“The Shambler From The Stars” (1935)

This particular short story first appeared in the September issue of Weird Tales, in 1935—later on, it was included as a part of his first published book, The Opener of the Way (1945). It was one of the many works that bore the influence of H.P. Lovecraft and can be considered part of the genre of cosmic horror. More than just another author following the footsteps of Lovecraft, Bloch still included elements of Lovecraftian influence, such as the inclusion of The Necronomicon, and The Book of Eibon. Deliciously self-indulgent, Bloch’s story is about a writer of weird fiction obsessed with learning all things occult when he looks to find the aforementioned esoteric tomes of forbidden knowledge. As we all know when it comes to Eldritch cosmic horror, this writer inevitably summons something disastrous.

“The Secret in the Tomb” (1935)

Another instance of cosmic horror in the early days of Bloch’s writing career, it has been compared directly to the stylistic literature of the father of cosmic horror himself—to the point that, if the author of this had been unknown, it would have been assumed to have been a product of Lovecraft. This dark, dank tale of eldritch horror and dread is lurking, just beyond sight, and awaiting the arrival of the last descendant of a long line of sorcerers.

“The Mannikin” (1937)

Another Weird Tales original, published in the April edition in 1937, we get a tale of a strange reclusive and a disfigured, hunchbacked man named Simon, whom the locals all despise. As a short story, of course, it doesn’t take long to find that this cosmic horror is based all around the diabolical hump on Simon’s back—just wait until you find out what the hump really is.

“The Sorcerer’s Jewel” (1939)

This is a story that Bloch originally published under the pen name Tarleton Fiske in Strange Stories Magazine, in 1939; in this story we see a similarity to “A Shambler in the Stars” when we follow a photographer who takes incredibly bizarre photos as his life’s passion. While he doesn’t believe in the occult, his assistant happens to be a devotee of a peculiar occult practice and everything changes when the photographer is brought an ancient jewel.

“Yours Truly, Jack The Ripper” (1943)

Over the years, Robert Bloch’s short story “Yours Truly, Jack The Ripper” has been adapted to various mediums following its publication—the story is about a man from Chicago who is approached by a gentleman from England who tells him that he’s looking for Jack the Ripper. This, of course, is strange on its own as the infamous serial killer should have died years before. The Englishman believes that Jack the Ripper has become immortal through occult means and that his serial murders are actually ritual sacrifices that restore his youth. The man from Chicago is enlisted to help to bring the Ripper to light.

“Satan’s Phonograph” (1946)

A slow burn for a short story, this haunting tale follows the narrator down memory lane as he tells the reader about the ingenious, but wildly mad piano teacher that helped him to reach Carnegie Hall—but when the pupil returns from his tours across Europe with his new wife in tow, he finds that his old teacher had been institutionalized—when his insane old teacher shows up in his house with a seemingly innocent phonograph and his wild theories, the narrator believes his teacher is simply delusional.

“Sweets To The Sweet” (1947)

Bloch spins the thread of a sinister six-year-old girl, following the narrative of the housekeeper as she speaks to her former boss’s brother, who happens to be a lawyer. The housekeeper encourages the lawyer to look into what she believes to be a brutally abusive situation between father and daughter. She tells the brother about all of the signs of alcoholism and beatings, while the child is accused of witchcraft. When the lawyer finally goes to investigate what is happening in his brother’s home, he finds out that the truth may be more disturbing than he expects.

“Floral Tribute” (1949)

An eerie tale of a young boy being raised by his grandmother brings her fresh flowers home every day—it’s not until the inhabitants of the local cemetery come to speak with the grandmother that she finds out that he has been taking them from the graves of the nearby graveyard, where he plays among the tombstones.

“The Shadow From The Steeple” (1950)

Yet another story based in the Lovecraft universe, Bloch starts the story off with the friend of a character Lovecraft had killed in his short story “The Haunter in the Dark” whom Lovecraft had modeled after Bloch himself. A convoluted and dark fictional tale based on Lovecraft and his circle of writers, we get to see the authors appearing as characters of their own making. As another story within the Cthulhu Mythos, we see how involved Bloch was still within the Lovefcraft style even at this point in his career.

“Head Man” (1950)

An interesting spin on Nazi Germany’s obsession with the occult and paranormal, a SS executioner puts everything on the line to keep possession of the heads of a man and woman who had been charged with witchcraft and executed as a result.

“The Hungry House” (1951)

A tale that will once again make you fear your own reflection in a mirror; “The Hungry House” takes place after a couple moves into their new home. As they try to get comfortable in their new house they begin to see spooky inexplicable reflections around the house and dismiss it as being an overactive imagination. It’s not until the husband finds the locked closet in the attic that they realize something is incredibly wrong with their house—in it are all of the mirrors that the previous owners had removed from the walls of the house.

“Notebook Found in an Abandoned House” (1951)

This story is told from a notebook found in an abandoned house, which was written by a twelve-year-old boy by the name of Willy Osborne who is trapped within the house by the sinister beasts, or “them ones,” that stalk him from within the woods and swamps that surround the house. “Them ones,” that Willy is scared might come and get him are monstrous, Lovecraftian elder creatures who used to be take sacrifices to be appeased.

“The Light-House” (1953)

This particular short story took special influence from a story that Edgar Allan Poe began before his death in 1849, but was never able to finish; in 1953 Bloch took this unfinished short story, finished it, polished it up, and then had it published. As such, it is considered a posthumous collaboration. It follows the pursuits of a nobleman who takes a job as a lighthouse keeper, so he may write in solitude. His loneliness gets the better of him in this weird and satisfyingly dark tale, when he tries to psychically summon a companion.

“House of the Hatchet” (1955)

A couple with a relationship on the rocks decides to take their a second honeymoon on the road—on their trip they end up stopping at a haunted tourist attraction, where the story goes that a husband had killed his wife with a hatchet in one of the rooms. When they decided to take a tour of this haunted house, the husband begins to feel a heavy dark presence in the room where the murder was said to have occurred…

“Terror In Cut Throat Cove” (1958)

Considered a horror adventure tale, “Terror In Cut Throat Cove” follows the tale of an American writer who is approached by a treasure-hunting duo; they end up recruiting him to help them locate this long-lost legendary ship that sunk with a massive fortune aboard because the writer has an undeniable fondness for the girlfriend of the treasure hunter. A crazy adventure ensues until they find the ship and one of the divers returns from the ship’s wreckage without his head.

“The Animal Fair” (1971)

This story of a drifter who ends up in the small town of Medley, Oklahoma while the carnival is in town—where he enters the a tent that houses a gorilla who happens to be the main attraction—not to mention seriously abused by his trainer. This horrifying weird tale ends in a shocking twist and is well worth the read.

Works Cited:

Cowan, Matt. “FIFTEEN HORROR TALES BY ROBERT BLOCH.” Horror Delve, 4 Apr. 2016, horrordelve.com/2016/04/04/robert-bloch/.

HorrorBabble. “The Shambler from the Stars” by Robert Bloch. Youtube/”The Shambler from the Stars” by Robert Bloch, HorrorBabble, 12 Mar. 2018, youtu.be/0Q6xA0f9SNk.

HorrorBabble. “The Secret in the Tomb” by Robert Bloch. Youtube/”The Secret in the Tomb” by Robert Bloch, HorrorBabble, 20 Aug. 2018, youtu.be/vodqchPxgCoyoutu.be/vodqchPxgCo.

Thomas, G. W. “The Early Robert Bloch.” Dark Worlds Quarterly, 6 Aug. 2020, darkworldsquarterly.gwthomas.org/the-early-robert-bloch/.

Macabre Mary

Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn’t looked back since. Mary’s evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.

Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.

www.macabremary.com

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The post A Gothic, Cosmic, and Psychological Lifetime of Horror: The 16 Greatest Short Stories from Robert Bloch appeared first on Puzzle Box Horror.

Don’t explain, because the unexplainable is the most frightening thing there is.

What Exactly is Cosmic Horror?

Cosmic Horror movies and books are on the rise in the horror community lately—a refreshing turn away from the slashers and gore of the late seventies, early eighties, most of the nineties, and the last two decades. The Cosmic Horror genre is about more than just the copious amounts of senseless violence—it’s beyond its own monsters and dangers—it’s about testing the limits of your own humanity. How connected are you to the world around you? How frightened are you about the dangers of the unknown? When your perception of reality is suddenly pulled out from under you, you begin to experience overwhelming trepidation, anxiety, and an unanticipated creeping loss of sanity.

In stories with a central theme of Cosmic Horror, more often than not, have protagonists that are forced to face things that go well beyond the normal realm of comprehension, which leads to the idea that authors of the genre try to stand behind, “don’t try and over-explain what’s happening, rather let them stew in existential dread.” While this genre of horror contains plenty of gore and violence, it angles more on the supernatural, paranormal, and psychological sides of fear—so there is no reaction of disgust, but rather pure, unadulterated terror.

So, in the simplest terms possible, cosmic horror is a sub-genre of science fiction where horror is derived from the insignificance of our own existence within an often dispassionate universe … easy peasy, right? While Lovecraft is credited as the creator of cosmic (or Lovecraftian) horror, that doesn’t mean that he was necessarily the first person to write within this genre—he was simply the first person to dedicate his fictional writing solely to the genre which now bears his name. To this day Lovecraft remains the most famous writer of the cosmic horror genre, although the genre continues to expand with the works of writers around the world.

Where Did Cosmic Horror Come From Anyway?

Now that we know what the genre of cosmic horror is all about, where exactly did this genre come from? As far as literary history has shown, cosmic horror began with one man—Howard Phillips Lovecraft. He is officially credited with being the father of the cosmic horror genre—but was he the first author to write in the genre, or was he simply the first author to be credited for it? Truth be told, Algernon Blackwood, an author out of England was officially the first one to write within the cosmic horror genre, but this subgenre of horror had not technically been established yet. His stories The Willows and The Man Who Found Out have historically been classified as general horror, gothic fiction, and fantasy fiction.

To understand certain types of horror, one must first understand where horror and the subsequent emotion of fear comes from. As has been mentioned many-a-times before, as said by Lovecraft himself, “the oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is the fear of the unknown.” This means that this particular subgenre capitalizes on this reaction to uncertainty (in its simplest form), the bread and butter of cosmic horror, and the inability to tell what is coming and when. This quote represents the spectrum of Lovecraft’s range of fiction—it’s elegant, yet somehow a pathetic representation of what can truly represent the genre as a whole. In no uncertain terms, Lovecraft and other authors of the genre make it increasingly clear that there are multiple ways in which the futility and insignificance of human beings can be frightening. If there is nothing meaningful connection to the purpose of human beings, then are we truly anything more than a plaything for celestial beings?

It’s truly an unsettling thought to acknowledge this nihilistic idea of the modern age—that we base our relevance on the time in which we live, but discount the ancient wisdom and forces that came before us. During the earliest days of cosmic horror, Lovecraft took exceptional influences from the plethora of pagan religions all throughout the world. He took particular influence from the most ancient of these pagan religions and cultures—this is in no small part, due to the fact that Lovecraft was quite reverent to paganism and quite openly rejected mainstream Christianity. Keep in mind, Lovecraft lived in a time and place where having beliefs, or favorable leanings towards paganism was highly taboo—where today it is quite a bit more commonplace. Cosmic horror, however, despite being more widespread isn’t an easy genre to write—not to mention capture on film—well at all.

When Lovecraft first began to write stories that exhibited his creations, he displayed a truth that is often disregarded in the course of our daily lives—that we don’t consider the idea that there is something unknown and completely unrelatable to anything we have ever experienced before in our years of life on this earth. We don’t consider that we might be in a world where we don’t recognize the god(s) that deserve idolization, that there may be a natural way of being that we are unaware of, that there may be some type of fate of the world that we haven’t considered as a possibility. This was something that Lovecraft and his predecessors might not have considered, but it is definitely a possibility that should be considered, even if it is completely alien to what we’re used to.

Dig into more cosmic horror by reading and watching our best of cosmic horror books, comics, and movies lists.

Macabre Mary

Georgia-based author and artist, Mary has been a horror aficionado since the mid-2000s. Originally a hobby artist and writer, she found her niche in the horror industry in late 2019 and hasn’t looked back since. Mary’s evolution into a horror expert allowed her to express herself truly for the first time in her life. Now, she prides herself on indulging in the stuff of nightmares.

Mary also moonlights as a content creator across multiple social media platforms—breaking down horror tropes on YouTube, as well as playing horror games and broadcasting live digital art sessions on Twitch.

www.macabremary.com

The post The History of Cosmic Horror appeared first on Puzzle Box Horror.