“Hunters in the Snow”—A Short Story by Tobias Wolff, 1981

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Hunters in the Snow

Tobias Wolff, 1981


Tub had been waiting for an hour in the falling snow. He paced the sidewalk to keep warm and stuck his head out over the curb whenever he saw lights approaching. One driver stopped for him, but before Tub could wave the man on he saw the rifle on Tub’s back and hit the gas. The tires spun on the ice.

The fall of snow thickened. Tub stood below the overhang of a building. Across the road the clouds whitened just above the rooftops, and the streetlights went out. He shifted the rifle strap to his other shoulder. The whiteness seeped up the sky.

A truck slid around the corner, horn blaring, rear end sashaying. Tub moved to the sidewalk and held up his hand. The truck jumped the curb and kept coming, half on the street and half on the sidewalk. It wasn’t slowing down at all. Tub stood for a moment, still holding up his hand, then jumped back. His rifle slipped off his shoulder and clattered on the ice; a sandwich fell out of his pocket. He ran for the steps of the building. Another sandwich and a package of cookies tumbled onto the new snow. He made the steps and looked back.

The truck had stopped several feet beyond where Tub had been standing. He picked up his sandwiches and his cookies and slung the rifle and went to the driver’s window. The driver was bent against the steering wheel, slapping his knees and drumming his feet on the floorboards. He looked like a cartoon of a person laughing, except that his eyes watched the man on the seat beside him.

“You ought to see yourself,” said the driver. “He looks just like a beach ball with a hat on, doesn’t he? Doesn’t he, Frank?”

The man beside him smiled and looked off.

“You almost ran me down,” said Tub. “You could’ve killed me.”

“Come on, Tub,” said the man beside the driver. “Be mellow, Kenny was just messing around.” He opened the door and slid over to the middle of the seat.

Tub took the bolt out of his rifle and climbed in beside him. “I waited an hour,” he said. “If you meant ten o’clock, why didn’t you say ten o’clock?”

“Tub, you haven’t done anything but complain since we got here,”

said the man in the middle. “If you want to piss and moan all day you might as well go home and bitch at your kids. Take your pick.” When Tub didn’t say anything, he turned to the driver. “O.K., Kenny, let’s hit the road.”

Some juvenile delinquents had heaved a brick through the windshield on the driver’s side, so the cold and snow tunneled right into the cab. The heater didn’t work. They covered themselves with a couple of blankets Kenny had brought along and pulled down the muffs on their caps. Tub tried to keep his hands warm by rubbing them under the blanket, but Frank made him stop.

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What’s on the Tube? “The Damned”—A 2013 IFC Midnight Film, Directed by Víctor García. ⭐️⭐️⭐️

What would you do if, after seeking shelter from a flash flood, you found a young girl padlocked in a room in the basement of creepy old house in Colombia? … Let her out?

The Damned—an IFC Midnight film is streaming on Netflix. ⭐️⭐️⭐️ It’s other name is a better name I think, since the house used to be a hotel called Gallows Hill, although, why a name like that would draw guests to stay overnight is beyond me.

It has a few subtitles here and there, for clarification’s sake, but the film is in English. I’m about a half of the way through and so far I really like it. I suppose it could go either way—but usually, if I like a movie by half-way in, it turns out to be a worthwhile watch for me. The film has a nice atmosphere. It won an award in 2015 and was nominated for another. Here are some links…

Awards:

At Premios Macondo (2015)-Festival Award Winner for Best Make Up Artist: Olga Turrini Bernardoni; and at Sitges – Catalonian International Film Festival (2013)-Maria Nominee for Best Motion Picture.

Blurb:

The Damned, also known as Gallows Hill, is a 2013 American horror film directed by Víctor García. The film stars Peter Facinelli, Sophia Myles, Nathalia Ramos, and Carolina Guerra. The film features a family and group of friends stranded in a storm and looking to seek refuge in a house with an ancient evil presence. The film was produced by Peter Block, Andrea Chung, and David Higgins, and is a joint Colombian and American production. The film had its world premiere at the Sitges Film Festival on October 17, 2014 (nominated Best Picture) and was released on video on demand on July 25, 2014, before a limited release by IFC Midnight on August 29, 2014.

More Here (Spoilers!):

https://en.m.wikipedia.org/wiki/The_Damned_(2013_film)

https://www.indiewire.com/2014/02/ifc-films-nets-thriller-gallows-hill-30226/

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A Suggestion of Ghosts, Supernatural Fiction by Women 1854 – 1900, ed. by A. J. Mains, from Black Schuck Books

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Table of Contents

  • A Veritable Ghost Story by Susanna Moodie
  • The Spectral Rout by Frances Power Cobbe
  • A Legend of All-Hallow Eve by Georgiana S. Hull
  • The Ghost of the Nineteenth Century by Phoebe Pember
  • The Ghost Room by Clara Merwin
  • Miss Massereene’s Ghost by E.A. Henty
  • Vindication of the Supernatural by Manda L. Crocker
  • The Warneford Abbey Ghost by Ada Maria Jocelyn
  • A Speakin’ Ghost by Annie Trumbull Slosson
  • The Closed Cabinet by Lady Gwendolen Gascoyne-Cecil
  • The Little Green Door by Mary Eleanor Wilkins Freeman
  • The Death Spancel by Katharine Tynan
  • The House That Wouldn’t Let by Mrs Hattie H. Howard
  • At the Witching Hour by Elizabeth Gibert Cunningham-Terry
  • The Oakleigh Ghost by Annie Armitt

About the Book

British Fantasy Award-winning editor J.A. Mains presents an all-female anthology of supernatural stories, first published between 1854 and 1900. Mains has trawled the archives to find fifteen tales which have not seen print since their original publications. Featuring cover art from multiple time British Fantasy Award-winner Les Edwards, and an introduction by Lynda Rucker, A Suggestion of Ghosts is an important volume for those interested in the Victorian era of supernatural tales.

Black Shuck is very proud to announce the first of two ghost story anthologies from Johnny (A J) Mains, an all-female anthology of ghost stories written from 1826 – 1897. Johnny has been deep in the cobwebbed archives of decaying periodicals, collections and newspapers and has found British, Irish, American and Australian stories that have never been anthologized since their original publication up to 190 years ago. Mains is thrilled that he can also attribute the correct authorship to ‘The Closed Cabinet’ to Lady Gwendolyn Gascoyne-Cecil, which has been continuously published under the by-line ‘Anon’ since its original appearance in Blackwood’s Edinburgh Magazine in January of 1895.

Mains feels that A Suggestion of Ghosts will be an invaluable book for those desperately seeking to read and research supernatural tales which have long faded away and have been forgotten about.

There will be a limited hardback edition of 100 numbered copies, with artwork by Edward Miller (Les Edwards) and Mike Mignola. The book will also be signed by Mains and Edwards. A Suggestion of Ghosts will also contain original publication dates of stories and biographies of the authors.

Two months after the publication of the hardback, there will be a simultaneous paperback and e-book release, this will contain two stories less than the hardback.

Read more: http://vaultofevil.proboards.com/thread/6591/suggestion-ghosts-mains#ixzz5TjqFSWHV

Link to Buy the Paperback

https://blackshuck.greatbritishhorror.com/a-suggestion-of-ghosts/

What’s on the Tube? Killer Legends–A Documentary from the Makers of Cropsey…

I thought Cropsey was a stellar documentary. So I’m eager to watch Killer Legends, this filmmaker’s second documentary about Urban Legends and there possible sources. Check it out, now, streaming on Netflix!

Killer Legends (One Sheet) 2014

For those unaware, like I was, but apparently, social scientists are trying to re-brand urban legends as “contemporary legends.” Well, whatever the label, what these legends basically boil down to is modern folklore or oft told tales — usually with a macabre element or an ironic twist to them, deeply rooted in popular culture, with just a hint of plausibility to keep the gullible hooked enough to keep passing them along. These tales are used as fables, parables, possible explanations for strange occurrences or events, but, more often than not, they are used as cautionary tales that usually happened to a friend of a friend of a friend or someone’s cousin’s uncle. And one of the prime examples of an urban legend is the tale of ‘The Hook.’

It begins with a young couple parked in a secluded lover’s lane engaged in some premarital necking. And as hormones rage, passions heat up, and few hickeys are born, the music on the radio is interrupted by a breaking news bulletin revealing an escaped mental patient / mad-dog killer has just escaped from a nearby asylum / prison; and this fugitive has one very distinguishing characteristic: one of his hands is missing, and has been replaced with a stainless steel hook — which he used to murder several people. The bulletin ends with the authorities encouraging everyone to stay indoors until this madman is captured. Of course, the girl is frightened and wants to head home. The boy, who was >this close< to getting to second base mere moments ago, scoffs, saying the killer is probably miles away. And as the minutes tick by while they argue about what to do, a sudden scraping outside her door frightens the girl so much the boy finally gives up and drives away. But when he gets to her house, ever the gentlemen, he exits the car and hoofs it around the hood to get the door for her. And there, caught on the passenger side handle, hangs a torn-off stainless steel hook covered in blood.

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There’s writing rules, and then there’s Chuck Wendig

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The Cat's Write

In my first big edit of my current WIP, I was keeping an eye out for simple spelling and grammar mistakes and glaring plot holes. Now that I am doing another more thorough edit of my novel, all I had to do was look up ‘Words to avoid while writing’, and I uncovered a whole new, confusing web of knowledge that makes my brain ache.

I’ve identified flabby words to chop, clichés to seek and destroy and words that can rob writing of its power. I have a humongous list of ‘words to eliminate’ that are often the culprits of jagged, uneven prose that can make a reader’s eye quiver uncomfortably.

Now all I want to do is buy an editing package so I can get someone else to do all the hard work for me.  If only I wasn’t so poor and it didn’t cost around AUD$1,500 to get my 70,000 word novel done (though I do think it’s…

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Beyond the First Draft: The Art of Fiction by John Casey—Preamble + Chapter 1: “Dogma and Anti-dogma” + Link…

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PREAMBLE

These essays aren’t the alpha and omega of good advice, but they aren’t the ABC’s either. Perhaps the first one is. “Dogma and Anti-dogma.” They contain some notions of my own and a lot of help from Aristotle to Zola.

Most of them were originally presented as “craft talks” at the Sewanee Writers’ Conference over the last twenty years or so. A few of them were answers to specific requests. I’ve edited and in some cases rewritten them.

I remember Stanley Elkin starting one of his Sewanee craft talks by saying, “It’s . . . hard . . . to talk about . . . art.” He said this very very slowly. He paused for a while. Because Stanley was a man of many humors, most of them humorous, a few prankish, some people thought that first sentence might be all he was going to say.

I’ll bet he was tempted. He certainly milked the pause.

Of course he went on. With that first sentence he wasn’t apologizing or asking for indulgence. He was just setting the bar high. And then sailing over it. Crouched in his wheelchair he gave a funny, grouchy, instructive talk.

It’s hard to talk about art—so we should all be nervous. It’s hard to talk about art—but I’ve been around the block.

That’s Stanley I’m channeling. I’m not so sure I’d put it like that. I’d rather say I’ve been into the woods a lot. Sometimes I found the trail. Sometimes I lost it. Sometimes I had to spend the night in a pile of dead leaves.

These essays are suggestions about things to do, things to think about, when your writing has got you lost in the woods.

CHAPTER ONE: DOGMA AND ANTI-DOGMA

The dogma isn’t meant to crush your first draft. Think of these venerable sayings as hints from Tarot cards or the I Ching.

A common thing people ask me about writing classes is “Can you teach someone to write?”

I have two answers.

The first is no . . . but if someone is talented to begin with, I can save her a lot of time.

The second answer is also no . . . I can’t teach someone to write, but I can sometimes teach someone to rewrite.

For a long time I taught the way I’d been taught. I’d been in classes taught by Peter Taylor, Kurt Vonnegut, Vance Bourjaily, José Donoso, and what they did—after you turned in a story—was to tell you what they thought you’d done. Basically they’d say, “Here is what all those marks on the pages meant to me.”

And then I could figure out if that’s what I’d wanted to do—or if there was now something else I could do that looked better.

This holding up the mirror is a good way to be helpful to a beginning writer. Writing a story or a novel is like finding your way around a strange room in the dark. When you get through the first draft you think the light will go on. But it often doesn’t. At first you need a reader you can trust to tell you what you’ve done . . . and that there is or isn’t hope for this particular effort.

I think this process is useful because the majority of good beginning writers are at first less in love with structure or pattern and more in love with the words in a foolish but sweet way.

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