“Anxious about how [my novel, Crandolin] would be received? Once one is dead, one can stop being reckless. Until that time, limiting oneself to doing the expected is a horror scenario too terrifying for me to watch, let alone live in.” We speak to the Australian author Anna Tambour about the struggles of being a true original, what drives her to keep creating, and the challenges of being a full-time writer.
The coyote is smart. He has studied his prey, watched and followed the roadrunner through Arizona, Mexico, Texas and back, although man-made geographic distinctions mean nothing…
It's to do with the world in the wall. Before we moved to Pittsburgh we lived in Reading, this was when I was four or five, and my bed was up against a big white wall. I was…
At the top of the mountain, far above the clouds, the monks of the Temple of Xu spend their days cutting words from their holy book.
Last year, during a long spell of similar weather, a decapitated dog had floated into the bay. Its white body had somehow got wedged in amongst the rocks. It got so bloated that…
In a Schlock first, author Anna Tambour and the magazine’s co-editor Teodor Reljic talk shop about their latest novels: in Tambour’s case, the sophomore release Crandolin, and Reljic’s debut novel, Two.
This month Marco goes full Godzilla, and in between doing monster noises and stomping around the office he got to write about not one, not two but THREE Godzilla films from recent years. Also featured are Transistor, a selection of TV work by one Masaaki Yuasa, a chapbook by Schlock-featured writer Angela Slatter and a local artist by the name of Fastidju. Oh, and some guys are remaking the intro to Ghost in the Shell? Crazy!
Smiling, he remembered the baseball card he had of Kingston that he carried in his back pocket for almost a year until it started to fall apart from all the times he took it out to look at and show friends. Briefly he closed his eyes, picturing Kingston kneeling in the card in front of a batting cage with the handle of his coal black 36-ounce bat tucked under his chin. Even then he looked as intense and menacing as he did when stepped into the batter’s box.
It’s with great satisfaction that we bring you this issue, a special one in many ways because it serves as something of a culmination of what we’ve aspired to achieve so far. In the spirit of collaboration – as well as working hand-in-hand with creatives striving to offer striking and original material – we end our temporary ‘partnership’ with Chômu Press this month with two stories by writers from their stable.
Marco has a bumper POP CULTURE DESTRUCTION this month, as he chews on NOAH, JODOROWSKY’S DUNE and even some surely perverted Japanese cartoon or another. And that’s before Teodor butts in the reviewing of a pair of short story collections, courtesy of Chômu Press. Also – donut cats! Everybody loves donut cats, right?
What does it really mean to chart ‘new vistas of irreality’, as the UK-based publisher Chômu Press claim to set out to do? As part of our ongoing temporary ‘partnership’ with the Press this month, Schlock speaks to Chomu co-founders Léon and Quentin Crisp (no, not THAT Quentin Crisp). In a rich and revealing interview, the duo delve into just how they burrow through the interstices of genre to deliver work that – even in this jaded age – feels truly vital.
Ken Liu was/is a lawyer, a computer programmer, and a multi-award-winning author. His work has been published in various magazines and anthologies. He talks to us about what motivates him as a writer and what is in store for us readers and fans in 2015.
Marco mourns the finale of his favourite cartoon show with opinions on the likes of the 2014 Robocop remake, Jeff Vandermeer’s Annihilation and graphic novella Genesis, as well as an admission of his love for The Rock. Not that we blame him, mind. We love that guy too!
Swedish writer Karin Steen Tidbeck – whose collection of weird and wonderful fiction, Jagannath, received considerable critical praise – speaks to us about writing in English as a second language, the dangers of treating a literary genre as the ‘redheaded stepchild’ and the benefits a writer could reap from Live Action Roleplaying…