The teaser trailer for my new film, Spaces and Reservations.
Brendan Prost has released consistently interesting, personal, and ambitious work. I can’t wait to see his new film.
Unless credited to someone else, all poems, prose and writing are to be understood as the intellectual/creative property of Mike Thorn. All poems, prose and writing are not to be altered in any way. All poems, prose and writing of any kind are to be understood as completed on the posted date by Mike Thorn. Please contact me via email or ‘Ask’ link if you’re interested in publishing any of my works in a physical or digital format (aside from reposts).
Thanks,
Mike Thorn
(Tuesday, May 10th, 2011) ask me questions.
Thanks,
Mike Thorn
(Tuesday, May 10th, 2011) ask me questions.
May 23, 2013
May 9, 2013
Winter Semester 2013: The Books I Read
Here’s a list of all the books I read from January to April 2013, organized by author/editor’s surname.
César Aira: An Episode in the Life of a Landscape Painter
Algernon Blackwood: Best Ghost Stories of Algernon Blackwood
Robert Bloch: Dragons and Nightmares
Gilles Boulenger: John Carpenter: The Prince of Darkness
Ray Bradbury: Something Wicked This Way Comes
Judith Butler: Gender Trouble
James M. Cain: The Root of His Evil
Ramsey Campbell: The Doll Who Ate His Mother
Truman Capote: The Grass Harp
Anne Carson: Autobiography of Red
Louis-Ferdinand Céline: Journey to the End of the Night
John Clute: The Darkening Garden: A Short Lexicon of Horror
Mark Z. Danielewski: House of Leaves
Jacques Derrida: The Gift of Death and Literature in Secret
Jacques Derrida: The Animal That Therefore I Am
Jacques Derrida: Genres, Genealogies, Genres, and Genius: The Secrets of the Archive
Philip K. Dick: Do Androids Dream of Electric Sheep?
Fyodor Dostoyevsky: The Gambler
Jack Ketchum: Off Season
Stephen King: Skeleton Crew
Stephen King: Insomnia
Stephen King: Under the Dome
Arthur Machen: The Great God Pan
Richard Matheson: A Stir of Echoes
Charles Maturin: Melmoth the Wanderer
Herman Melville: Billy Budd, Sailor
Frank Norris: McTeague
Sylvia Plath: Ariel
Edgar Allan Poe: Selected Writings of Edgar Allan Poe
Eden Robinson: Blood Sports
Marcel Schwob: The Book of Monelle
Tim Underwood & Chuck Miller (eds.): Fear Itself: The Horror Fiction of Stephen King
Tim Underwood & Chuck Miller (eds.): Feast of Fear: Conversations with Stephen King
Matthew Vollmer: Inscriptions for Headstones
Horace Walpole: The Castle of Otranto
May 6, 2013
Transverse Engine
This is magic realism in a Honda civic and the driver’s eyes are segmented like an insect’s. He quotes pop literature, perceives new colours, chain smokes cigarillos. He cruises rising crenellations of concrete hell, puffs grape smoke through the holes in his cheeks. We forget the goons in the back, ageless deadbeats who pass the test with designer clothes. They’re passing joints, they’re smoking hash, they’re packing the bong, they’re silent like a nuclear bomb. We navigate the voids of unseen avenues, we scoff at the abject and we ponder substance dualism. Someone says Daddy choked me with a skip rope when I was a kid and that’s why I’m lonely, that’s why I’m angry, that’s why I smoke, but nobody hears him. The station changes on its own accord, jumping from static to static, spectres of glitch pop and audio snow. We throw sizzling butts at a sick-faced vampire thumbing for a ride, we shower him in sparks, we laugh, we smoke avarice, we burn endless fuel. We’ve got five years left and ain’t it a shame, five years left and the gauge keeps dipping from “F” to “E.”
May 4, 2013
REPENTINO PRE-ORDER FORM.
Order your copy of Repentino now! If you have any accepted work being featured in the magazine (check your emails) you receive one for free!
I have been published in this edition of Repentino. Order one. Support Mexico City’s vibrant writing scene.
-T
April 30, 2013
My Top 10 Horror Films
John Carpenter’s Prince of Darkness (1987)
Tod Browning’s Freaks (1932)
William Castle’s The Tingler (1959)
Andrzej Zulawski’s Possession (1981)
Tobe Hooper’s The Texas Chainsaw Massacre (1974)
James Whale’s Frankenstein (1931)
George A. Romero’s Martin (1977)
Roman Polanski’s Repulsion (1965)
Robert Wise’s The Haunting (1963)
Stanley Kubrick’s The Shining (1980)
Honorable Mentions: F.W. Murnau’s Nosferatu, eine Symphonie des Grauens, Jacques Tourneur’s I Walked with a Zombie, Don Siegel’s Invasion of the Body Snatchers, Alfred Hitchcock’s Psycho, William Friedkin’s The Exorcist, Brian De Palma’s Carrie, Dario Argento’s Suspiria, Werner Herzog’s Nosferatu: Phantom der Nacht, David Cronenberg’s Videodrome, Wes Craven’s A Nightmare on Elm Street, Frank Darabont’s The Mist, Lars von Trier’s Antichrist
Check out my complete, chronologically organized list of favourite horror films here
April 22, 2013
My 10 Favorite Horror Novels/Novellas
Melmoth the Wanderer by Charles Maturin (1820)
Frankenstein by Mary Shelley (1818)
House of Leaves by Mark Z. Danielewski (2000)
The Great God Pan by Arthur Machen (1894)
It by Stephen King (1986)
The Metamorphosis by Franz Kafka (1915)
The Turn of the Screw by Henry James (1898)
The Obscene Bird of Night by José Donoso (1970)
Dracula by Bram Stoker (1897)
The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson (1886)
Honorable Mentions: The Castle of Otranto by Horace Walpole, The Narrative of Arthur Gordon Pym of Nantucket by Edgar Allan Poe, At the Mountains of Madness by H.P. Lovecraft, The Invisible Man by H.G. Wells, The Haunting of Hill House by Shirley Jackson
April 9, 2013
Phantasm
Fuck, I say, fuck, the chainsaw is out of oil and the chain seizes and the saw won’t work without the chain, and the thing, the threat, is on the other side of the room, or maybe outside the house, or maybe closer than I think, hovering over the desk that’s become my bunker and the thing is an archetype, the savagery of collective unconscious, all aberration and bad intent, and the fucking chainsaw is out of oil, and a door opens, or maybe it’s my mind playing tricks on me, maybe, just maybe it’s someone coming to help, or maybe it’s the thing exhaling air that smells like a morgue, dragging impossibly long limbs along the floorboards, scraping fingernails along the door, and I drop the chainsaw because the fucking thing is out of oil and I dash across the room like a squirrel dodging BB shots, because there’s something in the room with me, and I wish I had asked someone to join me, I wish this sabbatical was a populated place, I wish there was somewhere to go, because I can hear it dragging, I can see the shadow, I can hear the breathing, I’ve been here before, I’ve yelled at the screen, I’ve closed the book…
April 3, 2013
Open Call For Submissions
Submit poetry, prose, and everything in between to us. We will publish it on our blog.
We look forward to hearing from you.
-The Inframantics
March 28, 2013
Discount Shrine
A song reserved for
headache sifting
in thrift store dust.
Political stage dress,
the sneezing smell of
drum machine overdose.
The floundering slurs
of semantic oppression,
a half-priced candidate
splatters the aisle to
leave a lasting mark.
March 24, 2013
Jacques Derrida Seminar Entry #7: The Work of Mourning (Sarah Kofman)
“At first I did not know—and I in fact still do not know—what title to give to these words.
What is the gift of a title?
I even had the fleeting suspicion that such a gift would be somewhat indecent: it would imply the violent selection of a perspective, an abusive interpretative framing or narcissistic reappropriation, a conspicuous signature there where it is Sarah Kofman …” —Jacques Derrida, The Work of Mourning
Here, in the introduction of his memorial piece for Sarah Kofman, Derrida already reaches an incredible aporia. He acknowledges that the existence of a title is innately laden with the (im)position of its author. In this piece, and elsewhere throughout the collection, Derrida grapples with the impossibility of mourning. How can the written word be, in fact, for the other, to the other?
Through his decision to efface the necessity of a title, Derrida aims to make the subject, Sarah Kofman, the centre of the piece. Nevertheless, he still encounters (and struggles with) the expansive distance that is established through written language. While he writes compassionately and fondly of Kofman, he cannot breach the paralyzing restrictions of personal inscription.
That is, although he makes a specific effort to sidestep “the violent selection of a perspective,” the entirety of his memorial essay is inevitably imbued with that very thing: the calculated and impossible encoding of perspective.
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Marlon Brando at the Congress of Racial Equality Demonstration in Torrance, California, 1963.
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Manhattan | Woody Allen | 1979
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Julien Donkey-Boy | Harmony Korine | 1999
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Spring Breakers | Harmony Korine | 2012
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Adventureland | Greg Mottola | 2009
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Sylvia Plath, 1953
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The Lords of Salem (Rob Zombie, 2012)
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“What are we afraid of, as humans? Chaos. The outsider. We’re afraid of change. We’re afraid that somebody’s going to steal our mushrooms in the...”
