Personal Demons

PREFACE

Short stories of the fantastic are cowards' deaths, explorations of what might yet be. They are premonitions written to disturb and ultimately comfort, because they present us with the results of our darkest dreams. They help us to deal with our fears and realise our fantasies.

Kenneth Tynan said 'when the writer cares more about the audience's reaction than the truth of the character or situation, they are writing for effect, they are writing melodrama.' The problem is, many novels and short stories seem to exist for the sole purpose of producing a series of melodramatic effects. Editors often ask for a showy set-piece to be situated at the start of a novel. Anthologies look for shock-pieces. The 'new lad' school of writing precipitated by Irvine Welsh has nearly kicked everything else off the shelves. Writers of great power and subtlety are treated as creators of specialist literature because they choose to explore strange territory. Television has become the new home of a specialised form of SF, horror and fantasy, dumbed-down, safe, value-reaffirming.

Not long ago I was told that my material was 'too quirky' for mainstream America. Why didn't I develop a single theme and stick to it in order to build reader loyalty? Stephen King is the most successful author in the world. Didn't all horror and fantasy authors aspire to be like him?

Well, no.

True, some of his books have made terrific films because his stories are admirably rooted in character, and his ideas are simple, clear and strong, even if his prose is as elegant asan orthopaedic boot, but ultimately it's a parochial style peculiar to one area of the USA, and I wanted to write specifically to my own English environment. In the eighties, American concepts of dumbing down horror provided grim new benchmarks, reaching even lower. They constituted a sacrifice of all that disturbed, discomforted or encouraged thought, and the British followed suit. Virginia Woolf said that 'the steps from brain to brain must be cut very shallow if thought is to mount them'. Some writers began providing wheelchair slopes. The genre has still not recovered, although I'm convinced that it will.

The best horror anthologies ever produced were two Panther volumes edited by an experimental psychologist, Dr Christopher Evans. In Mind At Bay he admits that he isprimarily interested in exploring the mind's 'inner space', and that his selected tales are 'tricks to trap the brain into giving up some of its secrets'. In Mind In Chains he suggests the reader should use the stories 'to see what they tell him about the structure and the denizens of his own internal landscape'. These are tales that look for contact points between the horrific and the normal, where logical events lurch into alarming disarray, and all the human mind can do is try to cope.

I wonder if such anthologies would be published today.

Certainly, Serpent's Tail would be one of the few publishing houses who could perform the favour. I have to admit, I would write much darker books if I thought the market could take it. One develops a certain amount of pessimism as one grows older, not based on nostalgia for the past so much as disappointment for the future. I rarely write anything as dark as the real lives we lead; the strain, the anger, the sheer dull ache of life is not something I'd wish to catalogue. Instead, I am drawn to the exotic, and I think that is reflected in these stories.

These Personal Demons are linked by an interest in a perverse array of subjects, a desire to test out ideas, and a need to wander into unusual territories. I have consciously tried to avoid retreading old ground, and have presented the stories in the order in which they were written, so that you may follow a logical progression of thought, even if some of these processes appear oblique. The final story is unorthodox, but explanatory. Here you will find horror, fantasy, reality and humour; there's hardly any blood, and only a few deaths. One of the stories is even optimistic. A frequently asked question is 'What scares a horror writer?' My answer is 'the disfiguring blankness of a person with no imagination'. Anyone who has seen TV interviews with murderers and religious fanatics knows the dead-eyed look they share. These stories are in some sense about keeping the death of the imagination at bay.

So long as there is imagination, there is hope.