It’s October and Madeleine Swann wants weird stuff for Halloween! Send her links, videos, or other strange, spooky things via email (email@example.com) and she’ll react to it in an upcoming video on her YouTube channel! See her video request below. This is a lady who wants to be weirded out! Help her out, bizarros!
No one knows where or what Tower Ltd Surprise Packages is or why it’s sending gifts to complete strangers across The City. All they know is that each package is the best thing that’s ever happened to them…or the worst.
In one box is a packet of seeds that allows you to grow your perfect date. In another there’s a cupcake that causes anyone who eats it to grow eyeballs all over their skin. There’s also a parcel with a mousetrap that turns all your enemies tiny. Or you could receive your autobiography, which when signed, makes your every thought famous. Or maybe even a key to a secret door that leads to another dimension where all your unfinished and abandoned projects exist. But with each package received comes both fortune and misfortune that will surely result in unexpected consequences.
Like a season of episodes from The Twilight Zone or Friday the 13th The Series, comes a collection of dark and humorous stories from the premier British female author of bizarro fiction.
Get it here
Madeleine Swann is here with a special offer for her newest release from Eraserhead Press, FORTUNE BOX! Check it out!
Bizarro Con is almost a whole year away, and many of us still have great memories of the 2017 bizarro fiction convention. Bizarro Con is the most magical time and place on earth. Not Bizarro Con is a yearlong slog of boredom and normalcy. Luckily, Madeleine Swann created a lovely video log of her experience at last year’s Bizarro Con. I’m posting it here in the dead of winter to help us get through the next ten months until the magic time returns.
And a round of applause for Ms. Swann, also. You can check out more of her weird videos over on her YouTube channel.
Here comes some of that ultra-modern video web logging! Madeleine Swann and Christoph Paul are hard at work providing content that moves and talks on your screen. First is Ms. Swann, who catalogs some of her favorite weird books…
and Christoph with some writing advice…
by Lee Widener
Madeleine Swann entered the Bizarro realm with her debut novella “Rainbows Suck,” released through Eraserhead Press’ New Bizarro Author Series in 2015. Now her second novella “4 Rooms in a Semi-Detached House” is available from Strangehouse Books. I asked Maddy some questions and she answered them!
LEE: Tell us about your new book.
MADELEINE: My new novella is about a girl, Aisha, who lives on a street where each room of each house leads to landscapes in an alternate dimension/the past/whichever you prefer. The front rooms lead to a cinema during the Depression, the bedrooms to a Parisian Salon, kitchens to a Georgian banquet hall in space and studies to a psychedelic book shop. Disturbing things take over the rooms and Aisha thinks a secret of hers might be the cause.
LEE: I know you have a particular interest in avant-garde cinema and also the psychedelic experience. From the trailer for this book it seems these interests play a large part in the story. Is this true, and if so, what other interests of yours show up in this book?
MADELEINE: Avant-garde films and books are a huge inspiration to me. Also I love Pre-Code films, vintage cinemas and vaudeville so I set an area in the early thirties. I also enjoy writers and artists of the twenties, in New York and the expats in Paris mainly, so they’re in the bedroom. The Georgian period is an era I find fascinating, partly because of the lawlessness but also because they were getting to grips with science and life post-religion (mostly). Plus I love all the frills, they were so flouncy. Finally there’s a psychedelic book shop because I felt like I joined the hippie movement in spirit from the age of about 16. Not so much now but I was really into it.
LEE: Can you tell us something about how this book came to be? What was the spark that got you thinking about what came to be this book?
MADELEINE: I genuinely think it just came to me while I was watching Regular Show. It’s taken a lot of work from three editors to get it to a place where I’m really happy with it, but the idea itself just sort of popped in my head. I wanted to write a story involving different periods of history and something involving a street, and there it was!
LEE: I find your talk about using three editors fascinating. I have a piece I’m working on that I’ve sent to two editors and I still don’t know what to do with it. What was it like working with multiple editors? Did you pick and chose which feedback seemed more apt, or did you do a rewrite, felt like it still wasn’t right, so you sent it to another, or what?
MADELEINE: Well, it’s a bit complicated. First off I sent it as a novelette to an anthology but nothing came of that. Then I asked Garrett (Cook) if he’d edit it, I got his notes back and worked on them. Then I asked the publisher if he’d consider releasing it as a novella, he said yes and ended up giving me notes too. I worked on those and then was told Rooster Republic didn’t have room that year but StrangeHouse did, and then they edited it too. I didn’t use every single note but I did most of them.
LEE: Let’s talk about Bizarro Fiction. Do you consider yourself primarily a Bizarro writer, or do you work in other genres as well?
MADELEINE: I think of myself more as a weird writer, but I suppose that fits under the blanket of bizarro. I just like exploring weird, dark things and wherever that takes me is fine.
LEE: What would make a good soundtrack while reading this book?
MADELEINE: Well, if I told you that Miley Cyrus’ Dead Petz was the actual soundtrack to my writing, it would probably put you off. I think anything jaunty and odd, like Mike and Rich or Tobacco.
LEE: You do a lot of outreach to your readers: blog posts, Twitter, youtube videos, personal appearances at festivals and such. What works best for you, and which do you most enjoy?
MADELEINE: I genuinely enjoy all of it. Probably Twitter and blogging the most because I blog about things I enjoy more than myself, and I like sharing the weird arty things I find. I’m very nervous about meeting and talking to people but I’ll certainly be working on that this year! I’m trying to get more used to it by reading my favourite stories to camera and talking on YouTube and it’s getting easier.
LEE: What’s up next for the Evil Pixie?
MADELEINE: Well, I’ve got a few short stories coming out at some point this year, and I’ve just finished a new novella/connected short story thing which is inspired by a section of The Red Tower by Thomas Ligotti, though it’s very different in tone. Also I’m reading from 4 Rooms at the Brighton Fringe Festival, The Big Green Book Shop with Laura Lee Bahr and others and I’ll be at Bizarrocon. See you there!
Trailer for 4 Rooms in a Semi-Detached House:
You can find out more about Maddy and her work, complete with links to buy her books at her website:
Read her weekly column at CLASH Media:
Read her blog here:
Follow her on Twitter: @MadeleineSwann
Subscribe to her Youtube channel:
Lee Widener is the author of “David Bowie is Trying to Kill Me!” and “Rock N Roll Head Case” published in October 2015 by Eraserhead Press. His collection “Under the Shanghai Tunnel & Other Weird Tales” will be published in 2017.
For this week and the next two Flash Fiction Friday will exhibit excerpts of The New Bizarro Author Series for 2015.
The doors exploded open, neon pinks, purples and blues bursting onto the streets and the skin of those waiting. The others cheered, but Tilli remained quietly determined. A rainbow glided into the doorway.
“Friends, neighbours, welcome to Sensus Invictus. Step in and feel your boundaries shatter…” he stepped aside and everyone scurried in, taking seats on either side of a clean, white runway. Tilli elbowed her way to the front of the left side, if she could just remain in view of the rainbows swirling about the ceiling and walls, occasionally disappearing backstage…
A vortex appeared at the end of the runway, swirling furiously. The audience gasped in shocked delight. “Ladies and gentlemen,” boomed a voice neither male nor female, “welcome to the first ever Live Art Extravaganza!” The people cheered and so did Tilli, the excitement spreading like an infectious disease. The first Art, a man with a golden quiff stretching almost to the ceiling, stepped out from behind the screens. The onlookers oohed as he strode to the end of the runway, narrowly missing the vortex which waited hungrily for him. His hair shot out and grabbed a woman’s handbag and she squealed in mock protest. His mane rolled it about for a few seconds before spitting it back into her arms, now covered in attractive sequins. He stomped back to a loud applause.
A girl now appeared, her dark skin almost like velour. In fact, when Tilli squinted, she saw it was velour. It seemed at first as if her coat jiggled as she walked, but Tilli it was writhing independently. A few faces peered out and stretched the fabric before sinking away into dark blue nothingness, whereupon more faces took their place. “Oh darling,” said a woman to a man sitting next to her, “that’s the coat of souls I read about in Tittles. Isn’t it divine?”
“Simply divine,” was the response. Tilli glanced about, sweat prickling her temples. Time was moving on, why hadn’t they noticed her? Maybe she could approach them at the end…
Another Art stepped onto the runway, making his way to the vortex and summoning The Dark One before turning to head back. The next Art appeared from behind the screen. The first, on shoes taller than a young man, wobbled and the crowd uniformly breathed in. The second Art began stomping towards him so as not to lose time, but the first was falling slowly, gracefully, into maw of the whirlpool. All eyes were on him, nobody saw the second Art desperately twirling and cartwheeling to get their attention. The first was sucked down into oblivion and, before anybody had a chance to scream, the second exploded in a shower of glitter and rainbows which stained the white runway. Both men and women screamed as loudly as they could and several fur covered watchers fell dramatically to the floor, though of course one eye flickered to their companions to make sure they were watching.
We were Towers and we shattered the sky.
We were three hundred meters tall, anchored to the bedrock on mammoth monopile roots. We were carbide skeletons on which steel and lead and graphene plastic matrices were layered to form oblique, unbreakable skin. But most of all, we were the Gods of Fire and War and Thermonuclear Destruction. When we unleashed Atomic Hounds upon the night’s void, every kingdom shuddered and every mortal knew why we were built.
We were Towers.
But we had one weakness: those that lived inside us.
They thought I couldn’t feel them walking in the corridors of my marrow and the ventricles of my heart. The human germs crawling and feeding and fucking—sometimes fixing and reloading—but always, always scratching. They caused me to look inward. They did nothing but distract me from the fight.
I was human once, and I remember that it was miserable. Prejudice, anxiety, want—the hallmarks of my short existence. I lived without certainty. But there was certainty in steel. There was certainty in the exhaust of a newly launched missile and the white, celestial explosion that its terminus brought. There was certainty in Quatra.
The time I spent being human was good for only one purpose—to meet Quatra, the singular cog that would mesh with my own.
Alone, we were overwhelmed by the lizard gestalt of our brains. Brought together, we made of ourselves a functional mechanism. We had a use for all our meltwater emotions. Death, however, reminded us that love did not exist in its stygian paradise. Death could walk, and it arose from the ocean to make war upon the last human cities. In those dying days of civilization, the Towers were built to defend what remained.
So long ago.
Requisition called for people to operate the Towers and we volunteered. Shed the flesh, fight for a thousand years, and in return, be admitted unto the Afterlife. What was a millennium compared to an eternity with Quatra? To be without separation, without sorrow or fear, I would pay any price.
I counted down the days.
A thousand years gone.
But these humans. These viral dwellers. I could feel them inside me, as they were in every Tower, and the sensation repelled certainty. What were they doing to me? I fought with everything I had. What more could they want?
It was my rest period of Day 365,241, my last day of service. I dreamt that Quatra and I were parasites in our own skin, and we were ravenous. We cannibalized muscles of polymer and concrete and went deep into the organ meat of our power plants. We were vermin crawling in cavernous spaces that were wet with blood, yet smelled of dust. Our real bodies, the spires, were dead. The planet was a necropolis and our enemies loomed overhead, breathing hellfire and pulsing clouds of devastation. We could do nothing but weep at the basework of our titanic hearts. We couldn’t even hold each other because we didn’t know how.
Then I woke up screaming.
The captain’s office was small. A desk fan buzzed in one corner, with ticker-tape streaming in its breeze. The morning sun crashed through the window in an orange torrent and struck the poster of the kitten hanging from a branch. “Hang In There, Baby”. The captain slammed the door closed behind Detective Vincent Van Gogh.
“Sit down,” he commanded.
Captain Horrald Smalling was a short, squat man, covered in thick brown hair and the labels of beer bottles he’d drunk in the past week. His jacket was off the peg, off his shoulders and slung unheroically over the back of his walrus leather chair. The sleeves of his shirt, which depicted nudes from around the world, were rolled up. Two dark sweat patches had formed under his arms, even though it was only nine in the morning.
“Captain,” questioned Van Gogh, “didn’t you used to have two ears?”
The Captain, self consciously lifted a hand to the side of his face. Where his left ear should have been was a bare patch of skin, no scar, no blood, no hole, just barren skin.
“You’re right, Van Gogh. I woke this morning to find that gone. And worse, there were signs of a break in. Some bastard forced his way into my apartment and stole my ear.”
“That’s….that’s weird,” said Van Gogh, lamely.
“Enough about that, I got a case for you, Van Gogh,” he spat from around the blunt stogie in the corner of his mouth, “a big one. Mayor’s son was found turned into a sofa this morning.”
Van Gogh ran his fingers through his hair and down to his beard. His ear had been right, it was trouble.
“Another **** head?” he questioned.
“Yeah, some new drug cartel has moved in, ****’s been hitting the streets. So, you’re up, Van Gogh. Investigate. Find the bastards that are dealing it, and bring ’em in,” snarled the captain.
Van Gogh scoffed. “Captain, no one has a greater opinion of my abilities than I do, but even I don’t think I can take on a whole cartel.”
The captain’s eyes sparkled with mischief.
“Well, that’s lucky. ‘Cause you won’t be doing it alone. You’ll be doing it with a partner. Ganesha! Get in here!” he bellowed.
The door opened and Detective Ganesha came in, in a cloud of musk and flies. Dressed in an Armani cream suit, Ganesha stood seven feet tall from his dapper white brogues to the top of his massive elephant head. His trunk curled around the door handle and swung it shut behind him. He held, in one of his four hands, a pen knife, which he flicked open and closed as if it were a nervous habit.
“Namaste, detective,” said Ganesha, putting two of his hands together and giving a slight incline of his huge head. “I am most looking forward to working with you.”
“You’ve got to be fucking kidding me,” said Vincent Van Gogh, eyeing the Hindu deity up and down. Deep and dark, like an abyssal trench, Van Gogh felt the ground beneath him slip away. “Captain, no. You know me. I work alone. I do not work with people, let alone elephants.”
A frown crept across Ganesha’s face.