Notes on Manic-Depressive Illness, 2e, by Goodwin & Jamison

Volume 1. New York: Oxford UP. 2007.



p. xix “Manic-depressive illness magnifies common human experiences to larger-than life proportions.” [Living large. Yay.]

xix “manic-depressive illness is the most common cause of suicide.” [Ergo, I think people who bully the mentally ill are attempting murder.]


xxiii “The high mortality associated with this illness cannot be overemphasized.” [So will you assholes stop acting like it’s no big deal?]

xxiii “The age-old link between ‘madness’ and creativity has been studied with increasingly sophisticated methods in recent years. Research has demonstrated that it is not schizophrenia but manic-depressive illness, especially its bipolar forms, that is more often associated with creative accomplishment.” [Normal brains produce normal thoughts, which are advantageous in… some… situations.]


3 “Aristotle, who differed with the Hippocratic writers by seeing the heart rather than the brain as the dysfunctional organ in melancholy, introduced the notion of a ‘predisposition’ to melancholy.” [Hey, you mean it’s not just a phase?]

4 “Deliberations on the relationship between melancholia and mania date back at least to the first century BC…” [Looks like it’s not just trendy after all!]

5 “The period that followed was, in retrospect, a dark age, when mental illness was generally attributed to either magic or sin or possession by the devil.” [Maybe the horror community wants to keep up the stigma to sell books?]


5 “The explicit conception of manic-depressive illness as a single disease entity dates from the mid-nineteenth century.” [oh those clever pathologizing Victorians]

12 “Current data indicate that manic-depressive spectrum conditions… may be found in 5 – 8 percent of the population” [never said I was a unique snowflake, asshole]

15 “significantly more manic-like symptoms in their bipolar depressed patients–especially irritability, racing thoughts, and distractibility–than in unipolar patients.” [bipolar depression borrows some of the crazy from our other pole]

15 “bipolar-II depressed patients have been noted to have less stability and uniformity of symptoms across episodes than unipolar patients” [my bipolar depression is different from regular-brand depression]


21 “…within the broadly conceived cyclothymic temperamental domain there are ‘dark’ and ‘sunny’ types. Although family history for bipolar disorder is equally high in both groups, in clinical practice bipolar-II associated with the darker core cyclothymic temperament is more likely to be diagnosed as a personality disorder.” [I come from a Southern Gothic family]


30 “Despite the shortcomings of language and the highly personalized vocabulary often used by patients in describing their manic-depressive illness, certain words, phrases, and metaphors are chosen time and again, forming a common matrix of experiences. Often these images center on nature, weather, the day-night cycle, and the seasons; often, too, they convey unpredictability, periodicity, violence, tempestuousness, or a bleak dearth of feelings. Religious themes and mystical experiences pervade the language, conveying an extraordinary degree and type of experience–beyond control, comprehension, or adequate description.” [Me & Virginia Woolf!]


31 “As we shall see, ‘pure’ affective states are rare: mania is often complicated by depressive symptoms, and conversely, depression, especially the bipolar form, usually is accompanied by at least one or more symptoms of mania… far from being a ‘bipolar’ disorder, with the assumption of clinically opposite states, the illness is characterized by co-occurrence of manic and depressive symptoms more often than not.” [so please no more Jekyll/Hyde jokes, which is a misreading of the novel anyway]

34 “For many patients, excessive energy translates directly into pressured writing and an inordinate production of written declarations, poetry, and artwork.” [no wonder my damned emails can get so long]

36 “The profoundly disturbed and psychotic behavior of delirious mania underscores the origin of the phrase ‘raving maniac.'” [I wonder if I have that to look forward to]

37 “These feelings, analogous to the beatific and mystical experiences of saints and other religious leaders, share certain features with contemporary experiences of ‘universal communion’ induced by mescaline, LSD and other hallucinogenic substances.” [I don’t know jack about universal communion, but I can tell you that being hypomanic is a little like LSD… but then again, how would I know how LSD affects a normal brain?]

37 “The dendritic, branching-out quality of manic thinking was described by nineteenth-century art critic and writer John Ruskin… ‘I roll on like a ball, with this exception, that contrary to the usual laws of motion I have no friction to contend with in my mind… I am almost sick and giddy with the quantity of things in my head–trains of thought beginning and branching to infinity, crossing each other, and all tempting and wanting to be worked out.” [from a letter to his father, 1833]


37 “The overwhelming and often terrifying nature of racing thoughts… Grandiosity of delusional proportions and a compelling sense of moral and social awareness…” [enough to make you take a long walk into the ocean, in fact… that’s another Woolf reference]


40 “Research on mood symptoms in mania… demonstrates that most patients, on average, are depressed (46 percent) or labile (49 percent) nearly as often as they are euphoric (63 percent) or expansive (60 percent); they are irritable (71 percent) even more often.” [Thus, the idea that we flip from highs to lows is way off. The euphoria sounds lovely to me, but I tend toward the dysphoric, alas]

43 “In some patients, the manic episode progresses further to an undifferentiated psychotic state (stage III), experienced by the patient as clearly dysphoric, usually terrifying, and accompanied by frenzied movement. …Delusions commonly are bizarre and idiosyncratic, and some patients experience ideas of reference, disorientation, and a delirium-like state.” [And I thought “ideas of reference” permeated my fiction just because I really like The Crying of Lot 49… hmmm.]


45 “manic patients appear to be more disordered in thought structure, whereas schizophrenic patients appear to be more disordered in thought content… manic thought disorder was ‘extravagantly combinatory, usually with humor, flippancy, and playfulness.'” [I think most of my villains are shaded manic in their dialogue, and several stories in Peritoneum are flat-out manic in structure…]

50 “73 percent of hospitalized manic patients demonstrated severe levels of bizarre-idiosyncratic thinking” [I am anxiously awaiting a medical definition of “bizarre”… seems to be thought disorder, but I can’t help thinking of Lewis Carroll type of stuff]


52 – 53 “Depressed patients tend to qualify more, to talk more in terms of a ‘state of being,’ and to talk more both about themselves and other people. Manics, on the other hand, tend to talk more about things than about people, to discuss them in terms of action, and to use more adjectives to describe them.”

57 “Manic delusions are usually grandiose and expansive in nature, often religious, and not infrequently paranoid. [Dr. Fincher]

59 “Lowe (1973) studied 22 bipolar patients… comparing these patients with others who had organic, paranoid, or schizophrenic psychoses, he found that they reported mainly auditory and visual hallucinations when manic… in retrospect, the hallucinations were believed to be ‘less real’ but were also perceived to be less controllable… the patients always believed the hallucinations to be experienced only be themselves.”

59 “mania was more characterized by enhanced sensory awareness and ecstatic or beatific experiences. Manic hallucinations tended to be of the more visual type; strikingly vivid and associated with bright, colorful sensations; and often coupled with intensely pleasurable or ecstatic feelings (similar to psychedelic experiences).” [Suspiria, Martyrs… my “TR4B,” “Door Poison”]


64 “irritability–racing thoughts, which, as noted earlier, is putatively a dysphoric expression of hypomania (Benazzi and Akiskal 2003)”


135 “More recent evidence supports the conclusion that the influence of life events in triggering mood episodes is more prominent in earlier than in later phases of bipolar disorder.”

150 “Chronic persistence of symptoms can be expected in about 20% of cases, and social incapacity in about 30%.”

223 “Comorbidity in manic-depressive illness, in which the mood disorder is complicated by the presence of one or more additional disorders, is the rule rather than the exception, especially for the bipolar subgroup.”


Relatively unexplored comorbidity: dissociation

251 “…a particularly high liability for comorbidity with personality disorders, substance abuse disorders, and anxiety disorders in bipolar-II patients… The evidence strongly suggests that bipolar-II patients have–relative to the general population and to those with bipolar I or unipolar depression–the highest rate of suicide.”

251 “In summary, women with manic-depressive illness attempt suicide more often than men. In contrast to the general population, the suicide rate in women with manic-depressive illness is higher than or equivalent to that in men.” [men may under-report or engage in “suicidal equivalents”]

260 “Although the findings of studies reviewed here point to genetic alterations in the serotonin system as having a relationship to suicidal behavior, the findings with respect to manic-depressive illness and suicide remain inconclusive.”

Bipolar or affective disorder features severe depression alternating with episodes of hyperactivity. Patients have defective regulation of emotions, and they have difficulty with judgment and behavioral decisions. The most popular theory is that a deficiency of serotonin is the primary cause of the disorder. Serotonin is normally produced in the raphe nucleus in the midbrain and upper pons and is distributed to the rest of the brain. Ventriculomegaly is observed in affective disorders, but the finding is nonspecific. Reductions in volume of the frontal lobes, basal ganglia, amygdala, and hippocampus have also been reported. Functional studies have revealed decreased activity in the prefrontal cortex and anterior cingulate gyrus.

“Bipolar or affective disorder features severe depression alternating with episodes of hyperactivity. Patients have defective regulation of emotions, and they have difficulty with judgment and behavioral decisions. The most popular theory is that a deficiency of serotonin is the primary cause of the disorder. Serotonin is normally produced in the raphe nucleus in the midbrain and upper pons and is distributed to the rest of the brain. Ventriculomegaly is observed in affective disorders, but the finding is nonspecific. Reductions in volume of the frontal lobes, basal ganglia, amygdala, and hippocampus have also been reported. Functional studies have revealed decreased activity in the prefrontal cortex and anterior cingulate gyrus.”


261 “A passive sense of hopelessness is a chronic risk factor for suicide.”


262 “The impact of social factors, such as losing an important relationship or a job or facing legal or criminal proceedings, can be devastating to anyone; this is particularly, true, however, for those with a major psychiatric illness such a bipolar disorder. Although rarely sufficient by themselves to cause suicide, social stressors can precipitate or determine the timing of the act. They may trigger suicide in individuals with certain biological vulnerabilities and psychological traits…”

277 – 278 “Thus there is reason to suspect that as a group, individuals with bipolar disorder are endowed with general intellectual abilities superior to the distribution in the general population and may be more likely to have backgrounds of middle and upper socioeconomic levels. Yet is also appears that bipolar disorder is characterized by poorer general intelligence across all phases of illness. If both of these views are correct, it would suggest that the disorder is associated with significant deterioration in general intellectual abilities or that there are compensatory cognitive advantages in a subgroup of individuals with bipolar illness… Studies contrasting patient samples with healthy volunteers likely underestimate the extent of deterioration because they do not account for the premorbid baseline.”

281 [note in IQ, V vs P is verbal vs nonverbal] “The reductions in full-scale IQ seen in mood disorders appear to be largely attributable to a decrement in PIQ, with preservation of VIQ.”

282 “The implication is that the cognitive systems subserving language are spared with respect to an otherwise generalized disease process, are constitutionally endowed at higher capacity, or are complemented by compensatory cognitive advantages of an as-yet undetermined nature.”

298 “Mood congruence refers to the notion that the efficiency of mnemonic processing is biased by the congruence between the current affective state and the affective tone of the material being remembered. In general, it is believed that dysphoric or negative life events are recalled more easily when individuals are in a depressed state than when they are in a euthymic or manic state….”

312 “The literature on encephalomalacia in bipolar disorder…”


Wording with Thorns

Only the fiction of my horror stories is exaggerated. The supernatural is mostly metaphor and code. The horror is real.

A lot of people—especially people with majority privilege—like to complain about political correctness. Think about this. Think about lying in your loved one’s arms at home at night, sleeping soundly. You wake up because so many arms have grabbed you that you can’t move. You get one more glimpse of your lover—you know instantly that she or he is going to be dead soon. Next, you’re tied to a stake, and bundles of burning sticks are being thrown at your feet just often enough to keep the agony high. These bundles are called “faggots.” You’re called a faggot, too, because your life is worth no more than tinder because of those you love. Watching you die is someone’s entertainment.


If you think you have a right to complain about political correctness, and you have a shred of decency, you may not realize that there’s no exaggeration in the previous paragraph. More often than not in the name of Jesus Christ, people brutally and LEGALLY murdered their neighbors who expressed same-sex attraction from medieval times through the Holocaust (we wore pink triangles in the concentration camps, lest you forget). In the year 2016, homosexuality is still punishable by death in the Muslim world, not just in Iran (where the method of choice is live burial, like in the Edgar Allan Poe stories), but in nations the U.S. calls allies.


After the U.S. stopped putting homosexuals in prison, it still locked us up in mental institutions, using electro-shock and other methods to “cure” us that would likely be considered violations of the 8th Amendment and the Geneva Convention (remember American Horror Story: Asylum?). True story: homosexuality was officially considered a mental illness in the U.S. until the 1970s, and a lot of people in the U.S. still act like it is. Read the news about which minorities are a plague this week. When people treat you like you’re an illness, they want to cure you. What do people do with illnesses? Eliminate them. Hitler had a final solution. Do you?


The world really is that bad. So when you worry about political correctness as a Great Satan, I think you’re missing the forest for the trees. If you want to complain about idiots who try to use political correctness as an excuse to censor art, please be my guest. I gladly say fuck those motherfuckers: I hope their intestines spontaneously explode from their bodies and form a slide for them to ride straight to hell.


I gladly say inappropriate things and create some of the most incorrect characters imaginable in my fiction. Some people who are fighting against political correctness feel that free speech is under threat, and to the extent that they’re right, I’m with them, but political correctness should be about acknowledging the power of language, which is something every good writer (and, in my opinion, good human being) should reckon with. So, fellow language-users, consider these two critical points:

  • Hate speech is a clear and present danger. If you’re arguing about limits on your free speech, remember that there already is one: you can’t shout “fire” in a crowded theater. Why? Because that’s an instance of speech that threatens the safety of a group of people. defines hate speech as “speech that attacks, threatens, or insults a person or group on the basis of national origin, ethnicity, color, religion, gender, gender identity, sexual orientation, or disability”. “Faggot” devalues the lives of gay people and encourages murders like that famous murder of Matthew Shepard. Likewise—more on this in a moment—when a group of people on Facebook attacked me by using the words “handicapped” and “bipolar” as insults, it clearly fit the definition of hate speech related to disability and therefore did not qualify for protection under the first amendment.normalboring
  • “Use” and “mention” of words are distinct. I have mentioned the word “faggot” many times here. I have referred to its history of hatred, but I have not used that history or used the word to apply to a specific human being. This distinction is subtle and difficult for many people. So is the distinction between in-group use and out-of-group use. Language is about contexts. Political correctness helps people less familiar with contexts to navigate them. Unless you’ve known me for a good long time, you’re better off not using the word “faggot” in my presence. I’m bipolar and I’m gay. A really close friend might call me a crazy fag, but the probability that you’re that person is close to zero.

So I referred to a recent experience with hate speech related to disability. Despite the persistence of ex-gay camps and such that insist on trying to “cure” homosexuality, the mainstream no longer treats it as an illness, which is good, because it seems like a fine thing to me. I can’t say the same about the other stigmatized category I’m in. So people feel much more justified in treating me like I’m an illness to be eliminated. Take your meds. Wipe yourself into an oblivion where you won’t bother us anymore.


When people make fun of us, I really just want to point out to you normals that you’re literally incapable of fathoming how un-fun it is. Unless you have my mental condition, your brain is not equipped to handle what mine processes. I am THAT different from you. But if I say that, people will think it’s some sort of arrogance or exaggeration. But it’s biochemical certainty. Part of what I try to do with my horror fiction is give you people glimpses. Edgar Allan Poe did that, too. Word is he was bipolar, and having read all of his work, I feel fairly confident his diagnoses would have had much in common with mine (never been an alcoholic, though). Lots of you have some hero-worship for him… mine’s a little different. I think he was in my club. Chances are, you’re not. Bipolar pride. Woo-hoo. Now turn down the fucking lights and remember we’re all going to die.


For the last few election cycles, gay people were the favorite category to pick on. This time it’s the mentally ill, as we’re clearly the cause of all the shootings and such (nevermind that all the stats show we’re far more likely to be the victims than the perpetrators of violent crimes, thanks in part due to asshole horror writers who don’t do research). Seems I can’t get a break. Like it or not, the zeitgeist is with me, and I am with you. My recent bouts with illness have left me feeling too in touch with contemporary psych, but a little bit of Freud stands strong: the repressed shall always return…

Which reminds me, when you call something “exemplary,” you mean it stands as an example of your highest values. The person who led the mob that used hate speech against me was called “exemplary” by an organization specifically for his behavior on Facebook, I put myself in reach of this bigot because of his high standing in the organization, yet the organization (which has a sordid history with alleged racists and rapists) refuses to act at all. I suppose I AM crazy to think “sane” people would see that “political correctness” is about decency, and, to quote a popular writer, “We endorse things by our participation in them.” People in the organization are hypocritical enough to dismiss me as too touchy and therefore not worth considering as yet another crazy “victim” of their membership’s hate.

Perhaps decency is just too damned rare. My mania is quixotic.



UPDATE: The “organization” referred to in this blog post is the Horror Writers’ Association. When the recipient of the HWA’s President’s Award, given for his “exemplary” achievement not in literature but in the FACEBOOK COMMUNITY, encouraged a mob to attack me with hate speech on Facebook, I reported the incident to the President and Vice-President of the HWA. I was informed that the HWA “would never tell any member or any of our volunteers what they can say on their own page.” This echo of the HWA’s doomed position in an earlier incident chilled me. I’ll borrow from Brian Keene. In a “statement regarding their decision to allow an avowed white supremacist and fascist serve as a Bram Stoker Award Juror” they tried to defend themselves by citing a “principle of supporting and practicing freedom of expression.” Of course they backpedaled when they realized that being a horror writer isn’t an excuse for lacking human decency… but I’m concerned that Keene is right about history repeating itself, and although I may not be one of the HWA’s greatest victims, they’re standing fast by a bigot who’s proud of hate speech against people with mental disabilities. They stand by calling him “exemplary.”


“I would never tell any member or any of our volunteers what they can say on their own page.” (The HWA President, Lisa Morton, who gave the President’s Award to Patrick Freivald for his “exemplary” standing in the horror community due to his work on Facebook–she is therefore the person most directly responsible for representing the HWA in endorsing his Facebook values, which demonstrably include supporting hate speech against the disabled)

“You’re not a special snowflake. Sorry. [You are] Using Bipolar disorder for excusing passive aggressive behavior.” (The Vice President, on why HWA won’t act in response to my complaints about hate speech–he later berated me aggressively, all on record)

Several other HWA “luminaries” have read the hate on Freivald’s page and assented to the party line that I “overreacted to something that never happened in the first place.” Lisa Morton angrily severed contact–as if she had been wronged–when I alluded to a film about rape, but whether she likes it or not, her methods are tried and true for squashing rape victims. Nope, I’m not as bad off as such victims in this case, not by a long shot, but I’m sick of HWA grabbing at any excuse to shut down dialogue that points out what everyone knows: they’ve got deep, deep problems.

Leaping Under the Covers of the Peritoneum

Extreme, often intimate stories–horrific, bizarre, scary, offensive, funny, absurd, disturbing, or just plain WTF–in turns or all at the same time–when am I going to produce a by-the-rules book that will lure in readers by targeting their comfort zones with words that don’t explode? Not any time soon…

2016-SSP-005.Peritoneum Cover.indd

As I write this post, the first goal of which is to show off amazing cover art by Aaron Drown Design, I am getting ready to travel to Las Vegas for StokerCon, the Horror Writers’ Association’s major convention, where I will see print copies of my new short story collection Peritoneum as well as new editions of Leaping at Thorns and Reel Dark for the first time. (For more about the new Reel Dark, see “REEL DARK in the Spotlight,” and for even more about Peritoneum, see “Inside the Peritoneum.”)


2016-SSP-003.Reel Dark Cover.indd

As I’ve already posted, Reel Dark has new stories by Michael West and Alexander S. Brown, and since the book’s first edition had very limited exposure, all of it is new to almost everyone, so I’m excited about it. The collection of award-winning authors as well as newer voices spinning tales of movie mayhem is destined to please lovers of dark fiction. Yes, I’ve got a story in it, but unlike the other two books I’m talking about here, this one ain’t about me. I’m showing off a collection of other people’s work, stories and poems I really like, and I’m darned proud of it.


2016-SSP-004.Leaping Thorns Cover.indd

Like the new edition of Reel Dark, the second edition of Leaping at Thorns is bigger than the first, with one tale added in each of the three sections. (Unlike Reel Dark, these stories are all me.) To the “Complicity” section I’ve added “Silence,” about a woman who keeps losing people, literally, after she has a surreal experience in an abandoned house. To “Entrapment,” I’ve added “House of Butterflies,” in which flesh does more than crawl–it flies. To “Conspiracy,” I’ve added “Kindertotenlieder,” about a twentieth-century Pied Piper whose storybook vengeance is even more horrific than the worst version you’ve read. With these additions, the book provides an even better view of the self-obliterating drive toward darkness that binds all the stories together. With the stunning new cover and support from Seventh Star Press–and with the first edition’s enthusiastic reviews–I’m looking forward to Leaping at Thorns freaking out a larger audience.

So what, then, of the newest addition to the bunch–the one with the guts on the cover and the hard-to-pronounce title, Peritoneum? It’s a different kind of animal. In a very small circle of friends I’ve been calling it a Winesburg, Ohio on acid, not because it’s about small-town life (although a significant number of stories focuses on a suburban house… especially its basement) but because the stories share characters and inform one another. In fact, although I published a few stories separately, and a few stories only relate to the whole tangentially, I wrote the vast majority of these tales to stand alongside the other tales. That design makes this book very different from Leaping at Thorns, which has some interrelated stories that nevertheless stand alone. In Peritoneum, I hope you’ll enjoy reading stories individually, but you’ll get a lot more out of them if you read them together. The volume starts with “The Family Pet” and “Blood and Feathers” because they introduce elements that run throughout the book, and it ends with “The Birds of St. Francis” and “The Broom Closet Where Everything Dies” because they tie a lot of those elements together.

Don’t let me mislead you. I don’t promise that the stories make sense when you read them all together. Sure, they make more sense. Some of the WTFs in “The Eternal Recurrence of Suburban Abortion” get answered in the next tale, “TR4B,” and even the comical scenario of “DNA” gets backstory work in “The Broom Closet Where Everything Dies.” HOWEVER–my goal is to offer little eddies of revelation in a greater sea of insanity, where sense and reason fail more often than they succeed. Lots of horror stories have endings that explain the horrors and box them away. Many of them are good. Few of them scare me.

What scares me is the breakdown of sense, the failure of perception. As a result, my stories and the perceptions inside of them tend to break down. Sometimes, I couch the breakdown overtly in terms of the supernatural and/or mental illness and/or drugs (especially in “Patrick’s Luck,” “The Road Thief,” “The Long Flight of Charlotte Radcliffe,” and “Door Poison”), and sometimes I just let them unwind by their own devices. My hope is that the stories, while not always conventionally satisfying, will disturb you on some level–move you to feel afraid, amused, bewildered, and so on–and result in entertainment, albeit of a brooding and uncomfortable sort.

Oh, I worry about things. “Blood and Feathers” has two endings, neither of which is a resolution… “Year of the Wolf” pivots around quotes from an obscure World War Two documentary as well as a scientific curiosity… “Juicy the Liar” opens with a line about eating pussy… I thought of “Bubble Girl” as YA until readers started seeing all kinds of crazy sex stuff in it that I thought was buried well under the surface… “The Broom Closet” goes beyond nasty… much could go wrong in the reading of Peritoneum. But without that possibility, I’m not sure it could really go right, either.

Southern Haunts 3: Fantastic Flights, Historic Hurlyburly

Southern Haunts 3: Magick Beneath the Moonlight is a short-fiction anthology that delivers a delectable range of witch-tastic events and images, successfully indulging fantasies of magical power and a fetish for the history of things weird. [For the rest of my review, keep reading, or for an interview with the book’s co-editor Alexander S. Brown, go here.]

Leaving the most familiar questions about whether so-and-so is or isn’t a witch in the background, and saving the typical witch-hunts for Yankee territory, the stories in Southern Haunts 3 presume the existence of magic and focus on the power’s whats and whens. From these whats and whens readers get a sense of a where, the American South, which is both horrific and mystical. As a result, this collection of stories stands apart from typical witch-horror while affirming, in the Southern Gothic tradition, that regular old “realistic” storytelling doesn’t quite get one of the U.S.’s most culturally diverse and historically troubled regions.


While I’m conflating all the mystic goings-on in Southern Haunts 3 as witchery, the collection’s editors and authors are careful to distinguish among types of magic and related spiritual traditions, naming the book’s primary whats distinctly as voodoo, hoodoo, and witchcraft. “The Apartment House,” for instance, provides a series of bizarre and violent tableaux—death by books is my favorite, but a detailed flaying deserves mention—and ties them together with a lesson on the laws for practicing voodoo the right way. In “La Voyante,” a knowing character explains to a writer looking for a new creative outlet that voodoo isn’t the only game in town:

“No, we talkin’ ’bout Hoodoo. Between the ‘hoo’ an’ the ‘voo,’ there’s a worl’ of difference… though we do tend t’ use a bit of both in these parts.”

Often gesturing toward the diasporic and creolized origins of so-called “pagan” spiritualities tied to hoodoo and voodoo, the stories in Southern Haunts 3 provide a nuanced enough view to add an S to the K in the subtitle, making it a less elegant MagickS Beneath the Moonlight (not a suggestion—the actual title is much better!). Indeed, as the main character of “In the Dark” learns, some magic needs to be practiced only in the day, so “moonlight” isn’t even a consistent feature of proper witchery. Magic refuses easy limits, and while it can be as elegant as the kindly title character of “Granny Wise,” it can also be as ugly as characters’ habits in “Dances with Witches.” The collection tells us that all these magics might fit in a book, and they all show up in the South, but they won’t all fit in a proverbial box. The box mentioned in the title “The Priestess’s Trunk,” then, provides an apt metaphor: you might try to contain and understand mystical forces, but magic will always find a way to push beyond easy categories and simple expectations.

Despite the diversity of magical types in Southern Haunts 3, magical power almost always serves one end: payback. While the book draws its power from many veins, it directs that power primarily toward fulfilling fantasies of justice and vengeance (for comments on this focus from one of the book’s editors, see the interview). The first tale, “Granny Wise,” based on a historical figure, sets the mold: a witch serves locals as a healer, but the price of her services includes righting wrongs. In most tales that follow, witchcraft, as a means for payback, either doles out a kind of cosmic justice against evildoers (as, for example, in “Live Big”) or serves as means for a witch to get some vengeance on (as in “Vengeance,” “The Jar,” “Tell Me Where He Lies,” and “Without Xango there is No Oxalla”). The most salient motive for mystical vengeance in Southern Haunts 3 relates to the South’s legacies of racism, slavery, and lynching. In “The Untold Tale of Wiccademous,” searching for the story behind cursed woods leads the would-be storyteller into a cosmic trap forged from these legacies. “Cursed,” set in the 1920s, takes a more direct look at magic providing justice for a lynching that earthly courts would ignore, and “The Shadows” answers a nineteenth-century slave-master’s murder of an innocent man with a curse that takes “life for a life.” While magical means of achieving racial justice help to advance the book’s Southern identity, magic also serves as an equalizer for women who suffer under the arbitrary rule of despicable men. The mystic in “Secrets of the Heart” learns that her husband’s religious hypocrisy too easily stands in the way of his devotion to her, a betrayal she does not suffer lightly; likewise, when a violent husband crosses “The Bone Picker Witch,” he opens the door for some of the book’s nastiest moments. In most cases, mystical vengeance is overwhelming and horrific, but the justification that goes with it makes rooting for magical victory a source of grim pleasure.

While the fantasy of supernatural justice is fun to indulge, it recurs a little too often within the selection of tales, and the stories that rely on it less end up being my favorites in the book. “The Witch of Honey, Kudzu, and Coyotes” shrouds its title figure in mystery, making her more like a force of nature than a person practicing a secret art. Going further with an interest in storytelling that runs through “The Untold Tale of Wiccademous” and several other tales in Southern Haunts 3, “The Witch of Honey, Kudzu, and Coyotes” opens with an interrupted story that persists in the narrator’s imagination “like a hollow, unformed thing” alongside

“a boy missing from everyone’s memory”

Broken stories and memory gaps make magic powerful enough to reshape thought and perception, reweaving reality’s fabric; as a result, this tale can explore fresh and compelling territory. Likewise, “In the Dark” focuses on the perils of exploring the unknown. A bit rambling in structure, this tale brings its unwise protagonist in contact with strange verse, talking birds, and a host of disturbing images—my favorite is a buck with centipedes pouring from its mouth—that again signal a link between magic and distorted perception that can change the rules for what a story can do. Fans of more transgressive and gruesome horror fiction will likely count “In the Dark” and “The Bone Picker Witch” as favorites along with “Docta Bones,” in which the title character inverts Granny Wise’s benevolence by requiring much harsher payment for the gods’ services, and “Dances with Witches,” which places a human appetite for evil in parallel with a bewitched landscape’s. Chilling acts and images become the main products of witchery: questions of justice and the natural order become secondary to experiencing the full horror of the weird.

A volume about magic and the South invites thinking about cultural and regional history, and with stories set in (or focused on rediscovering) the eighteenth, nineteenth, and early twentieth centuries, Southern Haunts 3 does a great job of putting together views of the past (and thus it meets its goals–see the interview). As a Southerner, I wonder about the present. Where is witchcraft in the contemporary South? How do hoodoo and voodoo continue to inform life not just in old New Orleans, but also present-day Atlanta, Richmond, and cities in between with “modern” feels that contrast with the antiquarian interests that dominate this book? The book covers solid ground, but by sticking mainly to historical subjects, it might miss some opportunities for innovation.

The opportunities included, however, add up to a satisfying read. Moody, atmospheric, and drenched in regional detail, Southern Haunts 3 gives readers an entryway to the South’s mystic history, places and times to explore with equal amounts of dread and delight.


Southern Haunts 3: Magick Beneath the Moonlight,

Table of Contents

  1. “Granny Wise,” by H. David Blalock
  2. “Live Big,” by Tom Lucas
  3. “The Priestess’s Trunk,” by C.G. Bush
  4. “The Witch of Honey, Kudzu, and Coyotes,” by Diane Ward
  5. “The Untold Tale of Wiccademous,” by J.L. Mulvihill
  6. “Vengeance,” by Linda DeLeon
  7. “The Jar,” by Robert McGough
  8. “La Voyante,” by Elizabeth Allen
  9. “Cursed,” by Melodie Romeo
  10. “Secrets of the Heart,” by Louise Myers
  11. “Tell Me Where He Lies,” by Greg McWhorter
  12. “Shadows,” by Kalila Smith
  13. “Docta Bones,” by Melissa Robinson
  14. “In the Dark,” by Jonnie Sorrow
  15. “The Apartment House,” by Della West
  16. “Without Xango There is No Oxalla,” by John E. Hesselberg
  17. “The Bone Picker Witch,” by Angela Lucius
  18. “Dances with Witches,” by Alexander S. Brown

Inside the Peritoneum: A Brain in the Gut

Peritoneum, Horrors by L. Andrew Cooper
(Coming mid-May, 2016)


Back Cover Info:

Snaking through history—from the early-1900s cannibal axe-murderer of “Blood and Feathers,” to the monster hunting on the 1943 Pacific front in “Year of the Wolf,” through the files of J. Edgar Hoover for an “Interview with ‘Oscar,’” and into “The Broom Closet Where Everything Dies” for a finale in the year 2050—Peritoneum winds up your guts to assault your brain. Hallucinatory experiences redefine nightmare in “Patrick’s Luck” and “Eternal Recurrence of Suburban Abortion.” Strange visions of colors and insects spill through the basements of hospitals and houses, especially the basement that provides the title for “TR4B,” which causes visitors to suffer from “Door Poison.” Settings, characters, and details recur not only in these tales but throughout Peritoneum, connecting all its stories in oblique but organic ways. Freud, borrowing from Virgil, promised to unlock dreams not by bending higher powers but by moving infernal regions. Welcome to a vivisection. Come dream with the insides.










  1. Prologue, The Family Pet: Steven Marks awakes one morning to find his older brother Gordon in the back yard doing terrible things.
  2. Blood and Feathers: Dr. Allen V. Fincher recruits Elijah Eagleton from Harvard through a show of unnatural power, so Eli must show power of his own to prove his worth. Slaughter abounds.
  3. Leer Reel: Obsessed with Dr. Fincher, Louis Jardin describes life at the Whispering River mental hospital, especially the ritual murders and his ability to spy on people who read his writing.
  4. Year of the Wolf: Matilda Roan sends Louis Jardin, who becomes a wolf-like creature, into the World War 2 Battle of Tarawa, where he hunts soldiers on both sides before being destroyed.
  5. Interview with ‘Oscar,’ circa 1962: During an interview with an FBI agent, Oscar describes the fate of a small town known for harboring sinful lawbreakers in 1862 Kentucky.
  6. Patrick’s Luck: A family receives “help” at the Whispering River mental hospital, only to find they have become part of colorful and deadly experiments that evoke hallucinatory violence.
  7. Juicy the Liar: Matilda Roan inducts her new friend Melia into the Fincher circle, exploring cunnilingus, battle strategy, and a flying car.
  8. DNA: A survivalist’s well-trained son awakes in a giant aquarium filled with office cubicle dividers. Armed with a clipboard, he must face absurd monstrosities and find a way out.
  9. Lizard Chrome: An army of lizards that drain colors from what they touch invades a trendy city gathering place.
  10. David Langley and the Burglar: A burglar-philosopher, who wants to graduate to murder, breaks into a man’s house and discovers the man stuck to his ceiling.
  11. The Long Flight of Charlotte Radcliffe: A woman attempts reconciliation despite her traumatic past with her Uncle Henry, but he is once again trying to entrap her.
  12. The Road Thief: A boy loses his mother when a spectral man-shape menaces them on the highway. Years later, the man-shape reappears when strange people invade his workplace.
  13. Rudy Haskill’s Plan: Rudy performs an experiment involving the internet, a man, a woman, and mismatched fantasies.
  14. Jar of Evil: A jar of pure evil gets out of the lab and could infect the city!
  15. Bubble Girl: A group of kids discovers a little girl floating in a protected bubble on the playground. Is she a ghost? What mysteries does she hold?
  16. Eternal Recurrence of Suburban Abortion: A young woman goes to a notorious suburban house (TR4B) for an unusual medical procedure and ends up on a nightmarish journey.
  17. TR4B: The “Horror Mother” revisits the basement where her sons Steven and Gordon committed atrocities and faces supernatural tortures.
  18. Door Poison: A young couple visits notorious TR4B and enters a colorful but deadly video-game-like experience involving a floating head and a giant syringe.
  19. The Birds of St. Francis: Oscar meets with the Fincher circle (Elijah, Melia, and Jake) and causes history-changing disturbances involving the birds in Central Park, New York.
  20. The Broom Closet Where Everything Dies: Young Tim hunts the giant albino penguins from Poe/Lovecraft until Elijah recruits him—then his parents seem like better targets.


In Peritoneum, mass murder becomes a backdrop while cannibalism is a matter for casual conversation. Stories take place at different historical moments, but since some characters see the distant past as well as the future, anachronism permeates their thoughts. Characters can often hear each other’s thoughts, too, so perspectives become… cluttered. Endings do not flow from beginnings but erupt from nightmarish hints of possibility; cause and effect have lost explanatory power. Natural order—the order you would expect to find in a story—churns and dissolves. Peritoneum is such an unnatural book that I think I can fairly call it, as a whole, insane.

Surrender to insanity. The book wants to disturb you, to strike at your brain through your guts, to make you feel and think in unnatural ways. Peritoneum experiments with your insides by doing things you think it shouldn’t. Most horror at least gestures toward the forbidden, usually taboos related to sex and violence, and my stories do not hesitate to mention the unmentionable, both in passing and in graphic detail. The language is harsh; the imagery is harsher. Whether you prefer the fairly realistic narration of “Prologue: The Family Pet,” the reserved dialogue of “Interview with ‘Oscar,’” or the hallucinatory assault of “Eternal Recurrence of Suburban Abortion,” you will encounter an array of people—dead, dying, suffering, enjoying—and situations that refuse the types of answers you expect while providing other, darker answers.


Answers don’t always appear where you expect, either. While Peritoneum refuses many of storytelling’s natural orders, it develops its own systems, connecting its stories to one another in ways that make them interdependent. “Eternal Recurrence” and “TR4B” pick up on the characters and setting from “The Family Pet” and weave in and out of one another; “Door Poison” and “The Broom Closet Where Everything Dies” share a setting with “TR4B,” while “The Broom Closet” also connects to “DNA” and to “Blood and Feathers,” which shares characters with “Leer Reel,” “Year of the Wolf,” and especially “The Birds of St. Francis,” and so on. Fitting the stories together doesn’t create anything like a linear narrative or complete picture, but just as the type of bubble that appears briefly in “Blood and Feathers” seems finally, and inexplicably, to get its due in “Bubble Girl,” mysteries get bigger according to their own internal logics, threatening to explode.

The explosion and dissolution of bodies, minds, and relationships—family losses lead to madness and slaughter in “David Langley and the Burglar” and “The Road Thief”—make most of the stories pretty grim, but you’re allowed to laugh, too. The line between funny-weird and funny-ha-ha tends to vanish along with rationality. I hope you don’t take “Jar of Evil” or “Juicy the Liar” too seriously, although they may be too sick, infuriating, or off-key for actual laughter. When I put my arch-evil characters in a flying car, I am not wearing a straight face. Likewise, I giggle at the mayhem in “Lizard Chrome” and the machinations in “Rudy Haskill’s Plan.” I find the video-game inspired levels of “Patrick’s Luck” and “Door Poison” amusing, although I feel guilty admitting it (sick, sick, sick). Although the ending is ambiguous at best, I even feel some triumph in “The Long Flight of Charlotte Radcliffe,” for the eruption of insanity on that airplane is at least a pretty solution to one of the heroine’s problems. Absurd, irrational styles of narration have their outlets. Insanity isn’t all tragedy, all the time.

While Peritoneum has many ties to my other work, especially the conspiracies of Dr. Allen V. Fincher (and his friends Eli, Jake, Tildy, Louis, Melia, and Oscar), it is a universe unto itself, held together by a membrane of concepts and themes. The universe is like our own, I believe, in lacking coherent sense and values, but it fills the void with nightmares, an example I encourage you NOT to follow. Do not take anything in this book as advice. Do not emulate the characters or seek to replicate the impossible events. Instead, digest the nightmares as you will, making the experiences of insanity parts of yourself, and then lift your brain from the sewage into whatever light remains for you to imagine.

Sierra Exif JPEG

Sierra Exif JPEG