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Nightmares from a Lovecraftian Mind, by Jordan Krall
Download PDF Nightmares from a Lovecraftian Mind, by Jordan Krall
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From Jordan Krall, the author of TENTACLE DEATH TRIP and FISTFUL OF FEET comes this collection of Lovecraftian tales of horror both cosmic and personal. This is a collection of cryptic weird fiction... dreamlike and ominous in its style and subject matter. Krall goes beyond the tropes of Mythos literature and has presented the reader with an original approach to Lovecraftian fiction.
- Sales Rank: #1749952 in Books
- Published on: 2013-07-28
- Original language: English
- Dimensions: 8.00" h x .33" w x 5.00" l,
- Binding: Paperback
- 130 pages
Review
"When I first read Thomas Ligotti's line 'True macabrists are as rare as poets', I knew precisely what he meant. So when I discover a work by a true macabrist, I cherish it. NIGHTMARES FROM A LOVECRAFTIAN MIND by Jordan Krall is just such a book. Poetic, deranged, and imbued with the whiff of the charnel house, NIGHTMARES is a tapestry of finely-wrought fever dreams." - Richard Gavin, author of OMENS and AT FEAR'S ALTAR
Most helpful customer reviews
4 of 4 people found the following review helpful.
Quiet Horror, Loud As Bombs
By Kyle Johnson
NIGHTMARES FROM A LOVECRAFTIAN MIND offers a collection of fiction that utilizes the eponymous influence of one of the forefathers of weird fiction without sacrificing the approach that makes Jordan Krall such a unique and dynamic storyteller. The stories within manage to capture the slow, creeping dread of Lovecraft's tales without ever traipsing into pastiche, and each of the eleven tales feel vital and uncompromised with Krall favoring Lovecraft as an influence as opposed to a template. In abandoning many of the tropes and cliches that reappear so frequently in Mythos fiction, the stories breathe on their own without ever coming across as travels in borrowed shoes. While writing with Lovecraft in mind can be and has been done brilliantly by a number of writers, Lovecraftian fiction is not a sub-genre that lends itself terribly well to innovation with authorial voice. Here, Krall has created stories that feel both classical and contemporary in sentiment, cosmically grand and uncomfortably close in scale, and very much fitting within his oeuvre. These tales, as the title implies, are very much like nightmares, existing somewhere within the subconscious where everyday logic and the surreal mingle seamlessly. Krall effectively channels that old Lovecraftian fear and stays true to what makes his fiction stand out, and the resulting collection is one that will appeal to those who enjoy the weird, old, new, and everywhere in between.
5 of 6 people found the following review helpful.
Acclaimed Bizarro is also full-on Lovecraftian
By T.E. Grau
Jordan Krall impresses me. Yea verily, I am impressed by Jordan Krall.
Known primarily - at least to me, for a long period of time - as a Bizarro author, which is a limiting label in my even more limited opinion, I find Krall to be a bang-up Lovecraftian in that new jack Subtle School, and therefore someone I see as essential to a genre often cluttered by too many Cthulhu cameos and robed cultists who all somehow possess a copy of the Necronomicon. The stars are always right, and everyone's favorite Great Old One is on the verge of rising once again to... do whatever he'll do when he rises from that watery sleeping bag, jammies all soaked, pissy as hell. That's Lovecraftian Pastiche 101. I've done it. Lots of us have. Jordan Krall could teach that class, if he wasn't already admitted into the Miskatonic Graduate Program, where all the banners have been removed from the wall, and only those who are attending know on which campus they really are.
In his recent novella, Nightmares of a Lovecraftian Mind, published by Dunhams Manor Books, Krall cuts clean a Double Live literary concept album, where each titled chapter acts as a song that breathes on its own, but nods to the heaving collective. Pink Floyd on Yuggothian acid come to glistening life. This is post-Ligotti, impressionist Lovecraftianism - suggestive, urban, monumentally Weird, spontaneously murderous, and totally lacking in incomprehensible alien gods or even recognizable monsters, except for those who live down the block, or hang around the playground reading manuals on industrial parks. Krall creates vignettes that are familiar yet cold and otherwordly. Askew. Like when a movie crew films something that is supposed to be set in New York on the streets of Toronto to save a nickel and ruin America. We're TOLD that we're in SoHo, but none of the streets seem to fit. The landmarks are all absent.
Krall is a stylist as much as a storyteller, creating interesting, intersecting characters that could shoulder their own novels, based on their own internal cataclysms and the doom that follows each step. Osman and Xynobis, Roux and the nameless schmuck who fears an infestation of ants in his apartment - all of these doomed souls are begging for more pages. Themes prevail, following a wriggling through-line. Father issues and DEEP DENDO. Milk and alcohol (that's right - not scotch, not whiskey, but alcohol). These are a few of the unifying buzzwords and concepts that weave overarching throughout this work of sublime dread. Figure it all out, buddy. I have my theories. Pour me a double shot of alcohol, milk back, and you'll get my interpretation, but it feels like Nightmares from a Lovecraftian Mind is a set up to be an encyclopedia mortis of KrallCraftian tomes. One can only hope.
The world he presents is a stark, threatening one, where every stranger and friend are bonded immediately by their shared wish for demise. Characters are disaffected, and for good reason, as chance encounters and innocent proximity often have dire consequences. And madness is everywhere, as everywhere is madness. From the doilies of the suburban home to the jerk-off booths in Times Square. The common is made dangerous, like Hitchcock run amok in a Steadman painting. This is Krall's umbrella shielding a cosmic rain, yet the rivulets fall, making mad those dampened, one breath and random conversation from murder, or worse.
Krall's prose is clean but rich, interesting in its word selection. He's mature and jaunty. Saucy, weaving just a honey drop of poetic flair and dollop of HPL purple into his narratives. He's the smart kid in the back of the room, who's read more than you and knows the best dirty jokes. His chapters show that he is well versed in the trappings of the baroque, but prefers to downplay the baubles in favor of a cleanly wrought sentence. It's quite the balancing act, and is seamless, with nary a stumble on the wire. Krall is joining his contemporaries in the genre in helping show us where Lovecraftian writing can go, without being chained to the increasingly played-out confines of the Cthulhu Mythos. Eerie, unsettling, smooth yet complex. Layered, odd, and infinitely quotable. These things are Nightmares of a Lovecraftian Mind.
That said, I feel like his title nods to the Cyclopean elephant not in the room, and will disappoint dilettantes who are expecting inscrutable chants, bloodied altars, and imminent global destruction, only to find a slow, ablated meltdown of a strange, cruel world. As the better Lovecraftian fiction continues to stray from the proud yet now prosaic roots of its birth, plumbing the depths of madness and fear rather than monsters in the sky, writers like Jordan Krall keep the cavalcade healthy and hale. As noted above, this is Grad School, kiddies, not 101.
Lynchian, Lovecraftian, Krallian. Can I make "Krallian" a thing? I sure as s*** hope so, as I'm trying like the dickens to get Barronic as a certifiable adjective, so let's work on Krallian next. The unformed Contempo Weird World is ours now, folks, so let's start nailing down the lexicon and shoring up the perimeter.
I know he's a hit in the Bizarro world, but I hope Jordan Krall stays and plays in County Lovecraftiana, as he adds so much to the geography. If he loves his readers - and Baby Jesus - at all, he'll start writing a novel starring the oddly necromantic Osman tomorrow.
2 of 2 people found the following review helpful.
A singular tour de force -- infused with decay and depravity and mutation and obsession
By Jon Padgett
NIGHTMARES FROM A LOVECRAFTIAN MIND is a weird fiction tour de force. It's not often that I encounter a book that is--in so many ways--unlike anything I've ever read. It's a singular and extraordinary and important work.
On the surface, the only thing the unlucky characters in Krall's linked stories have in common with the stereotypical Lovecraft protagonist is an obsession with/horror of books which hold nightmares within their covers. Even this trope Krall subverts and makes his own. Real or imagined run of the mill, harmless sounding books (e.g., A Brief History of Industrial Parks) or otherwise nameless tomes are infused with esoteric power and horror and are just as likely to be monsters in and of themselves than they are to evoke them. Otherwise, Lovecraft's typical cast of characters and plot devices are in short supply in Krall's book.
But make no mistake -- NIGHTMARES FROM A LOVECRAFTIAN MIND is as Lovecraftian as it sells itself. From Krall's fusion of contemporary and archaic language (often derived from Greek words -- e.g., "Acherontic;" "Xnoybis") to the schizophrenic, hallucinatory dream logic and surreal images throughout the text to Krall's brilliant use of magical realism (or, more accurately, magical Lovecraftianism) to his astounding use of repetition of object, idea, and characters which serves to tie Krall's disparate narratives together with enormous, muscular power... Krall utilizes these elements effortlessly and seamlessly and confidently, concluding with a powerful prose poem sequence reminiscent in structure and scope of a greatly condensed version of HPL's "Fungi from Yuggoth."
Cosmic horror, in Krall's book, infects and mutates what looks at first glance like "real world," familiar situations (a door to door salesman selling his wares; a man sitting in an idyllic looking park; college kids in a college library; an insomniac spying from his bedroom on his neighbor). What results is a brilliant collection of closely linked stories--infused with decay and depravity and mutation and obsession.
In conclusion, I'm reminded of Mary Shelley's quote from Roger Corman's FRANKENSTEIN UNBOUND. If I may mangle it a bit: "Certain horror writers preach Weird Fiction. Jordan Krall *practices* it."
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