“Life isn't a support system for art. It's the other way around.” Stephen King

True Detective Season 2 Main Titles from Patrick Clair on Vimeo.

Last year, I became obsessed by Nic Pizzolatto's TRUE DETECTIVE, and exposure to this remarkable TV Miniseries still affects my thinking, and my world-view. It reintroduced me to my early reading of Howard Philips [HP]H. P. Lovecraft, Robert Chambers, Gothic stuff - the Existentialist and Philosopher/Writers including Stoics such as Marcus Aurelius, but especially Albert Camus, Sartre, Freddy Nietzsche and many, many others.

The exposure to TRUE DETECTIVE, was wonderful, as I am now a different person, in terms of the way I interpret the context of my existence, and those I share my time and thinking with. So my re-interpretation of those works from my youth, is different today, very different - but perhaps another key aspect of TRUE DETECTIVE, were the new writers and philosophers I encountered, such as Thomas Ligotti, Laird Barron, Joe Pulver and many others, and discovered the Antinatalists such as Emil Coran, Arthur Schopenhauer et al, and so my thinking was hijacked.

So Season 2 of TRUE DETECTIVE uncoiled itself last week, and again, it has dominated my thinking. After a second viewing of episode one, the excitement and anticipation of episode two is like an itch I can't stop scratching, as a huge slug of my cognition, my daily thinking is devoted to exploring this TV show, its themes, its core and poke the escalating cynicism we have toward reality.

This may make me sound mentally ill, but I really don't care.

Many with less patience, or are less aware of the perceived belief of having 'skin' in the game [we call life], have been perplexed by the opening episode. Not me, as I see the strands of Pizzolatto's narrative is revealing - like an angry river, leading to a bay, which on its journey is allowing us to observe the absurdity of this existence, though the parallax of another man's imagination - and a team assembled around him, to craft into physical reality from the fevered, and existential dreams of his consciousness, a shape we can see, in our own reality. A shape that when it emerges is as disturbing as it is curiously uplifting.

Imagine my surprise, when the show aired last week, that the title track, crafted to the surreal titles, is NEVERMIND by LEONARD COHEN.

So Season 2 of TRUE DETECTIVE has me returning to my love of Leonard Cohen, and in so doing, I have been re-evaluating his body of work; and I have to admit that his last album, POPULAR PROBLEMS [from which T Bone Burnett selected NEVERMIND for the titles], is utterly, utterly, total genius, thought-provoking, fuel for our cognitive process, beautiful, insightful, I could go on, but I won't, as I love it so much.

Though much of the songs on POPULAR PROBLEMS are dark, very dark, when dissected, however, they are remarkably insightful, and one in particular resonates in my mind like a Church Bell summoning the faithful for worship; It's called "DID I LOVE YOU", and it plays in my mind, in a perpetual loop - like the swirl of a roller-coaster from which I sit strapped.

'DID I LOVE YOU' also makes me smile, as the very first gift I sent Muriel Keogh, [from Saudi Arabia, where I was stationed], was Jennifer Warnes' FAMOUS BLUE RAINCOAT : The songs of Leonard Cohen'. I chose the Warnes tribute album, as I thought her interpretation of Cohen's words would be more accessible to this woman, the one, I fell in love with - only to discover, that she too was a fan of the Laconic Canadian, poet. One of the things Muriel and I share.

So for the next few weeks, I will be distracted by TRUE DETECTIVE, for which I am thankful, as it allows me to manage some of the problems ahead of me. I have found, one key method to reduce anxiety, and manage the existential panic that lies at the core of being a thinking human being, is to keep the mind and its cognitive apparatus fully occupied, distracted, if you will; otherwise madness beckons

Andy Dufresne: "Get busy living, or get busy dying."
STEPHEN KING - RITA HAYWORTH AND THE SHAWSHANK REDEMPTION
FRANK DARABONT 'THE SHAWSHANK REDEMPTION

Because Stephen King was correct when he said “Life isn't a support system for art. It's the other way around.”, because we need to manage our thinking-cognition to survive this reality - and I am thankful to Nic Pizzolatto and his team for TRUE DETECTIVE, as its density is such, it is all encompassing, to many of us - as we're headed deep into TRUE DETECTIVE territory. This means that the insane logic that drives the engine of my thinking, and therefore my existence will be firing on all cylinders.

So I will leave you with a remarkable song, a gift from Leonard Cohen, with words that provoke thought, thus providing comfort and distraction from the shapes that emerge from the surrounding fog that some term the 'cloud of probability' that envelopes [and perplexes] us, and what others call - our lives, our reality; trapped in this rock in a corner of time and space.

Have a great weekend, TRUE DETECTIVE - Monday, and for that I am thankful

……………………Nevermind, Nevermind, I live the life, I left behind…………………………

The Weird and Cosmic World of Thomas Ligotti

I know I am a little late to the party, as many of us thanks to a prompt from Nic Pizzolatto of True Detective fame have been exploring the work of the mysterious Thomas Ligotti and other purveyors of weird / cosmic fiction. Though I had heard of Ligotti, I hadn’t  read any significant  horror fiction [apart from the usual suspects] for decades. In my youth I was an avid reader of weird fiction thanks to my love of HP Lovecraft, Ramsey Campbell, Stephen King, Robert McCammon and many, many others.

My recent enthusiasm for True Detective made me go back to my early reading, as well as catch up on the weird and cosmic end of the horror genre. Of particular interest has been Ligotti’s non-fiction work THE CONSPIRACY AGAINST THE HUMAN RACE –

If one were to compile a list of contemporary American pessimists, the list would be short, though Thomas Ligotti's name would likely be on it. To most who are familiar with his work, Ligotti is known as an author of horror fiction.

His 1986 debut Songs of a Dead Dreamer immediately set him apart from his contemporaries. Filled with dark, lyrical prose, it displayed an unabashed appreciation for the tradition of the Gothic. It was composed of short texts that were difficult to categorise, and that barely contained narrative and plot.

When it was published, Songs of a Dead Dreamer stood in direct contrast to much horror fiction of the 1980s, characterised as it was by slasher-style gore and violence, and a more brutalist approach to language. Ligotti's writing, by contrast, tended more towards an effusive, contorted prose that revealed almost nothing – though each of his pieces was steeped in a sombre, funereal mood more reminiscent of the ‘supernatural horror’ tradition of Edgar Allan Poe and H. P. Lovecraft. All the horrors – the real horrors – remained hidden in a stark, unhuman nether region beyond all comprehension, and yet instilled directly in the flesh of the narrators or characters.

In a career that spans almost 30 years, Ligotti's work has remained committed to this tradition of supernatural horror and, given the trends, fads, and wild mood swings of the horror genre, such a commitment is an admirable anomaly. Which brings me to Ligotti's most recent book, The Conspiracy Against the Human Race. Ligotti fans may find this book puzzling at first. For one thing, it is not a work of horror fiction; for that matter, it's not a work of fiction at all. But to call it a collection of essays or a treatise of philosophy doesn't quite do it justice either. Ligotti does comment at length on the horror genre and on a number of authors, from Anne Radcliffe and Joseph Conrad to Poe and Lovecraft. But Conspiracy is not just a writer's personal opinion of other writers. Similarly, Ligotti does spend much of the book reflecting on pessimism, reminding us of the freshness of grumpy thinkers like Arthur Schopenhauer, while also pointing to more obscure or forgotten thinkers, such as the Norwegian philosopher and Alpinist Peter Wessel Zapffe. But Ligotti's approach is much too eccentric and uncompromising to be considered academic philosophy, and as a book Conspiracy is unencumbered by reams of footnotes or jargon-heavy vocabulary. Finally, Ligotti does address a number of topical issues in Conspiracy – research in cognitive neuroscience, the natalism/anti-natalism debate, global warming and over population, transhumanism, Terror Management Therapy, the popularity of Buddhism, and the self-help boom, among others. But the aim of the book is not simply to be topical, nor to present a ‘pop’ introduction to a difficult topic.

So then, what kind of book is Conspiracy? It is first and foremost a book about pessimism; but it is also a pessimistic book. While it contains critical insights into the heights and pitfalls of pessimist thinking, it also contains stunning indictments of our many pretentions to being human: ‘As for us humans, we reek of our own sense of being something special’; ‘What is most uncanny about the self is that no one has yet been able to present the least evidence of it. Conspiracy constantly hovers around that boundary between writing about pessimism and simply writing pessimism, and nowhere is this more evident than in Ligotti's own brand of pessimism, which is at once uncompromising and absurd:

Read More from Eugene Thacker here

After a silence from publication for a decade, which he explains here, including a harrowing medical emergency, Ligotti published The Spectral Link a slim volume consisting of two stories Metaphysica Morum and The Small People [each about 50 pages in length] which I found very unsettling, almost like being in a lucid nightmare. Ligotti describes these two stories as -

As with many, if not most, of my stories, “Metaphysica Morum” is autobiography exaggerated.

The narrator of “Metaphysica Morum” harps on my euthanasia fantasy, except for him it is in connection with longstanding emotional problems having a source beyond the natural. For some people, all experiences of an intensity far surpassing that of ordinary life provoke a need for expression. Another dimension or level of reality opens up, and they begin ranting to a purpose. A few may propound visions as in the biblical Book of Revelation, horrible visions whose author must have felt an insatiable need to make believable and find credence in his readers. Some believe these visions and give them credence; others do not. Which of these postures is assumed could not possibly concern the scribbler of these visions. He has seen. That is enough. This is the state of the narrator of “Metaphysica Morum” and conveying such a state, as I’ve said in interviews and essays, is what supernatural horror fiction does better than any other kind of literature.

I’ve written things in the wake of a previous work, and I think “The Small People” was one of them. It really hit me all at once, and I barely had to think about it either structurally or thematically. “Metaphysica Morum” derived straight from my hospital episode and “The Small People” indirectly. After writing the former story, I was still in an elevated mood from my surgeries. And if I could keep writing, I thought I could keep my elevated mood alive. And only in an elevated mood can I write about the worst. Only in a good mood can I reflect upon what’s in store for me, such as the hospital episode, without fear of overwhelming my consciousness. Only in a good mood can I think about my existence or existence itself without thinking about wanting to be euthanized by anesthesia. I believe this is how it is for many people, though I can’t say how many, and if I claim it is a great many then I would be derided by those for whom this is not how it is. In any case, I think it’s safe to say that the carryover from my hospital episode was more literal in “Metaphysica Morum” than in “The Small People.”

Read More from Thomas Ligotti here

I find that I can only read Ligotti in small doses, due to some of the unsettling atmosphere his work creates in my consciousness, and though a writer of poetry, short stories and the occasional novelette, his work packs a disturbing punch. Most of his work is out of print, so it’s a little expensive collecting his earlier work, but well worth it – if you like the ‘cosmic end’ of horror genre, and also your world-view to be questioned, then Ligotti is a writer you should explore.

Recently I acquired the Ligotti collection The Nightmare Factory, a collection that showcases a vast array of some of his most disturbing fiction, opening with the truly unsettling tale ‘The Frolic’.

A WARNING – ‘The Frolic’ though far from gratuitous, is a very distressing tale that concerns child murder and is very unsettling and is the only fiction from the pen of Thomas Ligotti that has been filmed, and there is a link to view this creepy 20 minute film below.

Wonder Entertainment released a special collector’s edition of Thomas Ligotti’s short story “The Frolic” in a book that comes bundled with a DVD — a 24 minute adaptation of that story directed by Jacob Cooney. Get it soon, because this product is limited to 1000 copies, and there are signed editions available. Remarkably, this is the very first cinematic adaptation of Ligotti’s work — and I must say, it’s an excellent treatment, co-scripted by Ligotti himself, intensely directed, and well-acted.

In my Goreletter reviews, I try to shine light on (mostly independent) “print” books because I feel that other media already get plenty of press and attention. At first I didn’t want to review The Frolic here because it is a new film, but the truth is this edition is more of a multimedia “story event” than your usual DVD release. Here you’ll get a full-blown celebration of the short story in a perfect-bound paperback which features not only a “newly revised version” of “The Frolic” (which originally appeared in Ligotti’s first collection, Songs of a Dead Dreamer), but also an eyebrow-raising introduction by the author, the complete screenplay for the adaptation by Ligotti and his screenwriting partner Brandon Trenz, and also enlightening interviews with everyone involved with the production of the film. Indeed, the book is everything that would normally appear on a “special features” section of an ordinary DVD, but here the printed word is so well-respected that it truly celebrates Ligotti’s mastery as a storyteller above all.

In a nutshell, the short story itself is about the chilling effect a child killer named “John Doe” has had on his prison house psychologist, David Munck. The killer, who justifies his actions by claiming he steals children away to some unearthly place so they can “frolic” together, disturbs Munck at the core, chipping away at his “objective” scientific worldview and replacing it with the supernatural. This foments into sheer terror when Doe refers to a “Colleen” during an interview — a name that sounds a lot like his own daughter’s, “Noreen,” a name Doe couldn’t possibly know. Ligotti does a masterful job of fracturing Munck’s world, from his faith in science and his career to his family relations, and much of the horror of the story comes from its inevitable, unstoppable conclusion.

Read More from Gorelets Here

This is a 2 minute trailer for The Frolic – if you wish to dip your toe into Ligotti’s dark imagination -

Though I would recommend reading the story before viewing the movie, which is available online here, but remember my warning, ‘The Frolic’ is not for the faint of heart -

The Frolic - short film from Jacob Cooney on Vimeo.

And here’s a documentary detailing the making of The Frolic

And finally a reminder, it's all a flat circle folks, we hope you have a safe ride

True Detective Obsession

This feature contains spoilers – read with caution

With only a few minor issues, I consider TRUE DETECTIVE to be a ‘picture perfect’ crime thriller; combining existential philosophy, gothic horror, and serial killers into a tale of troubled men, investigating a very troubling series of killings along Louisiana’s coast in a post-Hurricane Katrina world.

The genesis of TRUE DETECTIVE comes from literature professor and writer Nic Pizzolatto who took a big risk in life, something that must be admired. Nic wrote a novel entitled GALVESTON a few years ago. It was critically acclaimed including praise from Shutter Island’s Dennis Lehane. The problem was it didn’t sell well, and was not published in the UK, but is now available as an ebook from Little Brown for Kindle and other platforms. As a debut novel, Galveston is an excellent crime-thriller, but also very dark and a perfect antidote for those suffering from withdrawal symptoms due to the end of TRUE DETECTIVE.

Following Pizzolatto’s disappointment that his debut novel Galveston didn’t sell well, his literary agent mentioned that a colleague asked ‘can this writer, craft a screenplay?’ Pizzolatto stepped up to the plate, resigned from his academic tenure and packed his family up and headed off to Los Angeles. He managed to get a job writing screenplays for the US remake of the Danish TV thriller THE KILLING [for AMC] and speculatively worked on his own original screenplay TRUE DETECTIVE. The submitted scripts provoked a bidding war, due to the unusual nature of the narrative structure, with HBO winning out against AMC and many others.

If you’ve read GALVESTON or watched TRUE DETECTIVE you’ll realise that Pizzolatto was influenced by Vince Gilligan’s BREAKING BAD. However what makes TRUE DETECTIVE a “game changer” in terms of TV crime-fiction, is its background in the gothic, and the weird. It is far from a conventional serial killer drama, for it combines existential philosophy, and ponders upon the true nature of consciousness and reality, referencing writers such as Arthur Schopenhauer, Emil Cioran, Immanuel Kant, Friedrich Nietzsche, Albert Camus, Jean-Paul Sartre among others – with the cosmic horror of Thomas Ligotti, Laird Barron, John Langan, Simon Strantzas and especially Howard Philips Lovecraft and the curious collection of stories THE KING IN YELLOW by Robert W. Chambers. During my teenage years, I was [and remain] an avid reader of the subgenre, ‘weird fiction / cosmic horror’ from writers such as Robert Bloch, HP Lovecraft, Clark Ashton Smith, August Derleth, William Hope Hodgson, Ambrose Bierce amongst many, many others.

The Wall Street Journal and I09 were the first, to realise that there was more to TRUE DETECTIVE than just a TV Cop show, as the influence of ‘cosmic horror’ was very evident -

This is a detective show, but the echoes of the bleak tradition of weird fiction don’t stop with Ligotti or Lovecraft. We learn in “True Detective” that the murder victim, Dora Lange, had said she had met a “king,” and that she kept a diary in which she mentioned “the Yellow King” and “Carcosa.” These come from Robert Chambers’ 1895 collection of weird stories, “The King in Yellow,” in which several of the stories are connected by a fictional play, about the titular ruler, which drives to insanity whoever reads it. (Chambers, likewise, took Carcosa from an Ambrose Bierce short story.) Chambers’ writing inspired Lovecraft’s work on what came to be known as the “Cthulhu Mythos.” Lovecraft even co-opted parts of Chambers’ mythology to include in his monstrous pantheon of “gods” and otherworldly locations.

Read More Here

I often joke that my eccentricity [and my interest in the existential nature of reality] is related to having read Robert W Chamber’s 1895 collection of weird stories [collected as THE KING IN YELLOW] as a teenager. Some of these peculiar stories reference a forbidden [and fictional] play THE KING IN YELLOW; that if read, makes the reader insane, such is the disturbing content of the narrative.

The KING IN YELLOW was a huge influence on HP Lovecraft on crafting his “Cthulhu Mythos.” Lovecraft referenced his own forbidden [and fictional] work the dreaded book “The Necronomicon”.  It was first mentioned in Lovecraft's 1924 short story "The Hound", written in 1922, though its purported author, the "Mad Arab" Abdul Alhazred, had been quoted a year earlier in Lovecraft's "The Nameless City". Among other things, the work contains an account of the ‘Old Ones’, their history, and the means for summoning them.

Apart from the weirdness, TRUE DETECTIVE features stunning visuals, an amazing title sequence [featuring the cult band HANDSOME FAMILY track ‘Far from any Road’], eclectic soundtrack, outstanding acting performances, edge of seat narrative and cinematography that takes your breath away, like the single-shot 6 minute sequence of the attack at the stash house in the “Projects” with Ginger and The Iron Crusaders that closes episode 4 – click here to view but have the Valium handy as it will shred your nerves.

Much has been written about the Rust Cohle character, played magnificently by Matthew McConaughey and his nihilism / pessimism about the human condition. It is obvious that Cohle has read, and is an advocate of Thomas Ligotti’s non-fiction philosophical work THE CONSPIRACY AGAINST THE HUMAN RACE.

When interviewed by the Wall Street Journal, Pizzolatto stated -

I read “The Conspiracy Against the Human Race” and found it incredibly powerful writing. For me as a reader, it was less impactful as philosophy than as one writer’s ultimate confessional: an absolute horror story, where the self is the monster. In episode one [of "True Detective"] there are two lines in particular (and it would have been nothing to re-word them) that were specifically phrased in such a way as to signal Ligotti admirers. Which, of course, you got.

The philosophy Cohle promotes in the show’s earliest episodes is a kind of anti-natalist nihilism, and in that regard all cats should be unbagged: “Confessions of an Antinatalist,” “Nihil Unbound,” “In the Dust of this Planet,” “Better to Have Never Been,” and lots of Cioran were all on the reading list.

This is before I came out to Hollywood, but I knew that in my next work I would have a detective who was (or thought he was) a nihilist. I’d already been reading E.M. Cioran for years and consider him one of my all-time favorite and, oddly, most nourishing writers. As an aphorist, Cioran has no rivals other than perhaps Nietzsche, and many of his philosophies are echoed by Ligotti. But Ligotti is far more disturbing than Cioran, who is actually very funny. In exploring these philosophies, nobody I’ve read has expressed the idea of humanity as aberration more powerfully than Cioran and Ligotti.

Read the full interview with Nick Pizzalotta here

Having read Thomas Ligotti’s THE CONSPIRACY AGAINST THE HUMAN RACE, I found it most enlightening, but must issue a warning – it should not be read by anyone suffering from clinical depression, because it reveals much about our plight as beings with a “deep consciousness” which is a blessing as well as a curse, because from our consciousness springs what we term Mortality Salience [or ‘Terror Management’]; as well as living and being aware that the random universe we inhabit is far from benign in nature. It also examines strategies to cope with the deep consciousness we’re bestowed with.

Such is the acclaim for Nic Pizzolatto’s work that HBO have given the green light for a second season, though it will feature different characters and a different storyline. Some viewers were so wrapped up in the ‘weirdness’ that they were perturbed at what they considered a ‘routine serial-killer’ riff in the conclusion. Perhaps they expected Childress and the Tuttles to reveal themselves bestowed with tentacles and originating from an alien dimension? I however was not disappointed as Rustin Cohle’s flashbacks such as the flashing lights when he was driving, the birds making the spiral or the universe opening above Carcosa to me was enough to indicate the ‘weirdness’ or if you prefer, the residual effect of drug use when he was an undercover police operative.

I have only two minor issues with TRUE DETECTIVE, and they are minor when contrasted against the 8 hour ride, and both relate to the last episode.

[a] When Martin Hart is asking one of the black cops if he’d like the call when they uncover the killer, the black cop address Hart “..hey white man….” This piece of dialogue was jarring and totally out of context. But this is minor when compared to every other line of dialogue from Pizzolatto, so forgiven.

[b] The clue of the ‘green ears’ and the paint was a little too stretched in logic for me in tracing Childress’ abode Carcosa, but again a minor point.

Two other observations that bother some viewers [but not me] where –

[a] Not all the loose ends were wrapped up, like the influential Tuttle family seemingly getting off the hook. But hey, welcome to reality, life is rarely wrapped up neatly in a bow, and yes the rich and powerful often get away from their evil deeds, sometimes.

[b] Some people couldn't cope with the complexity of the story, the time zones, the density of the narrative, the sexual imagery, all making it hard work to watch the show. This for me was actually a major plus point. I love narratives that provoke thought, not just a mindless array of action and explosions, and narratives that make the reader / viewer work for their entertainment, gaining enlightenment on the way. 

Though Nick Pizzolatto seems to realise, that it was perhaps the weirdness in TRUE DETECTIVE that lured and obsessed many of the viewers; me included as he stated in this interview when the show closed -

I don't know where you are in working on season 2, but has any of the reaction to this season informed what you're doing with the next? 

Nic Pizzolatto: It's informed exactly one thing. It's that I realize I need to keep being strange. Don't play the next one straight.

Can you tell me anything at all about season 2? 

Nic Pizzolatto: Okay. This is really early, but I'll tell you (it's about) hard women, bad men and the secret occult history of the United States transportation system.

Finally, you wrote this entire thing in a vacuum, as someone relatively new to television, not knowing how it was received. And the show comes on, and people go nuts about it, they are penning raves, coming up with elaborate theories about the Yellow King and Lovecraft and everything else. How did it feel to see your creation being received in all of these ways? 

Nic Pizzolatto: I felt like, look, it's all good, and I really mean that. To me, that is what it means to connect and resonate with people. It means that they are going to project onto the work. There's never been anything I didn't love that I didn't connect with on a personal level because to some degree, I projected upon it. That said, I think I've made clear that my only interest in the Chambers stuff (Robert W. Chambers wrote "The King in Yellow") is as a story that has a place in American myth. And it's a story about a story that drives people into madness. That was mainly it. Beyond that, I'm interested in the atmosphere of cosmic horror, but that's about all I have to say about weird fiction. I did feel the perception was tilted more towards weird fiction than perhaps it should have been. For instance, if someone needs a book to read along with season 1 of "True Detective," I would recommend the King James Old Testament. I wouldn't tell anyone to go buy Robert Chambers. It's not that great a book. Joseph Conrad and William Faulkner I think are in there far more than Chambers or Lovecraft. But again, I guess I hope that these 8 chapters, once the totality of it is evident, it might provoke a re-evaluation. But if it doesn't, I'm very happy with the reaction we've had. It couldn't have been better. I'm just surprised by it. I remember talking to you three months ago and having to convince you: "This just sounds like every other show," "I know, I know." And now my wife read a comment the other day that said I live out in the desert, and I run some kind of cult. (laughs) I don't know what I can say about that. I think this show answers everything it told you to ask. The questions it didn't tell you to ask are questions best left to one's self.

Read more here about Nic’s thoughts now that season one of TRUE DETECTIVE has run its course, burning itself into our psyche and what lies ahead in season two.

The series concluded with a wonderfully melancholic song ‘THE ANGRY RIVER’, specially commissioned for the series, which HBO released as a video, which choreographs the dark lyrics of T Bone Burnett to some startling imagery.

Though we must issue a ‘spoiler warning’ in case you haven’t seen TRUE DETECTIVE [and are waiting for the DVD release] as the video contains elements spliced from all of the 8 episodes.

THE ANGRY RIVER by “The Hat” [featuring Father John Misty & S. I. Istwa)]

Music by T Bone Burnett, Rhiannon Giddens and Gabe Witcher
Lyrics by T Bone Burnett
Produced by T Bone Burnett