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Ginger Nuts of Horror Review of Literary Stalker

December 4, 2018 Leave a comment

Here, Ginger Nuts main man Jim Mcleod playfully explores his scepticism of ‘meta-horror’ by writing a ‘meta-review’, but through grappling with the ideas he comes out positive about the whole concept:

In all seriousness, though Literary Stalker is an ambitious book and one that for the vast majority of its length works exceptionally well. This is a rich and slightly darkly comic novel that has a lot to say about the not so new culture of social media and the instant unearned quest for fame and validation…Keen could have taken the easy route and written this as a straightforward novel with a linear narrative, but Keen isn’t your average writer, and his use of a story within a story multidimensional narrative is more than just a gimmick, it takes reading experience into a whole new level of cleverness.

So here is yet another most generous review from a high profile critic or writer. Big thanks is due to Jim for the review and for hosting the interview and book excerpt, making up the package (see posts below). In January I will be contributing an article to Ginger Nuts LGBT+ Month, concerning the challenge of a straight author creating an authentic gay narrator for Literary Stalker, touching on the influence of gay novelists such as William Burroughs and Joel Lane, and looking at the phenomenon of the ‘gay novel’.

Read the full review on: The Ginger Nuts of Horror

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Ginger Nuts of Horror Interview with Roger Keen

November 22, 2018 Leave a comment

In conjunction with other Literary Stalker-related material on the Ginger Nuts site, this author interview deals with early influences, my views on horror literature, writing technique, social media and the process of being reviewed by peers. It contains thoughts about the semi-autobiographical and metafictional strands in The Mad Artist and Literary Stalker, and other things, such as the importance of character naming.

Could you tell the readers a little bit about yourself?

I went to art college in the 1970s and was very involved in the counter-culture scene of that era. I particularly loved the Beat writers, Burroughs and Kerouac, and surrealist painters such as Dali and Magritte. I painted for a while and then took up photography and filmmaking, and after college I worked in TV, including the drama series Robin of Sherwood in the ’80s. I’ve always liked Gothic fiction and movies, and in the ’90s I started writing horror stories and got into the scene, as it was then. More recently I’ve been reviving those associations because Literary Stalker is a return to the horror/crime genre and also it’s ‘about’ the horror-writing world.

What do you like to do when you’re not writing?

Watching films and TV and reading, naturally. I try to root out more obscure films and novels I’ve always meant to watch and read – and also classics – and when I finally get around to experiencing them it’s always rewarding. Also I like walking, sometimes in wild country such as the Lake District and the Alps, and occasionally I play golf and ski in winter. I’m a big fan of Indian food and West Country cider, usually in that order.

Read more on: The Ginger Nuts of Horror

Metacrime Murder Mystery: The Face on the Cutting-Room Floor by Cameron McCabe

December 21, 2017 Leave a comment

When I was thinking up ways of promoting my new book, Literary Stalker, I toyed with the word ‘metacrime’ – a compression of ‘metafictional crime’ – and I did a search to see how widely the term had been used before, and in relation to what. I discovered it was hardly in use at all, and the only work I came across that bore that particular label was the 1937 ‘Golden Age of Crime’ novel The Face on the Cutting-Room Floor by Cameron McCabe.

The search led me to an excellent review of the book by Ted Gioia, which is posted on a site Ted has dedicated exclusively to the phenomenon of Postmodern Mystery, also dissecting works by Borges, Nabakov, Flann O’Brien, Paul Auster and other writers familiar to me – I had never heard of Cameron McCabe. Further trawling revealed that at least three of my writer friends – Nicholas Royle, Andrew Hook and Christopher Fowler – had written about this mysterious man and his novel, so he was not perhaps as arcane as I’d thought, and I needed to discover more.

I expected to have to make do with a dog-eared and dubiously stained version of the tome, disingenuously described by the seller as in ‘very good condition’; but no, a new version has fairly recently been published by Picador Classics, coming with an introduction from Jonathan Coe and so many bits of front and back matter that it’s hard to know where Cameron McCabe’s own input ends and that of others begins – which is precisely what the novel is all about.

Coe’s introduction sets out the parameters and of course the name ‘Cameron McCabe’ is just a device – both a nom de plume and the protagonist/extremely unreliable narrator of the tale. Keeping the synopsis side of things simple, the plot involves the ‘murder’ of actress Estella Lamare, to which several characters confess, but which later, by means of hidden camera footage, is shown to be a suicide…maybe. But soon another ‘real’ murder takes place, and things resolve into a Crime and Punishment-like duel between McCabe, as witness and later suspect, and Inspector Smith, the sleuth on the case. Presently another important character, A. B. C. Müller, enters the stage, and everything is set for the most meta of meta-mysteries you could ever hope to find. Read more…

Roger Keen on Metacrime and Metahorror

November 13, 2017 Leave a comment

My colleagues at Darkness Visible have conducted this with interview with me, concentrating on the metafictional aspects of Literary Stalker and also touching on the broader aspects of ‘self-knowing’ fictionality in film and literature, citing some of my favourite examples:


 

Roger’s new novel Literary Stalker is a psychological crime thriller with horror overtones, but it’s also metafictional – that is, it has self-awareness about its fictionality – and Roger has used the terms ‘metacrime’ and ‘metahorror’ to describe this tendency within the genres the novel occupies. So, we thought we’d ask him explain a little bit more deeply about what he means, and give us some other examples.

Darkness Visible: Literary Stalker involves Nick, a writer who is composing a novel about revenge murders. Is it this layering of novels-within-novels that gives rise to the meta dimension you talk about? And how is this different from a novel taking place in the real world, as oppose to a fantasy, for example?

Roger: Yes, the layering is part of it, certainly, but only one aspect. And Nick indeed does inhabit the ‘real world’, but that ‘reality’ is constantly being called into question by what he does and thinks. As an ‘unreliable narrator’ Nick is in a league of his own! He’s writing his novel – The Facebook Murders – where the characters are effectively his real enemies (he even keeps the same names for the purposes of a first draft), and he gets his alter ego narrator, Jago, to murder them in stylised ways, as in the movie Theatre of Blood.

So his novel is a projection of his wishes, a realisation of the revenge he desires in real life. And as the story progresses, the lines blur, fiction and reality interchange, as Nick is progressively ‘taken over’ by his novel. Which is a very ‘horror’ idea, but because it’s ‘psychological’ rather than ‘supernatural’, it still retains ‘real world’ integrity – at least for most of the time. But throughout there are these ‘nudge-wink’ moments, and towards the end the metafictional undermining and rug-pulling gets stronger, till the twists at the climax which leave you wondering what exactly is ‘real’ and what isn’t.

Read more on Medium.

Roger Keen Interview: “I find the best kind of inspiration comes from unexpected things”

October 27, 2017 Leave a comment

Huge thank you to Hannah of The Dorset Book Detective for interviewing me about my writing and some of the ideas surrounding Literary Stalker.

The Dorset Book Detective

Roger Keen Author PicRoger Keen, filmmaker and psychological thriller writer, discusses his work and the influences behind it.

Tell me about how you came to define your writing style. What drew you towards writing thrillers?

When I started writing, I was initially drawn to literary fiction, particularly American countercultural writers such as Kerouac, Burroughs, Henry Miller and Richard Brautigan. But I also liked classic crime and noirish fiction, ranging from Poe and Conan Doyle to Raymond Chandler, Patricia Highsmith and Ruth Rendell. Later, I decided to write dark horror-type short stories, because there was a market for them in small press magazines, and literary stories were harder to place. The types of stories I liked to write were more psychological rather than supernatural, and more rooted in the real world than in the realms of Gothic fantasy. I was always interested in aberrant psychology and read about it widely, including true crime books…

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Literary Stalker, a Novel by Roger Keen

October 1, 2017 1 comment

Literary Stalker CoverThree years ago, in the autumn of 2014 – and extending into 2015 – I experienced a kind of creative fugue, which resulted in my entire ‘novelistic memoir’ approach to past, present and future extended works being rebased as pure fiction – but of the metafictional kind. As a result, Literary Stalker – an old idea from the 1990s – got a new lease of life, and The Empty Chair, my next intended novelistic memoir, got recalled to the workshop.

As a psychological crime/horror novel, Literary Stalker would seem a large and radical departure from that novelistic memoir direction, and in some ways it is, but not in others. I did write psychologically-orientated crime, horror, fantasy and noir fiction back in the ’90s, having short stories published in various (now largely forgotten) small press magazines such as Psychotrope, Threads, Sierra Heaven and others with similarly freakish names. I also wrote two or three novels running along the same lines, which never saw the light of day, though one came close. This whole authorial thrust petered out in the late ’90s, and though I continued writing articles and reviews concerning weird and genre fiction and film, I lost the inspiration for actually creating such fiction myself. Instead, amongst other projects, I pressed on with more versions of the semi-autobiographical novels that would eventually be (almost!) de-fictionalised as The Mad Artist and The Empty Chair.

Though nominally a memoir, my previous book, The Mad Artist, is based as much on my attempts to turn its material into novels as it is on the events – the psychonautic adventures – themselves. That’s what gave me the incentive to write it in the form that I eventually chose – a self-begetting narrative with nested versions of itself and strong metafictional overtones. The Empty Chair also follows in that direction, but is taken much, much further. My creative journey of September 2014 onwards involved applying these same techniques to a piece of actual made-up fiction rather than assemblages of autobiography. And the ‘Literary Stalker’ project, which came from my horror-writing days of the ’90s, proved an ideal vehicle.

What made the idea work, content-wise, was my rediscovery and multiple re-watching of a favourite hoary old horror movie of the 1970s: Theatre of Blood, staring Vincent Price as the deranged Shakespearian actor Edward Lionheart, who compiles a hit list of the critics who’ve given him bad reviews and then murders each one in a different theatrical setting taken from a Shakespeare play. My idea was to make Literary Stalker a pastiche of Theatre of Blood, where the narrator, Nick Chatterton, uses the plots of classic crime and horror films as the templates for the revenge murders of his enemies. But he’s not actually committing these murders, he is writing them up in his novel The Facebook Murders, and the story of Literary Stalker is the story of the composition of that novel-within-a-novel.

The Facebook murders are actually being committed by Jago Farrar, Nick’s alter ego and narrator, and Jago himself is writing a novel – Social Media Avenger – based on his murders, which is narrated by Miles Hunniford…Etcetera! This might remind you of the wonderful model village in Bourton on the Water in the Cotswolds, which contains a model of itself, and a model of the model, and a model of the model of the model. And indeed it’s also like that sublime movie Synedoche New York, about an autobiographical playwright who gets to workshop his own life story, eventually needing to dramatise the workshopping itself, and then to dramatise the dramatisation of the workshopping, and so on infinitely, with actors playing actors playing actors…

So, in a sense Literary Stalker marks the completion of a circle or loop or Möbius strip between my old ’90s horror/crime work and the later meta-memoir tendency. The narrator, Nick Chatterton, is gay – for reasons which become clear as the novel progresses – and his creation was something of a challenge for a straight author…but that’s another story. I will be penning more pieces – and perhaps making some films – about the gay, homicidal and metafictional aspects of the work, so stay tuned.

More details about Literary Stalker can be found on the publisher site here: Darkness Visible.

An excellent review by Noel Megahey appears here on The Digital Fix: Geek Life.

It is available as a paperback and on Kindle in the UK here: Amazon.co.uk

And in the United States here: Amazon.com. Also on other Amazons worldwide.

Review: Leaf by Leaf by Leaf Fielding

Leaf Fielding, member of the legendary ‘Operation Julie’ LSD-manufacturing-and-distribution ring, was busted in 1977 and spent five years in jail, ending his sentence at Leyhill Open Prison. He published his memoir, To Live Outside the Law, in 2011 – a gripping account of the Julie bust, the events that led up to it, and Leaf’s more general life story, involving a difficult childhood, bad times at boarding school and eventual flowering into a young hippy in the mid-1960s. The book was the first insider account of the Julie affair and was well received, earning plaudits from luminaries such as Howard Marks, who typically described it as: ‘F***ing good!’

Several years on, Leaf has now published Part 2 of his memoirs, entitled Leaf by Leaf, which continue the story from the point where To Live Outside the Law ended – his release from prison. After initial exhilaration, Leaf is subject to volatile mood swings as he faces the inescapable tally of traumas that prison life has inflicted on him, and also the realisation that healing himself won’t be a simple process. Moreover it is now the early 80s, the grim Thatcher era, and by this time the vivid psychedelic colour that infused the previous two decades of British life has all but drained away.

Read more on: Psychedelic Press UK

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