Tag: Laurie Strode

GUEST MOVIE REVIEW: Halloween Franchise

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Halloween Film Reviews

The Halloween franchise has been frightening audiences for generations, beginning with John Carpenter’s 1978 classic, and leading to Halloween (2018). With two more films set for release: Halloween Kills (2021) and Halloween Ends (2022), it’s the perfect time to revisit the films and see what made them so special. And also, which ones don’t quite make the cut in terms of quality.

The following is a non-spoiler review and opinion of almost every Halloween film ever made, ranked in order of importance. I am omitting the Rob Zombie versions from this list because I have not seen them and cannot make an accurate judgment. Nor do I want to.

Halloween (1978): The granddaddy of slashers. Its status is cemented in popular culture for good reason. From the opening credits to the film’s iconic musical score, it induces a sense of dread at every turn. When we hear those infamous piano keys, we feel the danger looming, knowing Michael Meyers is close. We are introduced to Laurie Strode, played brilliantly by Jamie Lee Curtis, a comely high school student who is relegated to babysitting on Halloween while her friends are off partying. She becomes the accidental heroine by fending off Michael, and protecting the children while Dr. Loomis searches for his escaped mental patient.

In terms of quality, it is still the gold standard for the franchise and slasher films in general.

Five Stars.

Halloween II (1981): Although he wrote and co-produced Halloween’s second entry, John Carpenter passed the director’s chair to Rick Rosenthal. Halloween II picks up the moment the first film ends. After Dr. Loomis fires six shots into Michael, he disappears, leaving Loomis to continue his search. With Laurie seriously injured, she is transported to Haddonfield Memorial Hospital for treatment. Michael continues his rampage, following Laurie to the hospital to finish what he started.

Halloween II doesn’t quite capture the same magic as the original, but it’s a very worthy sequel that streamlines one film to the next.

Four Stars.

Halloween (2018): I’d have to put this above all the sequels that came before it. As far as canon, this new entry pretends that nothing exists past Halloween (1978), even excluding Halloween II for no other reason that I can see, than to keep the dynamic of Laurie and Michael mysterious, meaning they are no longer brother and sister…a trope that Carpenter introduced with the 1981 sequel.

It begins with two journalists visiting Smiths Grove Sanitarium in hopes of getting a face-to-face with Michael Myers, who, according to the new timeline, was captured before the events of Halloween II. He eventually escapes during transport and tracks down the journalists, retrieving his original mask in the process. He now has no other motive but to locate his non-sibling, Laurie Strode, who has been preparing for this moment her whole life, barricading herself into a cage of crazy and excluding everyone around her, including her daughter.

The end showdown is nothing short of amazing, and I thoroughly enjoyed seeing the lore come full circle.

Three and a half stars.

Halloween 5: The Revenge of Michael Myers (1989): Although it blends with Halloween 4, I personally prefer this one for its darker atmosphere. Donald Pleasance reprises his role as Dr. Sam Loomis, protecting Jaime Lloyd (Danielle Harris), the daughter of Laurie Strode, from her murderous uncle. In this timeline, Laurie is dead, making it all the more confusing for modern moviegoers who are only familiar with the recent entries.

Halloween 4 and 5 are fun by themselves, but fail to move the franchise forward in significant ways.

Three Stars.

Halloween 4: The Return of Michael Myers (1988): Some people will disagree that I put H5 ahead of H4, and in some ways, I understand. This entry rejuvenates the franchise, bringing back Myers as a central character, unlike the misdirection of Halloween III: Season of the Witch.

We are now introduced to Jamie Lloyd, Laurie’s daughter. After learning of Laurie’s demise, we understand that Michael is now stalking his niece, hoping to snuff the family bloodline.

Two and a Half Stars.

Halloween III: Season of the Witch (1982): Michael Myers is nowhere to be found here. Halloween II was meant to be the last entry with Myers, leading to this new installment with the intent of extending Halloween lore in different directions. I personally like it, but it was a colossal flop, no one understood why it was called H3 when it departed from its previous “sequels” with no Shape to be found. It was intended to be an ongoing annual event, each year giving a new Halloween inspired theme, but unfortunately that never came to fruition. Go into it with an open mind, and you might enjoy it.

Three Stars.

Halloween H20 (1998): The year says it all. Twenty years later, this is the original Halloween (2018) forgetting H4 and H5 even exist. Laurie Strode is alive again, and she no longer has a daughter named Jamie Lloyd, she now has a son named John (Josh Hartnett) and is the headmistress of a private boarding school called Hillcrest Academy, where she has been hoping to avoid the inevitable confrontation with her brother. Her nightmares becomes a reality when Michael tracks her down, and a confrontation escalates.

This is Scream era, late ‘90s fare. If you enjoy this style, give it a shot.

Two Stars.

Halloween 6: The Curse of Michael Myers (1995): Before there was H20, the franchise gave one last crack at Michael’s existing reign. Paul Rudd is Tommy Jarvis, Pleasance is back as Loomis, and Michael is back as, well, himself. Donald Pleasance passed away during the filming, so the studio had to finish the film without him, and it shows. Some new lore is introduced here, in the form of something called Thorn. Hated it then, hate it now. But other than some side nonsense, it’s a fun watch if you don’t take it too seriously.

Two Stars.

Halloween Resurrection (2002): A sequel to H20 that wants to kill Laurie Strode within the first twenty minutes. I saw this in the theater and walked out immediately after said event. I’ve since seen it in its entirety and wished I hadn’t, citing temporary insanity as the cause. It revolves around a TV crew, showcasing their clichéd early 2000s internet broadcast that features a group of contestants spending a night in the Myers house. Surprise, Michael shows up. Busta Rhymes says, “Trick or treat, Motha Fu***,” and everything just sucks. Bottom of the barrel for me. Avoid it if you can.

One Star.

So there you have it, my loose reviews of the Halloween films. Let me know if you agree.

Cheers,
Phil Thomas

Boo-graphy:
Phil Thomas is an author and screenwriter from the suburbs of Philadelphia. He is a member of the International Association of Professional Writers & Editors and The Horror Writers Association. He is also the former co-host of What Are You Afraid Of? a weekly horror and paranormal show that lasted for over 150 episodes. The show still airs on Para-X radio on Friday evenings at 9:00 pm, where you’ll find interviews with wonderful guests such as Lloyd Kaufman, Katrina Weidman, Joe R. Lansdale, Grady Hendrix, Greg Bear, Daniel Kraus, and many more.

Check out his website and sign up for his mailing list so he can further control your mind, and please direct your angry hate mail to him here. You can stalk him on Twitter and Facebook.

His short stories have been featured in several anthologies, including Monsterthology 2, Nightside: Tales of Outré Noir, Coming Through in Waves: Crime Fiction inspired by the Songs of Pink Floyd, Books of Horror: Volume 3, Part 2, and the upcoming collection, Seven Doors of Fate, set to release in 2023.

His debut novel, The Poe Predicament, was published by Foundations Books on October 4, 2021 and hit the bestseller list.

Stuck in another time, Richard Langley just wants to find his way back home.

Richard is a former college professor, wandering a local neighborhood bookstore, where he stumbles upon the find of a lifetime: a signed copy of Tamerlane and other poems.

He is soon swept to another era. He is alone, confused, and his only mission is to get back to where he came from.

While struggling to adapt to his nineteenth-century environment, Richard meets a man he must help exonerate from false accusations in order to restore history’s original timeline and, ultimately, find his way back.

What Richard did not count on, was that man being the owner of the signature—Edgar Allan Poe.

GUEST MOVIE REVIEW: Lisa Morton

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Halloween III: Season of the Witch
By: Lisa Morton

Let’s get one big thing out of the way first: Halloween III: Season of the Witch (1982) is possibly the worst sequel ever made. I don’t mean that in the sense that this is the worst movie ever made that followed another movie, but rather that this is not even remotely a sequel to Halloween (1978) or Halloween II (1981). This movie has no slasher in a William Shatner mask (except for a couple of scenes of the first movie glimpsed on televisions), no courageous Laurie Strode frantically repurposing a wire coat hanger into a weapon. Making this movie part of the Halloween franchise is about like making a Mad Max movie set in a scenic utopia where everyone walks.

Aside from that, there’s really a lot to love about Halloween III: Season of the Witch, especially if you’re one of those who (like me) start cruising stores in July for Halloween stuff. Unlike the other films in John Carpenter’s Michael Myers series, this one is not merely set around and finally on Halloween, but explores the deeper meaning of the holiday itself.

In case you’ve either skipped seeing Halloween III because of the bad press or haven’t seen it since its original release in 1982, here’s what it’s all about: a small-town doctor, Dan Challis (Tom Atkins), is working the late-shift at the hospital eight days before Halloween when he finds that one of his patients has had his face pulled apart. When the dead guy’s comely daughter Ellie (Stacey Nelkin) shows up and decides to investigate Dad’s murder, the good doctor accompanies her to the small Northern California town of Santa Mira, where Dad had been dealing with the Silver Shamrock Company, producers of Halloween masks. Silver Shamrock’s owner Conal Cochran (Dan O’Herlihy) is a mysterious Irish toymaker who is more than he seems. Before long, Dan and Ellie are surrounded by a number of bizarre deaths, all somehow related to a five-ton piece of Stonehenge kept in Silver Shamrock’s basement, surrounded by scientists and high-tech (for 1982) equipment. It’s finally up to Dan to escape Cochran and tell the world that the immensely popular Silver Shamrock masks will unleash more than just a lot of candy.

So, where’s the title witch? Okay, yeah… Halloween III: Season of the Witch is a double-fail as a title because there’s no Michael Myers AND there’s no witch. What there is instead is Conal Cochran, who is known as the ultimate practical joker and who tells Dan that he was around when Halloween was still called Samhain and “the hills ran red.” The first screenwriter on Halloween III was mad genius Nigel Kneale, the British writer who not only wrote the terrifying Quatermass and the Pit (known in the U.S. as Five Million Years to Earth), but even invented a now-accepted paranormal investigation theory in his 1972 television movie The Stone Tape (“stone tape theory” speculates that some objects or structures can record traumatic events and replay them). Producer Debra Hill asked for a story that combined ancient witchcraft and modern technology, and Kneale was brought in to write the first draft but he ended up being unhappy with the gore added later and had his name removed from the credits. Kneale’s influence is plainly still there… but, sadly, watered down. In his draft Cochran was an ancient demon; in the final film, his nature is so ambiguous – is he a trickster spirit? A sorcerer? A Druid? Just a creepy old dude? – that it deprives his character of a shot at real iconic horror stardom.

Halloween III certainly has other problems. It was Tommy Lee Wallace’s first directing gig (he would go on to make the It television miniseries with Tim Curry as Pennywise), and he has a bad habit throughout the film of holding on his actors so long that you can see them actually wondering what they should be doing. Tom Atkins is always a reliable and likeable actor, but his character here is a doctor who drinks and smokes too much, slaps his nurse on the ass, and asks Ellie how old she is after they have sex (hey, at least he’s not a typical hero). The editing is lazy, and the story takes too long to get going.

But here’s what’s great about Halloween III: it’s Weird with a capital W. Weird as in, full-on go-for-broke crazy. Name another movie that incorporates 18th-century clockwork automata, Jerusalem crickets, loving shots of latex masks being produced, a fake living room set in a lead-lined laboratory, a heroine whose last name is Grimbridge, a reference to Samhain, a woman whose face is (very artistically) fried by an energy beam… well, you get the idea. Buried beneath all this wackiness is some interesting commentary about consumer culture, especially about how it has created a middle class that is happy to plant its children in front of a television while the parents are otherwise engaged. The Silver Shamrock commercial jingle, heard throughout the film, limns an American society obsessed with advertising, even at the expense of protecting its own children. Halloween III is one of those few films that doesn’t just threaten children but shows one being graphically killed, while the parents attempt not to save the child but to flee.

It’s probably no coincidence that Halloween III, which John Carpenter co-produced and also co-wrote, is intensely cynical and ultimately nihilistic, because it was released in 1982, the same year Carpenter directed The Thing. Although in some respects it’s closer to Carpenter’s 1980 gem The Fog – they share the same small Northern California coastal town setting – it absolutely reflects the “we’re all doomed” aesthetic of The Thing.

It also happily wallows in Halloween-ness. First are the three Silver Shamrock masks – a jack-o’-lantern, a skull, and a witch – which we get to see in the factory, in stores stocked full of Halloween goods, and on kids parading about the streets in costume, engaged in trick or treat. The plot’s meticulous build toward the 31st – giving us a seasonal countdown – raises the holiday to an appropriate level of importance. And even Cochran’s undefined nature could arguably be a comment on the deeper mysteries surrounding the history of Halloween.

If you’ve never seen Halloween III: Season of the Witch, consider giving it a spin this October. Go in knowing it’s neither a perfect film nor a classic slasher and you might find other, stranger pleasures here to enjoy instead. Just don’t blame me if that Silver Shamrock jingle gets stuck in your head for weeks after.

Boo-graphy: Lisa Morton is a screenwriter, author of non-fiction books, Bram Stoker Award-winning prose writer, and Halloween expert whose work was described by the American Library Association’s Readers’ Advisory Guide to Horror as “consistently dark, unsettling, and frightening.”  She has published four novels, 150 short stories, and three books on the history of Halloween. Her recent releases include Weird Women: Classic Supernatural Fiction from Groundbreaking Female Writers 1852-1923 (co-edited with Leslie S. Klinger) and Calling the Spirits: A History of Seances; her latest short stories appeared in Best American Mystery Stories 2020, Final Cuts: New Tales of Hollywood Horror and Other Spectacles, and In League with Sherlock Holmes. Her most recent book is the collection Night Terrors & Other Tales. Lisa lives in Los Angeles and online.

From Halloween expert Morton, a level-headed and entertaining history of our desire and attempts to hold conversations with the dead.
 
Calling the Spirits investigates the eerie history of our conversations with the dead, from necromancy in Homer’s Odyssey to the emergence of Spiritualism—when Victorians were entranced by mediums and the seance was born. Among our cast are the Fox sisters, teenagers surrounded by “spirit rappings”; Daniel Dunglas Home, the “greatest medium of all time”; Houdini and Sir Arthur Conan Doyle, whose unlikely friendship was forged, then riven, by the afterlife; and Helen Duncan, the medium whose trial in 1944 for witchcraft proved more popular to the public than news about the war. The book also considers Ouija boards, modern psychics, and paranormal investigations, and is illustrated with engravings, fine art (from beyond), and photographs. Hugely entertaining, it begs the question: is anybody there . . . ?

An abused child finds comfort in the friendship of Frankenstein’s monster…a near-future Halloween party becomes an act of global terrorism…one of the world’s wealthiest men goes in search of his fate as he rots from within…Hans Holbein’s famed “Dance of Death” engravings are revealed to be an instruction manual…a man trapped on an isolated road confronts both a terrifying creature and the legacy of his tough-as-nails grandfather…

Night Terrors and Other Tales is the first major collection to gather together twenty of Lisa Morton’s finest short stories (chosen by the author herself). During a career that has spanned more than three decades, she has produced work that has been hailed as “consistently dark, unsettling, and frightening” (the American Library Association’s Readers Advisory Guide to Horror).

If you’ve never encountered Lisa Morton’s work before, you’ll find out why Famous Monsters called her “one of the best writers in dark fiction today.” If you’re already a fan, this collection will offer up a chance to revisit these acclaimed and award-winning stories. You’ll also find a new story here, written just for this collection: “Night Terrors” reveals ordinary people trying to cope with extraordinary and terrifying dreams that have spread like a plague.

GUEST POST: Edward M. Erdelac

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Halloween III: Season of a Witch: The ‘It’s a Wonderful Life’ of the Halloween Season

The Christmas season has always had a massive catalog of holiday-themed movies and TV specials catering to nearly every taste, from Frank Capra sentimentals and whimsical Claymation musicals to raunchy comedies and in recent years, actions films and even Christmas-themed horror. The canonical Christmas classics are so ingrained that just reading this paragraph you’ve probably conjured up one or two old stand-bys. Ask ten people what their favorite Christmas movie is, and you’ll see a lot of the same titles turn up a couple times. It’s A Wonderful Life. A Christmas Carol. A Charlie Brown Christmas. National Lampoon’s Christmas Vacation (my dad’s favorite).

The Halloween season has always had a decidedly less than universal pantheon of movies and specials, mainly because I think when you ask somebody what they watch on Halloween they tend to tell you their favorite horror movie. People equate the season with watching horror, and there are more horror movies under the sun than there are hairs on a black cat.

When I ask this question, I impose two requirements that I find whittles down the plethora of general horror responses.

1 It has to take place during the Halloween season.

2 It should comment on the holiday or depict its traditions in some way. Even if its just pumpkin carving.

This will generally yield a more manageable set of titles in terms of trying to suss out what ought to be considered the classics of Halloween. I won’t try to list them all, but some good recurring examples include It’s The Great Pumpkin Charlie Brown, A Nightmare Before Christmas, The Halloween Tree, Trick ‘R Treat, Boys In The Trees, The WNUF Halloween Special, Garfield’s Halloween Special, Disney’s The Legend of Sleepy Hollow, Hocus Pocus, The Midnight Hour, etc.

You’ll even find a couple of Halloween ‘bleed’ movies like Arsenic And Old Lace (Frank Capra!) this way.
Of course the Halloween franchise counts, and while I’m not a big Michael Meyers fan at all, there is one outing in the series that in my opinion counts as the quintessential movie of the Halloween season. The It’s A Wonderful Life of All Hallow’s Eve. The Miracle On 34th Street of October 31st. The Christmas Carol of Samhain.

That is, without a doubt, 1982’s Halloween III: Season of The Witch.

I’ve been singing the praises of this flick since I first saw it, and have been shouted down by Shape-heads for decades. It was notoriously panned for years as an unwelcome departure from the Laurie Strode–Michael Meyers storyline and criminally dismissed by a lot of horror fans. The premise has nothing to do with the rest of the series. It’s a one off.

Shout Factory’s description for the upcoming 4K release on Amazon says “A murder-suicide in a northern Californian hospital leads to an investigation by the on-call doctor, which reveals a plot by an insane toymaker to kill as many people as possible on October 31st through an ancient Celtic ritual and deadly Halloween masks.”

Not a masked killer in site. Instead, killer masks. The tagline, The Night NOBODY Came Home.

So, just forget Michael Meyers exists. It’s easy for me (I’m a Jason Voorhees nut). Take Halloween III out of the title. Let’s talk about a little movie from 1982 called Season Of The Witch (no, not Romero’s 1973 movie either. That’s Hungry Wives. Stop interrupting!).

The earliest memories of Halloween I cherish are of the smell of close latex and burning candles, heaps of candy rattling around in bright orange and green buckets, the scrape of a spoon in a hollowed out pumpkin and the slip of wet orange innards strung with seeds on my knuckles, leaves crackling underfoot at night, and a swirling array of half-glimpsed costumes both harrowing and gaudy, tacky and inappropriate.

Halloween. It’s chintzy, it’s spooky, it’s glorious. It’s a magical, pseudo-pagan night of anonymity, a night of festive abandon. A night of pranks and tricks and perhaps a subterranean current of unease, for some of us, in our celebrations of spirits and ghosts and goblins are flirting with the idea of oblivion and shaking ourselves wantonly under the nose of death. But Death’s a good sport about it. On this night, anyway.

And Season of The Witch encapsulates all those things for me.

Let’s start with the George Bailey of this movie, our sweaty, boozy divorcee protagonist Dr. Dan Challis, played with sleazy aplomb by Tom Atkins. Was there ever a more appropriate Halloween hero? Most of the time he acts more like a lecherous teenager in a white coat than a doctor. Challis is the bleary-eyed guy who answers the door on Halloween night with a can of beer in his hand and gives the sexy nurses and devils a little too much candy. While he gamely answers the call of adventure posed when a man murders one of his patients and self-immolates in the parking lot, leaving nothing behind but cogs and springs, like the underage drinker in the letterman’s jacket tagging along to take his best girl’s little sister out for candy, he’s really more interested in scoring Stacey Nelkin, which he invariably does, using the excuse of tracking down her missing father in a toy manufacturing factory way out in remote Santa Mira to ‘slyly’ get a one-bed room at a crummy roadside hotel and a six pack of Schlitz. He lures his companion to bed like an anxious teen who swears he can’t get the car to start. He’s a scuzz, as hilariously phony as a plastic knife in the head. But, he does uncover the terrible secret of Silver Shamrock Novelties, the makers of this year’s runaway Halloween fad, and he does do his damndest to thwart them.

And what a secret it is! If you’ve never seen this movie, here there be SPOILERS:

It’s the central ‘trick’ of Season Of The Witch that makes this movie so utterly perfect to me. Dan O’Herlihy’s puckish, ultimately sinister antagonist Conal Cochran sums it up in his villainous monologue as “a trick played on the children.” A mass sacrifice, enacted via a chip of Stonehenge embedded in a microchip in the logo of each Halloween mask, triggered by a television signal set to go off during ‘the big giveaway’ on Halloween night, during a showing of the movie Halloween.

Yes, it’s totally absurd. The death of millions of kids on Halloween night, perpetrated by a catchy jingle and the nebulous promise of a can’t-miss-it big giveaway. And not just normal old brain melting microwave beam death, but techno-science ray death by bugs and snakes popping out of your face. O’Herlihy sells the whole thing magnificently with his measured, ominous speech about the true meaning of Halloween (I don’t care that he mispronounces Samhain. Everyone does.). To this villain it’s a religious obligation, but he’s a gag-maker by trade, so it’s also a joke. You have to marry your work with your passions for a happy life.
And yet….speaking from experience as a kid in 1983, let me tell you, the plot of Halloween III would have totally got us. Or me, anyway.

The pre-eminent Saturday horror movie host of the Chicagoland area was and still is Rich Koz, The Son of Svengoolie. In the summer of 1982, Svengoolie promoted a special 3-D broadcast of Revenge Of The Creature on his show. It was the first attempt at a 3-D broadcast in Chicago. You could go to a 7-11 and get one of four limited edition cardboard 3-D glasses for 69 cents. Then, as long as you had a color TV set, could sit six feet away from the screen, and tuned in at the correct time, you’d be treated to a black and white 1955 movie in three dimensions. Yep, no big giveaway needed. I was all set to spit crickets just to watch a forty year old movie. But remember, VCR’s weren’t really widespread at that time, so if you were a fan of a movie, you scoured the TV Guide and made time for the broadcast or you missed your chance, and I was a big Creature of The Black Lagoon fan at that age – had no idea there even was a sequel. I guess the 3-D actually didn’t end up working correctly. I somehow missed the broadcast, even though I remember being really stoked for it. I probably fell asleep.

Another thing Season Of The Witch gets right about 80’s kids was our ravenous susceptibility to fads. Even before we induced our parents to duke it out in the aisles of Toys ‘R Us over Cabbage Patch Kids, in October 1980 there was another fad eerily akin to the Don Post masks of this movie that arrested the kids of Saint Andrew The Apostle in Calumet City, Illinois; Kooky Spooks.

Kooky Spooks came and went and a lot of people don’t remember them, but I was crazy to get in on it that Halloween. It was basically a bagged costume consisting of a plastic poncho, some reflective tape and makeup, and an inflatable character that sat on top of your head. There were nine variations. Wunkin Pumpkin, Wobblin Goblin, Scaredy Cat, Howly Owl, Spacey Casey, Wonder Witch, and Bone Head. The commercials were as ubiquitous as the Silver Shamrock jingle and they made me desperate to plunk down my parents’ money.

I was a Scaredy Cat. I was five or so, so I don’t know if I’m misremembering this entire thing and I was actually the laughingstock of my friends and not the envy. I have this one photo of my great grandmother disapproving of my get-up (including blackface), and my ma remembers it as being hysterical. I think the headpiece deflated and drooped over my face halfway through Halloween night.

Anyway the point is, I totally would have begged for one of those pumpkin masks (and I eventually did get one as an adult – Buddy Kupfer Jr. is my go-to Halloween costume when I take the kids out).

It could be all these elements of my own childhood Halloween experiences combined to prime me perfectly to enjoy Season Of The Witch, but a glance at blogs and lists around the internet tells me that I’m not as alone as I once was.

Season Of The Witch, for me, is the Halloween movie that perfectly encompasses everything I enjoy about Halloween and I closeout the holiday every year with a late night watch after we’ve brought the kids home from trick ‘r treating.

Don’t forget to watch the big giveaway….and wear your mask.

Boo-graphy:
Edward M. Erdelac is the author of thirteen novels including the acclaimed Judeocentric/Lovecraftian weird western series Merkabah Rider, Rainbringer: Zora Neale Hurston Against The Lovecraftian Mythos, Conquer, Monstrumfuhrer from Comet Press, Terovolas from JournalStone Publishing, and Andersonville from Random House/Hydra.

Born in Indiana, educated in Chicago, he lives in the Los Angeles area with his wife and a bona fide slew of kids and cats.

Conquer —
In 1976 Harlem, JOHN CONQUER, P.I. is the cat you call when your hair stands up…the supernatural brother like no other. From the pages of Occult Detective Quarterly, he’s calm, he’s cool, and now he’s collected in CONQUER.

From Hoodoo doctors and Voodoo Queens,
The cat they call Conquer’s down on the scene!
With a dime on his shin and a pocket of tricks,
A gun in his coat and an eye for the chicks.
Uptown and Downton, Harlem to Brooklyn,
Wherever the brothers find trouble is brewin,’
If you’re swept with a broom, or your tracks have been crossed,
If your mojo is failin’ and all hope is lost,
Call the dude on St. Marks with the shelf fulla books,
‘Cause ain’t no haint or spirit, or evil-eye looks,
Conjured by devils, JAMF’s, or The Man,
Can stop the black magic Big John’s got on hand!

Collects Conquer Comes Calling, Conquer Gets Crowned, Conquer Comes Correct and four previously unpublished stories – Keep Cool, Conquer, Conquer Cracks His Whip, Conquer And The Queen of Crown Heights, and Who The Hell Is John Conquer?

Rainbringer: Zora Neale Hurston Against the Lovecraftian Mythos —
“The oaths of secrecy she [Zora Neale Hurston] swore, and the terrifying physical and emotional ordeals she endured…left their mark on her, and there were certain parts of her material which she never dared to reveal, even in scientific publications.” – Alan Lomax

ZORA! She traveled the 1930’s south alone with a loaded forty four and an unmatched desire to see and to know. She was at home in the supper clubs of New York City, back road juke joints, under ropes of Spanish moss, and dancing around the Vodoun peristyle. Her experiences brought us Their Eyes Were Watching God, Mules And Men, Tell My Horse, and Jonah’s Gourd Vine. But between the lines she wrote lie the words unwritten, truths too fantastic to divulge….until now.

LEAVES FLOATING IN A DREAM’S WAKE, BEYOND THE BLACK ARCADE. EKWENSU’S LULLABY. KING YELLER. GODS OF THE GRIM NATION. THE SHADOW IN THE CHAPEL OF EASE. BLACK WOMAN, WHITE CITY. THE DEATHLESS SNAKE. Eight weird and fantastic stories spanning the breadth of her amazing life. Eight times when she faced the nameless alien denizens of the outer darkness and didn’t blink.

ZORA! Celebrated writer, groundbreaking anthropologist, Hoodoo initiate, footloose queen of the Harlem Renaissance, Mythos detective.