Alone with the Horrors: the Great Short Fiction of Ramsey Campbell 1961-1991 Free
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FREE ALONE WITH THE HORRORS: THE GREAT SHORT FICTION OF RAMSEY CAMPBELL 1961-1991 PDF Ramsey Campbell | 448 pages | 01 Sep 2005 | Tor Books | 9780765307682 | English | New York, NY, United States Alone with the Horrors: The Great Short Fiction of Ramsey Campbell - Ramsey Campbell - Google книги Ramsey Campbell is perhaps the world's most Alone with the Horrors: The Great Short Fiction of Ramsey Campbell 1961-1991 author of horror fiction. Three decades into his career, Campbell paused to review his body of short fiction and selected the stories that were, to his mind, the very best of his works. Alone With the Horrors collects nearly forty tales from the first thirty years of Campbell's writing. Lovecraft on his early work, and gives an account of the creation of each story and the author's personal assessment of the works' flaws and virtues. For this new edition, Campbell has added one of his very first published stories, a Lovecraftian classic, "The Tower from Yuggoth. An amazing view of thirty years of short stories, and watching Mr. Ramsey's style and skills develop. I think, however, if you're looking for the monster that jumps out at you and says, "Boo! Ramsey Campbell is one of my favorite horror writers, because, for the most part, he writes horror that is cerebral -- much like Lovecraft, this man has the ability to set the scene and build up the Critically acclaimed both in the US and in England, Campbell is widely regarded as one of the genre's literary lights for both his short fiction and his novels. His collection, Scared Stiff, virtually established the subgenre of erotic horror. Ramsey Campbell's works have been published in French, German, Italian, Spanish, Japanese, and several other languages. He has been President of the British Fantasy Society and has edited critically acclaimed anthologies, including Fine Frights. Ramsey Campbell. The Tower from Yuggoth Cold Print The Interloper The End of a Summers Day The Man in the Underpass The Show Goes On The Ferries Midnight Hobo The Depths Down There Hearing Is Believing The Companion Call First Heading Home In the Bag The Chimney Alone with the Horrors: The Great Short Fiction of Ramsey Campbell 1961-1991 Voice of the Beach Out of Copyright Above the World Mackintosh Willy Again Just Waiting Seeing the World Old Clothes The Other Side Where the Heart Is Boiled Alive Another World End of the Line So Far. The Scar The Guy The Fit The Hands Baby The Brood The Gap Apples Alone With the Horrors: The Great Short Fiction, by Ramsey Campbell Campbell Told by the Dead won a World Fantasy Award for this career retrospective, first published in with slightly different contents, and its 37 stories—three of which themselves won World Fantasy and British Fantasy awards—represent some of the best short horror fiction written in the past half century. In "Mackintosh Willy," a dead derelict haunts the boys who desecrated his corpse, leaving only tatters of filthy clothes and graffiti scrawls as signs of his pursuit. Though the basic themes of Campbell's tales are common, his approach to them is not, and is best summed up by the character in one who says, "I was eager to let my imagination flourish, for it was better than reading a ghost story. His confident reliance on style and language rather than shock effects has produced masterworks of modern horror certain to endure for generations to come. June 2. View Full Version of PW. More By and About This Author. Buy this book. Hardcover - pages - Show other formats. Discover what to read next. Alone with the Horrors: The Great Short Fiction of Ramsey Campbell 1961-1991 Picks: Books of the Week. The Big Indie Books of Fall Black-Owned Bookstores to Support Now. Children's Announcements. Read Alone with the Horrors Online by Ramsey Campbell | Books By Ramsey Campbell. Ramsey Campbell is perhaps the world's most decorated author of horror fiction. Three decades into his career, Campbell paused to review his body of short fiction and selected the stories that were, to his mind, the very best of his works. Alone With the Horrors collects nearly forty tales from the first thirty years of Campbell's writing. Lovecraft on his early work, and gives an account of the creation of each story and the author's personal assessment of the works' flaws and virtues. For this new edition, Campbell has added one of his very first published stories, a Lovecraftian classic, "The Tower from Yuggoth. Some horror stories are not ghost stories, and some ghost stories are not horror stories, but these terms have often been used interchangeably since long before I was born. Many horror stories communicate awe as well as sometimes instead of shock, and it is surely inadequate to lump these stories together with fiction that seeks only to disgust, in a category regarded as the deplorable relative of the ghost story. Quite a few of the stories collected herein are ghost stories, and I hope that at least some of the others offer a little of the quality that has always appealed to me in the best horror fiction, a sense of something larger than is shown. For the record, the book incorporates my British collection Dark Feasts, with the solitary exception of The Whiningno significant loss. Previous editions of Alone with the Horrors have led off with The Room in the Castlemy earliest tale to be professionally published. The idea was to show how I began. Here instead is something rarer to perform the same service. It too dates from when I was doing my best to imitate Lovecraft, but The Tower from Yuggoth demonstrates how I fared before August Derleth took me under his editorial wing. It was published in Goudy, a fanzine edited by my friend Pat Kearney, who later wrote a greenbacked history of Olympia Press. It was illustrated by Eddie Jones, another old friend but sadly a late one. At the time it felt very much like the start of my career as a writer; now it looks more like a phase I needed Derleth to rescue me from. The reader may end up knowing how they felt, and my notion of how Massachusetts rustics spoke may also be productive of a shudder. Had I conjured him up from his essential salts for an opinion, Lovecraft would undoubtedly have pointed out these excesses and many other flaws. And watch out for those peculiar erections in the woods! I used the term in utter innocence, not then having experienced any of them while awake. No doubt a Christian Brotherly promise of hell if one encouraged such developments helped. Substantially rewritten as The Mine on Yuggoththe story appeared in The Inhabitant of the Lake, my first published book. In I was several kinds of lucky to find a publisher, and one kind depended on my having written a Lovecraftian book for Arkham House, the only publisher likely even to have considered it and one of the very few then to be publishing horror. Suffice it for the moment to say that much of even the best new work—Matheson, Aickman, Leiber, Kirk, as vastly different examples—was being published with less of a fanfare than it deserved. I mentioned imitation. In I took some faltering steps away from Lovecraft and kept fleeing back to him. Among the products of this was The Successorone of several tales I found so unsatisfactory that I rewrote them from scratch some years later. Another first draft was The Reshaping of Rossiter, a clumsy piece rewritten in as The Scar. Perhaps I can also claim to have been writing about child abuse long before it became a fashionable theme in horror fiction. Certainly the vulnerability of children is one of my recurring themes. I had my first go at The Interloper in and a fresh one in In the first version the boy tells his tale to a child psychiatrist who proves to be the creature of the title. My memory is that the psychiatrist was none too convincing a character, even though I was taken to see one at the age of seven or so, apparently because I rolled my eyes a lot and suffered from night terrors. All this rewriting, and other examples too, had made me surer of myself. The Guy saw just one draft. It was an attempt to use the traditional British ghost story to address social themes. Geoff Ryman has suggested that M. I wanted to achieve that sense of supernatural terror which derives from the everyday urban landscape rather than invading it, and I greatly admired—still do—how Fritz wrote thoroughly contemporary weird tales that were nevertheless rooted in the best traditions of the field and drew some of their strength from uniting British and American influences. One of mine in which I used an actual Liverpool location— The Man in the Underpass —has a special significance for me: it was the first tale I wrote after having, encouraged by T. To begin with I wrote only on weekdays. Lord, did I need to learn. The Companion dates from later that year, Alone with the Horrors: The Great Short Fiction of Ramsey Campbell 1961-1991 is set in New Brighton, just along the coast from me as I write, in all but name. The town did indeed contain two fairgrounds, one derelict, for a while, but I fiddled with the geography a little for the purposes of the narrative. Of all my old stories—there are many—that I keep being tempted to tinker with, this may well be the most frustrating.