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For a long time I've wanted to set up an online repository of my interviews, reviews and other writings ... and here it is! Use the Subject List to the right to select an author/topic and you will get all the entries which relate to the selected subject. Have fun browsing through!

Showing posts with label Kim Newman. Show all posts
Showing posts with label Kim Newman. Show all posts

Tuesday, 14 April 2020

KIM NEWMAN


Alternate dream universes peopled with Humphrey Bogart, Edward G Robinson and Peter Lorre, ancient vampiric creatures with the power to shape dreams into a pseudo-reality and a modern day messiah, whose aspirations become his followers' reality. Hardly your run-of-the-mill subjects for fiction, but then Kim Newman is not a run-of-the-mill author.

Born in 1959, Newman is today perhaps best known for his early 
morning slots on Channel 4, reviewing the latest film releases, but the sheer volume of research and work that has seen print mark him as an acknowledged expert in film subjects ranging from the macabre to the western. This love of film and literature spills over into his books, perhaps most evidently in his first novel, The Night Mayor, a whirlwind race through a film noir inspired nightmare. Jago is his most recent novel, with Bad Dreams being published between the two. 

If you thought that Newman had just written three novels, you 
would think wrong, as there are more to discover lurking under the pseudonym of Jack Yeovil. 'I acknowledge all my illegitimate children,' Kim, alias Jack, laughs. 'I make no attempt to conceal the fact that I write as Jack Yeovil as well.

'The reason I write as Jack is not to disassociate myself 
from that work, I'm just trying to say that these are different types of books. A good example is Ed McBain and Evan Hunter neither of whom are real people. They're really a guy called Sal Lombino, but I tend to see Jack Yeovil as the Ed  McBain and Kim Newman as the Evan Hunter.

'There are other, more practical, aspects like, for example, 
that no-one really wants to publish more than one book by an author a year and I felt that I could write more than one book a year, more than one type of fiction © I could keep two careers going at the same time.'

The first of the Jack Yeovil titles to see print was
Drachenfels (Games Workshop 1989). This is an adventure novel with a difference - a play is staged to celebrate the death of the evil Drachenfels, but the players stir up more than cobwebs and dust as the staging of the drama progresses.

I asked Kim what the chronology of his books was. 'I first 
wrote The Night Mayor in late 1982 as a novella but it became too long so I left it. Then in 1984 or 1985, I completed an initial draft of Bad Dreams which didn't sell and just hung around. Then, getting depressed, I sat down in early 1987 and wrote in a week a book called Bloody Students, which was, I suppose the first Jack Yeovil novel, although it wasn't a Jack Yeovil novel at the time! And from about 1979 onwards I was vaguely working on Jago.Then, in 1988, I decided to write The Night Mayor properly and that sold to Simon and Schuster! On the back of that everything else I had written sold as well. 

'
The Night Mayor wasn't the first book published though, I think Drachenfels came out first - by about two weeks!'

Jack Yeovil has so far written seven books. Five (
DrachenfelsDemon Download, Krokodil Tears, Come Back Tour and Beasts in Velvet) have been published by Games Workshop. A sixth title (Genevieve Undead) is still with them and it should see publication at some future date, and a seventh book is just available from Grafton Books. This is Bloody Students. 'That was written at a time when I'd been writing quite a while and I was just a bit depressed as nobody had bought my stuff,' recalled Kim. 'I reasoned that if I wrote a book in a week then, even if it sold for something pathetic, even if it sold for five hundred pounds, that would still be more than I'd earned in
a week before. And if it didn't sell - what was a week! I didn't actually give up anything - and I even took the weekend off as well.'

Bloody Students concerns a college©full of guys and gals doing what students do - talking, mixing, partying and so on. Then a virus is released and the kids start to succumb to its effects - mainly a feeling of well-being and a hugely enhanced sexual drive. Unfortunately this is followed by aggression and blood-lust - hence the title.

'It is a typical student novel in many ways, but I think I 
can exclusively reveal that the next Jack Yeovil that I want to do is a teenage slasher novel to be called Judy's Turn to Cry from the Lesley Gore song. It's about teenagers being horrible to each other in a Carrie sort of way.'

Poles apart from slasher novels is Kim's new book (under his own name this time) Jago. I wondered where that fitted into the wider picture. 'It started with various people sitting around the commonroom at Sussex University and talking about what we were going to do when we grew up. I knew I was destined for long term misery and unemployment - this was the first recession, Margaret Thatcher had just been elected, graduate unemployment was at an all time high, and I knew I had no future whatsoever, so it was suggested that I write a big thick bestselling novel.

'All I can say is that
Jago is big and thick, and that the original intention was to write a commercial book. I always wanted to produce something that was broader in its appeal than just to genre fans - those people who liked The Night Mayor and Bad Dreams. I also thought it would be nice to have something that didn't need as much explanation as for example The Night Mayor.

'The biggest influence, as with most people of my generation, was Stephen King's 'Salem's Lot. It's interesting, but I believe King got most of 'Salem's Lot from Grace Metalious who wrote Peyton Place. If you compare the two there are a lot of parallels that I think King added deliberately. He took the plot of Dracula and the setting of Peyton Place and combined them to superb effect. 

'I wanted to do something with that structure: lots of 
characters, a small community, with a good sense of the history of the community. A lot of feel about the past in it. I also wanted to set it in England, and I grew up close to a village that inspired the one in the book. Once I had the setting, I knew that it had to have a big idea to it and you can't get much bigger than religion. I'm interested in religion, and at the time I was outlining it there was a lot of talk about the Moonies, and subsequently the Scientologists, and that whole cult idea intrigued me a lot. 

'The book grew organically rather than being a pot pourri of 
ideas. It's taken a long time to write, but the central elements and characters have been there since the early '80s when I first outlined it. A lot of the images from the latter half of the book date from that period as well.'

The eponymous Jago is a self-styled messiah with the power to 
make others believe what he wishes them to believe and is a powerful and dangerous force in the novel. I commented that the reader is never allowed into Jago's head - you never know exactly who or what he is (or thinks he is). 

'The literary precedent for that is
Dracula, where you never really know Dracula. You see him in different forms but you don't get inside his head. Another influence that I wanted to get in the book was Wells' The Invisible Man. That has a great narrative structure, it has lots and lots of viewpoints but Griffin - the invisible man - isn't one of them, so he is invisible to you, the reader. Wells disguises it brilliantly by having a long section narrated by Griffin where he is telling you something direct - in fact he's telling someone else in the story - which means that you don't have to trust him. I thought that was a great pun on him being invisible, and what being invisible really means.'

With
Jago available in hardback, and Bloody Students published in paperback in November, I wondered what we could expect next from Kim/Jack.

'Certainly I think I'll be staying in the horror genre: the 
next three Kim Newman books I have  outlined have horror as their basis, but my whole outlook is that I don't want to write the same novel again. Many authors do, and in some cases I really like the original novel, but I don't want people to say "Oh, it's another Kim Newman book." I want them all to be different, to do something different with each book.

'What I would like to do next is a hardback collection of my 
short fiction, of which there is a substantial amount now, and I would like another novel out at the same time as Jago is published in paperback. At the moment that is what I am describing as a Steampunk Vampire novel. Victorian set,
alternate world novel with vampires in it. At the moment it's provisionally titled Anno Dracula and a novella, Red Reign, which will form the core of the book, will appear in Steve Jones' Mammoth Book of Vampires.'

Until then, we wish Kim Newman and Jack Yeovil good luck with 
their respective books ... and may the best man win!

Saturday, 1 February 2020

HORROR COMPANION - Kim Newman



David Howe talks to editor Kim Newman about an impressive new guide to the horror genre

There have been many books written about horror films. The first appears to have been a general overview of the genre by Michael Laclos called Le fantastique au cinema in 1958 but since then a countless number of works have been produced. The quality of these ‘guides’ has varied from photo-packed works which barely scratch the surface of the subject to Stephen Jones’ exhaustively compiled and beautifully presented Illustrated Movie Guides.

What has been missing, however, has been a good encyclopaedic view of the genre. Something that takes in not only the films – which tend to form the backbone of the genre – but also the film makers: directors, producers, stars, visual effects designers, make-up artistes; authors: of films and screenplays through to horror fiction; and also the themes: everything from ‘the old dark house’ to ‘witchcraft’ and ‘serial killers’.

The BFI Companion to Horror (Cassell, £19.99 lfp/b) sets out to redress the balance by providing just this sort of genre overview. Overseeing this massive task of chronicling over a century of horror is journalist, novelist and broadcaster Kim Newman. Newman has been influential in the genre for many years and has several previous works of non-fiction to his credit (including the seminal Nightmare Movies, first published in 1985 and re-issued in a substantially revised edition in 1988).

The story of the Companion to Horror started several years ago, when Newman was contributing material to The BFI Companion to the Western. ‘At the time,’ he explained, ‘I told the editor that if they were ever in the market for a horror volume, I’d like to throw my hat in the ring as a possible editor. We had lunch, agreed that it was a good idea, and then everything went quiet for several years while the deal was put together. I wanted to create a reference book that would give me a chance to encompass the whole genre rather than just pick at segments of it. This sort of book tends to be known by their editor rather than by title, and I quite liked the idea of there being a big book out there known as “Newman’s” alongside “Maltin’s” or “Halliwell’s”.

Once the green light was given for the project, Newman started defining what the book would cover.

‘The initial outlining was probably the most conceptually difficult bit of the book,’ said Newman. ‘I had to decide what the entries should be, how long they should run, and who should write them. Philip Strick and Phil Hardy were working in parallel on BFI Companions to Science Fiction and Crime, so I tried to avoid too much overlap with their areas.

‘The brief was to deliver around 200,000 words. Of course, this wasn’t long enough – it would have been easier to produce a book twice the size, and there are a great many pieces contained within the book I wish could have been longer. However, I worked very hard at the editing stage to keep it to length (it came in about 4000 words over).

‘In choosing the contributors, I decided who I wanted to work with – both established names in the field and newer, underexposed folks – and tried to give out batches of entries to people who were especially qualified – Tom Hutchinson did all the horror stars, for example. Steve Jones handled the character actors, Tony Mechele the TV series, Christopher Frayling the major themes, David McGillivray the animal entries, Mark Ashworth the starlets and so on. Some people – Alan Jones, David Prothero – were useful all-rounders. I personally tried to stay away from writing about people or themes I’d written about before, and I also did a lot of sweep-up work on those entries which were so brief that it was not worth commissioning them out.

‘In choosing what to cover, I decided that at least half of the entries would be mandatory – those on certain characters, actors, sub-genres, directors, writers. On top of all the people known for their horror work, I wanted to spotlight areas that impinged on the genre, and include entries on Ingmar Bergman and Franz Kafka as well as Wes Craven and Stephen King.

‘The main surprise once the book started to take shape was how complex and inter-connected everything turned out to be. There’s a difference between knowing a lot of facts and seeing them all assembled together, so you can cross-reference them.’

What marks the Companion to Horror out is the attention to detail that is contained within its pages. There are lengthy pieces, as you might expect, on Dracula and Frankenstein, but there are also significant articles on numerous directors including George A Romero, Roman Polanski and David Cronenberg. Horror authors are well catered for with entries on popular wordsmiths like James Herbert, Stephen King and Edgar Allan Poe as well as many lesser known talents like Ray Russell, Gary Brandner and Harry Adam Knight. Horror on television is also covered, with entries including Doctor Who, Ace of Wands and Chiller as well as Scooby-Doo, Where Are You?

The book is wonderful to dip into, with articles on over 500 films, 500 figures associated with the industry and 100 television series as well as numerous thematic entries. The entries range from a few lines to a couple of pages in length. Perhaps the only disappointment is that the book does not claim to be ‘complete’. Films have, on the whole, been omitted in favour of presenting previously unknown information on the genre, but this was a deliberate policy and allows the lesser known information to shine.

At a penny short of twenty pounds, the book is not cheap, but it is by far the best chronicle of the horror genre available. Newman, however, smiles when asked if he is pleased with the end result. ‘I’m just pleased that it got finished! Seriously, I hope it functions genuinely as a companion to the genre, and also that it fits in with the BFI’s publishing program. I assumed all along that people who buy it will already have a couple of books on the subject, and so I deliberately didn’t duplicate the efforts of previous authoritative works by including hundreds of capsule reviews of specific films. What this book does is try to make out the patterns that are larger than specific films – the themes, careers, ideas and recurrences that tie the genre together.’

The BFI Companion to Horror is arguably the most important genre book to be published so far this decade. Newman is already hopeful of being able to expand any future editions and with the groundwork already set, this can only cement this publication’s place as one of the most interesting, readable and accessible guides to the genre yet published.