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Author: markrigney

Mark Rigney is the author of numerous plays, including Ten Red Kings and Acts of God (both from Playscripts, Inc.), as well as Bears, winner of the 2012 Panowski Playwriting Competition (during its off Broadway run, Theatre Mania called Bears “the best play of the year”). His short fiction appears in Witness, Ascent, Unlikely Story, Betwixt, The Best of the Bellevue Literary Review, Realms Of Fantasy, Lady Churchill’s Rosebud Wristlet, and Black Static, among many others. “The Skates,” a comic (and ghostly) novella, is now available as an ebook from Samhain Publishing, with two sequels forthcoming, “Sleeping Bear” (Feb. 2014) and the novel Check-Out Time (autumn, 2014). In non-fiction, Deaf Side Story: Deaf Sharks, Hearing Jets and a Classic American Musical (Gallaudet University Press) remains happily in print one decade on. Two collections of his stories are available through Amazon, Flights of Fantasy, and Reality Checks. His website is www.markrigney.net.
In Praise of Little, Big by John Crowley

In Praise of Little, Big by John Crowley

Little Big-smallOne of the great pleasures of adulthood is stumbling onto those unexpected moments when the world reveals that it still has secrets to impart. John Crowley’s novel Little, Big provokes in me exactly that response.

Those who have read the book fall into two distinct categories. The first group raises baffled eyebrows and perhaps does not even make it through Book One; when this group sat down to order, this is clearly not the meal they expected or wanted. The second group adores Little, Big, and can barely speak coherently about it for fear of needing to sit down suddenly or perhaps burst into a gully-washer of hand-wringing tears. I belong to the latter crowd and what I love best about Little, Big (1981) is that I have only the most limited understanding of why the book affects me as it does.

Let’s face it, I read books now as a writer, which means I am in the business of unpacking the techniques and hidden machinery of every tome I plunder — sorry, not plunder: read. I really meant to say “read.” Plunder is for pirates.

My point remains: the better the book, the more I want to plumb its mysteries, vivisect its wildly beating heart, and fully behold what makes it tick.

With Little, Big, I remain largely in the dark. In the dark, and in tears.

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Adventure On Film: Paperhouse

Adventure On Film: Paperhouse

By and large, if I had to drop one decade from the annals of cinema, it would be the eighties,SK-Paperhouse-1-334x500 but that period did come up with its share of winners.

One of the eighties’ forgotten gems is the fantasy-horror hybrid, Paperhouse (1988), a British release that did its best to compete with flicks like Heathers for Cineplex space, and failed. U.S. gross, according to the internet movie database, was just over $241 thousand. Sad. Paperhouse deserved better, much better.

Spoiler-free, the plot follows Brit tween Anna, curious about lipstick but not yet ready for boys, as she succumbs to a severe case of glandular fever.  The disease leaves her prone to vivid dreams, all of which stem from Anna’s crayon drawing of a bleak, lonely house. Whatever Anna adds to the house manifests itself in her dreams, and what starts out as a bit of a lark (think Harold and the Purple Crayon) quickly turns sour. Hardly twenty minutes in and it becomes clear that Anna may well have planted (or drawn) the seeds of her own destruction.

Having just read Violette Malan’s piece on John Gardner (On Moral Fiction) right here at Black Gate not a week before sitting down to re-watch Paperhouse, I couldn’t help but be struck by the film’s parallels to Gardner’s own arguments in favor of “moral” art and criticism. But what Gardner posits in his book he pursues by Socratic argument, in essay form; Paperhouse cleverly crafts those same questions into a cohesive dramatic whole.

Yes, the movie can be enjoyed on a purely surface level, without ever ceding the floor to philosophy, but make no mistake, this little chiller has a great deal more on its mind than things that go bump in the night, which is why it holds up so well, twenty-five years on.

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Fantasy Out Loud IV

Fantasy Out Loud IV

ReluctantBack in 2011, I penned the first in this occasional series with an attempt at rating and relating the fantasy titles I’ve read aloud to my boys, then aged seven and eleven. They’re now two years older and two years larger, if not wiser (though they are sometimes that as well).

Sadly, older child Corey no longer cottons to a bedtime story.

Evan, however, is not only game, he’s adamant that he receive his daily dose of out-loud fiction. The question as always is what to read? What’s appropriate? And what does “appropriate” even mean?

Right now, Evan’s big wish is to see Catching Fire in the theaters. He was too young for The Hunger Games, but he’s now read all the books (on his own, like most of his fourth grade classmates), and seems quite keen to revel in the filmic gore of Panem bloodletting. We’ll see.

While that debate simmers, the fare of late has included L. Frank Baum’s The Magic Of Oz, Colin Meloy’s Wildwood, Mollie Hunter’s The Walking Stones, and Avi’s Crispin: The Cross Of Lead. Plus a short, Kenneth Grahame’s “The Reluctant Dragon.” Evan chose the Oz title, and I chose the other four.

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Skyfall: In Which a Pulp Hero Meets the 21st Century

Skyfall: In Which a Pulp Hero Meets the 21st Century

Skyfall_wallpaper1 Let me offend as many readers as possible right at the start by stating that Daniel Craig is the best James Bond the screen has yet known. The man is equal parts chiseled granite and lithe predator; he has charm, but he withholds it whenever possible, forcing us to catch it on the sly, as if we’re at a peepshow. Nobody in movies today looks better in a suit.

Yes, Sean Connery was great, but the role of Bond requires a greater world-weariness than Connery, at least in his nineteen-sixties roles, could bring. Roger Moore brought out 007’s upper-crust prep school tastes, but he was never believably dangerous; he actually needed Q’s endless gimmicks to survive, as Craig surely does not. The various Bond inhabitors since have filled the shoes without fleshing out the man. Only Craig does justice to the flinty, ruthless public servant that Ian Fleming originally envisioned, without reducing the character to a dusty fifties history text: Cold War Tactics 101, With Style. Daniel Craig makes 007 both contemporary and relevant.

Skyfall (2013) opens with a shot of an approaching figure, out-of-focus, stalking down a dim corridor. When the figure gets close enough, the image locks on at last: it’s Bond, of course, weapon in hand, but the initial blurriness is central to the film. Skyfall presents James Bond between epochs, uncertain of his exact identity and purpose. Is he still a tool of the Cold War establishment, of traditional spy vs. spy operations, or does the world now require him to be something new? To be (as he is in the extraordinary credits sequence) reborn?

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Star Trek: Nemesis, One Generation’s Final Frontier

Star Trek: Nemesis, One Generation’s Final Frontier

NemesisposterLet it be known that I missed the release of Star Trek: Nemesis because, in 2002, I was busy shepherding the next generation of science fiction fans into this wondrous, weary world. Eleven years later, I finally have the time to rectify that deficiency.

If the initial appeal of Star Trek (the TV series) was interstellar adventure coupled with wear-it-on-your-sleeve humanism, the long term attraction has proven to be much like that of visiting extended family, the kind of affable clan where reunions are always a treat.  Even if the vehicle in question is a stinker (Star Trek: The Motion Picture et al), a certain pleasure remains simply in spending a few hours in the company of trusted, far-flung friends.

Sure enough, good company is the chief pleasure of the Next Generation’s final outing. Nemesis proves to be a convoluted, shadowy film that trots out any number of sci-fi standbys (baddies in stiff vinyl costumes, fearsome ships much larger than the Enterprise, and diplomatic missions fraught with duplicity and danger), but it’s not by any means a disaster. Gone are the bright scarlet and black uniforms of old; now that the crew has aged a bit, a more somber black-and-heather-blue attire holds sway. Perhaps this is metaphorical? More than a few of our old friends do seem to be feeling the miles. Two exceptions: newlyweds Deanna Troi and Will Riker both look better than ever. Actors Mirina Sirtis and Jonathan Frakes are lucky people; age has brought out a rugged sturdiness to their familiar faces.

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The Uses of Ghosts

The Uses of Ghosts

living-with-ghostsWhile Black Gate readers may (fairly) view me as a sword-and-sorcery writer, thanks to the Tales Of Gemen the Antiques Dealer, a good many of those who have stumbled across my fiction might (fairly) think of me as a horror writer. Since I never expected to fall into that particular category, I’ve been doing a good deal of soul-searching as to the value of what I’m up to – the value, as it were, of basing so much of my tale-spinning on the supernatural instead of, for example, “real life.”

Dare I take this moment to point out that an entirely different set of readers might quite reasonably think of me as a writer of literary fiction?  Yeah, I wear that hat, too.

This odd combination of multiple caps has led me to the following conclusion: ghosts are a tool in the writer’s toolbox, as specific as more established weaponry like setting, length, voice, and theme.

Without further ado, I offer my list of why Things That Go Bump In the Night have worth. I don’t expect this to be an exhaustive list, but I trust that I have made a good start. Perhaps you, gentle reader, will be inspired to add to the till?

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Unlikely Story: BG Interviews the Editors

Unlikely Story: BG Interviews the Editors

Closed dooers slider2It’s been nearly three years since The Journal of Unlikely Entomology made its first appearance, and while this multi-legged publication focused initially on that fertile but narrow intersection of spec fic and bugs, the magazine has since branched out, changed its name, and adopted a rolling series of varied themes (the latest being the upcoming Journal of Unlikely Cryptography, now accepting submissions).

Unlikely Story pays pro rates for fiction, a rarity these days, and manages to make the stories they present look sharper than switchblades by moonlight.  Here’s my interview with editors A.C. Wise and Bernie Mojzes.


Unlikely Story has not only shortened its name, you’ve upped the pay rate. Nobody does both those things in one short span.  Have you gone quietly mad?

A.C.: That implies we weren’t mad to begin with… I mean, we started off publishing a magazine exclusively about bugs, how sane can we be?

Bernie: Indeed.

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Adventure On Film: Planet Of the Apes

Adventure On Film: Planet Of the Apes

original.0I missed nearly all the seminal pop culture of my youth. When in eighth grade Andy H. asked me which I liked better, AC/DC or Pink Floyd, I honestly couldn’t answer the question. I was also much too tongue-tied to ask Andy if he’d ever heard of Doctor Who, which I’m quite sure he had not.

Anyway. One of the major events that I missed was Planet Of the Apes. True, Planet is from 1968, and I was only born in ’67, but even so, kids at my school through at least my sixth grade year sported Planet Of the Apes lunch boxes, thermoses, backpacks, and t-shirts. Planet Of the Apes (whatever it was) was cool.

My hipper-than-I friends informed me that Planet regularly played in re-runs on TV, and of course there was the short-lived spin-off series made specifically for the telly (1974). How was it that I had missed all this? Simple: I was building dams in the tributary streams of the Olentangy River, using whatever was handy: stone knives and bearskins, that sort of thing. I knew better than to explain.

Now that I’m older than Methuselah, or at least rapidly catching him up, I figured it’s time to see precisely what I’d missed.

And you know what?

If it weren’t for the execrable presence of Charlton Heston, it’s not half bad.

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New To View: An Interview With Betwixt‘s Joy Crelin

New To View: An Interview With Betwixt‘s Joy Crelin

Betwixt Magazine Issue 1Fantasy and sci-fi markets come and go (as, in fact, do periodicals in general). Most don’t survive six months. Some, however, have an aura of staying power, even right out of the gate; it shows in their guidelines, in the way they present themselves to the watching, skeptical world. One such magazine is Betwixt. I recently posed a few questions to Joy Crelin, editor and publisher of Betwixt, to quiz her about her hopes for her new venture and to take her pulse on all things spec fic. Whether you’re a writer, a reader, or a magazine publisher, you’ll want to hear what she has to say.

There are a fair number of fantasy mags and ‘zines on the market. Where does Betwixt fit in the pantheon?

As Betwixt is still so new, its editorial point of view is still evolving — and honestly, I expect it will continue to evolve indefinitely. The gist of the magazine’s ethos is deliberate eclecticism. When it comes down to it, I want to publish the kinds of stories I want to read. That means fantasy, science fiction, horror, magic realism, slipstream, whateverpunk, and all the configurations and mash-ups and niches thereof. I like having the freedom to publish stories that speak to me without having to decide whether they conform well enough to someone else’s expectations of what a fantasy or science fiction story should be — or my expectations, for that matter!

At the same time, I recognize that eclectic can often read as wishy-washy, so it’s important to me that there be at least a degree of internal consistency in each issue of the magazine. Overarching themes tend to develop in most collection works I edit, whether I expect them to or not, and so far Betwixt has been no exception.

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Adventures On Film: Pan’s Labyrinth

Adventures On Film: Pan’s Labyrinth

Heart of Summer Having panned Merlin some weeks back, it’s time to dive headlong into one of the best fantasy films of this century, and possibly one of the best, period.

Yes, Pan’s Labyrinth (2006) is that good. Director Guillermo del Toro, he of Hellboy fame, was clearly out to prove that given solid material, sufficient devotion, and a lack of Hollywood oversight, he could deliver a contender.

True, Pan does invite several divisive questions, such as why must contemporary filmed violence be so jarringly graphic? Del Toro loves jets of blood almost as much as that eternal child-man, Quentin Tarantino, and he indulges himself more than once along his tale’s labyrinthine path. But is it necessary?  Does the vivid bloodletting aid the narrative? Pan is a hybrid, true, a film about war and revolution, and such chronicles cannot easily avoid bloodshed. But as anyone who has ever seen Pan’s sewing and stitching scene can attest, this movie achieves prime “I can’t look!” status. It’s visceral; it hurts.

Pan’s Labyrinth (El Laberinto del Fauno) also begs a second question, perhaps even more sinister: is it allowable to put a child (or child character) into such peril? Pan doesn’t pull its punches. Our heroine, young Ofelia (played with no affectation whatsoever by Ivana Baquero), is in mortal danger throughout this film, and unlike, say, Harry Potter or Buffy (Slayer of the Dentally Challenged Undead), there is no guarantee she will survive.

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