Again it all depends upon how well it is written.ĭH: CARLISLE STREET, in my opinion, is one of your scariest novels. But, I do think the other styles all have their place in horror. The late Charles Grant is a fine example of my approach. Quiet horror is writing that depends upon less blood and guts with more on an existentialist approach. I know that I am not a mainstream writer. TMW: There are times I feel like such a fossil in comparison to today’s writing. Edgar Allen Poe is a prime example.ĭH: For readers new to your work, how would you define quite horror, and what elements distinguishes it from other subgenres, such as splatter-punk? I’ve had some people call me a literary snob, since I prefer to let the reader do more thinking about what’s been written. I think it’s all about “leaving” more for the reader to think about in regards to my story line and characters. I’ve never enjoyed “spilling out” blood and human remains on my pages. Let the spotlight fall!ĭean Harrison: Your work is considered by many of your contemporaries to be one of the best examples of the subgenre known as quite horror. Wright, the author of such horror classics as STRANGE SEED (1978), CARLISLE STREET (1983), and A MANHATTAN GHOST STORY (1984). What follows is an interview I conducted with an author who has become both a friend and mentor to me: T.M. Back to revive the website I left for dead in March with a series I’ve dubbed Spotlight on Horror. It’s been too long since I’ve posted anything, so here I am.
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