the responses of many authors, who are either sharing their own work online or have given others permission to do so, and publishers (here’s a statement from the American Association of Publishers on their response, including education publishers. It’s long and detailed, and completely worth going through).  Great work is also being done by the people who really want to support authors; Jim McLeod of Ginger Nuts of Horror has started a Facebook group for horror authors and publishers with books coming out now called Pandemic Book Launches.  I am so thankful to see members of the bookish community working together to bring people together with books. The current situation has arisen from worldwide emergency, and it’s amazing to see what people are willing to do to make things work, but I don’t think it is sustainable long-term. Where do we go from here, to bridge that digital divide and ensure a future of engaged readers? With the cracks in the system now obvious to everyone, we cannot go back to the way things were.