#brian evenson

[florenciiee]

Salvatore

[tourniquetring]

obligatory monthly Last Days post

[thefearofcod]

OKAYYYYYY OK OK OK OK OK OK O K A YYYYYY

[rat-hiding-in-books]

Some more art of ✨them✨

""Abandon all hope, all ye who enter" It was a horrifying sign, but sounded like a neat adventure"- Charlie's Inferno by That Handsome Devil

[marabarl-and-marlbara]

the text is from brian evenson:s polygamy of language -- i was reading it this morning

[strikinglit]

The Warren, Brian Evenson

[mylifeinfiction]

Last Days by Brian Evenson

He raises the cleaver high. His whole life is waiting for him. He only needs to bring the cleaver down for it to begin.

Brian Evenson's Last Days is an ultra-violent indictment of the extremism that too often pollutes religion; an exploration of the imperceptible line between religion and cult when extremism replaces faith, and the absurd lengths to which ‘true believers’ go to prove their conviction. In this case, those absurd lengths just so happen to be made up of an incalculable number of severed body parts. This is a brutal, wild ride, and it completely immerses the reader in this nightmarish world of grotesque beliefs and an unforgiving, blood-soaked second coming.

How do you know the moment when you cease to be human?

8/10

-Timothy Patrick Boyer.

[haveyoureadthishorrorbookpoll]

Have you read...

note: If you did not finish but feel you read enough to form an opinion, you may choose a ‘Yes’ option instead of 'Partly' (e.g., Yes, I didn’t like it). Interpret "neutral or complicated" however you like, I intended this category to be a broad option between like and dislike.

A collection of horror–inspired flash fiction, featuring over 40 new stories from literary, horror, and emerging writers—edited by Lincoln Michel and Nadxieli Nieto, the twisted minds behind Tiny Crimes: Very Short Tales of Mystery and Murder. In this playful, inventive collection, leading literary and horror writers spin chilling tales in only a few pages. Each slim, fast–moving story brings to life the kind of monsters readers love to fear, from brokenhearted vampires to Uber–taking serial killers and mind–reading witches. But what also makes Tiny Nightmares so bloodcurdling—and unforgettable—are the real–world horrors that writers such as Samantha Hunt, Brian Evenson, Jac Jemc, Stephen Graham Jones, Lilliam Rivera, Kevin Brockmeier, and Rion Amilcar Scott weave into their fictions, exploring how global warming, racism, social media addiction, and homelessness are just as frightening as, say, a vampire’s fangs sinking into your neck.

submit a horror book!

[satineyourlap]

“How many whales do you suppose God will deign send to swallow you? When does God run out of whales?”

Excerpt From

Last Days

Brian Evenson

[raqmo]

Receiving contributor copies✨

[florenciiee]

More last gays... who up for toxic yaoi

[tourniquetring]

i’ve been debating making this post for a long while so here goes nothing ig

[connecticut-turnpike]

"click" a collapse of horses - brian evenson // the prisoner (1967) - dir. patrick mcgoohan

[crownedinkcomix]

Brian Evenson’s Ed vs. Yummy Fur serves as a thoughtful companion to Chester Brown’s groundbreaking Ed the Happy Clown and its evolving narrative across various iterations—from its origins as a serialized feature in Brown's Yummy Fur comic book to its reconfigurations in multiple graphic novel editions. The book excels in its comparative analysis, particularly in examining what is lost and gained with each revision of Brown’s work. Evenson’s insights into the omission of Yummy Fur’s gospel adaptations and issues #13–18 in later editions of Ed the Happy Clown are particularly incisive, shedding light on the shifting creative intentions and contextual nuances behind Brown’s editorial decisions. For those intrigued by the transformative nature of serialized comics, these discussions provide a compelling perspective on the evolution of Brown’s storytelling.

However, Ed vs. Yummy Fur sometimes falters by delving too deeply into overly minute details. Evenson’s focus on trivialities—such as Chester Brown’s choice to hyphenate (or not) the term "graphic novel"—can feel extraneous, diverting attention from the book’s broader and more engaging themes of adaptation and artistic growth. This preoccupation with minutiae creates an uneven reading experience, particularly for readers less inclined to fixate on such peripheral aspects.

The concluding interview with Chester Brown serves as an illuminating, if slightly ironic, counterpoint to Evenson’s exhaustive analysis. While the interview is engaging, it starkly highlights Brown’s apparent detachment from the intricacies Evenson so meticulously examines. Brown’s casual attitude toward these finer details adds an amusing dynamic to their interaction but may leave readers seeking more profound insights from the creator disappointed.

Ultimately, Ed vs. Yummy Fur is a niche work best suited to ardent Chester Brown fans eager to delve into the nuances of his early career. For readers with a broader interest in comic book analysis, the book’s focus on granular details may feel overly restrictive, limiting its appeal beyond the context of Ed the Happy Clown’s transformations over the years. While Evenson’s dedication to his subject is commendable, the book’s narrow scope makes it a highly specialized read, most rewarding for diehard enthusiasts of Brown’s formative period.

[rat-hiding-in-books]

Here are the finished versions of the insane cult leaders!

My personal favorite is young Aline (he's just so pretty).

"I've grown tired of this body, fall apart without me body"- Body by MotherMother

[babadork]

There are times when it hurts to be alive. Times when the only person who could possibly see how much it hurts lies so far away from the skin into which you are sunken so deeply that they cannot see what you are feeling or that you are even feeling at all. A real friend, a true friend, would not be behind the camera adjusting the shot, making sure everything was in perfect focus, a perfect focus that nonetheless fails to reveal the enormity of your pain. No, a true friend would bring himself very close, would press his ear to your throat and listen carefully, attentively, until he began, finally, impossibly, to hear your voice.

Help, this ear would finally hear you say, Help, help. It would not matter to a friend, a true friend, that nothing comes out of your mouth: he would hear how they lodge in your throat, the vibrations buzzing there.

A true friend would not affix a clamp to the back of your head, making it even harder for you to turn and move. A true friend would not direct the glassy eye of the camera so that the light bounced off the lens and into your unblinking eyes. A true friend would, from time to time, moisten your eyes with a little water so that they might continue to work as eyes do, so they would not, as your eyes most assuredly are beginning to, fail.