Podcasts about Edgar Allan Poe

A routine cargo run turns into a relentless battle against a chain of biological surprises that no one bothered to translate correctly. As one problem breeds the next, a stubborn starship captain must decide how much misery he can endure before the cargo destroys him—or ruins an entire world. Cakewalk to Gloryanna by Joseph Wesley. That's next on The Lost Sci-Fi Podcast. Joseph Wesley made his debut on the last episode of the podcast and now he's back with another story about Captain Hannah and the space freighter Delta Crucis. From the June 1963 issue of Worlds of Tomorrow on page 105, Cakewalk to Gloryanna by Joseph Wesley… Next on The Lost Sci-Fi Podcast, A late-night experiment meant to impress a room full of scholars turns humiliating when their ancient guest begins judging the modern world instead. A scientific curiosity becomes a razor-sharp battle of egos, where every proud claim about progress risks another devastating laugh. Some Words With a Mummy by Edgar Allan Poe. Lost Sci-Fi Premium - https://lostscifi.supercast.com/ Buy Me a Coffee - https://lostscifi.com/coffee =========================== Newsletter - https://lostscifi.com/free/ Facebook - https://lostscifi.com/facebook YouTube - https://lostscifi.com/youtube X - http://Lostscifi.com/x Instagram - https://www.instagram.com/lostscifiguy Bluesky - https://bsky.app/profile/lostscifipodcast.bsky.social Merchandise - https://lostscifi.creator-spring.com/ =========================== Thanks to Our Listeners Who Bought Us a Coffee $200 Someone $100 Tony from the Future $75 James Van Maanenberg $50 MizzBassie, Anonymous Listener $25 Fintan Quigley, Curious Jon, David Bell, Steve, Miriam, Someone, Someone, Eaten by a Grue, Jeff Lussenden, Fred Sieber, Anne, Craig Hamilton, Dave Wiseman, Bromite Thrip, Marwin de Haan, Future Space Engineer, Fressie, Kevin Eckert, Stephen Kagan, James Van Maanenberg, Irma Stolfo, Josh Jennings, Leber8tr, Conrad Chaffee, Anonymous Listener $15 Every Month Someone $15 Steve, Someone, SueTheLibrarian, Joannie West, Amy Özkan, Someone, Carolyn Guthleben, Patrick McLendon, Curious Jon, Buz C., Fressie, Anonymous Listener $10 David, Anonymous Listener $5 Every Month Eaten by a Grue $5 Tammy, Owen, Bruce, Someone, TLD, David, Denis Kalinin, Timothy Buckley, Andre'a, Martin Brown, Ron McFarlan, Tif Love, Chrystene, Richard Hoffman, Anonymous Listener Listen without commercials and enjoy exclusive bonus episodes every month with Lost Sci-Fi Premium—start your free 7-day trial today. https://lostscifi.supercast.com/ Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

 We continue with our fifth collection. This week: "The Oval Portrait" by Edgar Allan Poe,

How can horror writing help readers — and writers — work through psychological trauma? Why does cross-genre fiction take longer to find an audience, but pay off in the long run? Is running a direct sales store actually worth the inventory, postage, and learning curve? And how can SubStack work for fiction authors? With psychotherapist and award-winning author P.D. Alleva. In the intro, thoughts on why in-person conferences are still worth it, even when they are a challenge for sensitive introverts! and tips for making the best of conferences [Self-Publishing Show]. Today's show is sponsored by Draft2Digital, self-publishing with support, where you can get free formatting, free distribution to multiple stores, and a host of other benefits. Just go to www.draft2digital.com to get started. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn P.D. Alleva is the award-winning author of horror, sci-fi, thrillers, and fantasy books. He's also a psychotherapist. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why horror puts the human condition on display better than any other genre Emotional trauma as the silent psychological killer most people overlook The pros and challenges of cross-genre writing and finding your audience Practical lessons from running a direct store, including integration and signed-copy fulfilment How a 3 a.m. writing routine keeps the writing separate from the marketing and admin Serialising fiction on Substack, multiple newsletters, and avoiding paid subscriber promotions Why Facebook groups, TikTok Lives, and the three-to-one rule are working right now You can find P.D. at PDAlleva.com or on Substack. Transcript of the interview with P.D. Alleva Jo: P.D. Alleva is the award-winning author of horror, sci-fi, thrillers, and fantasy books. He's also a psychotherapist. So welcome, Paul. PD: Thank you very much. Thank you for having me. This is a great opportunity. I love doing interviews, and I love talking to great people. Jo: Oh, good. Well, first up— Tell us a bit more about you and how you got into writing and being an indie author. PD: So I've been writing since I was a kid, at least second grade and more than likely even before that. I've always had that creative itch. Getting into indie author publishing, I published my first book in 2011. At the time I was also operating my own business, which took up about 24 hours of my time every single day. Then I kind of got through that and sold that in 2016, and I'm like, you know what? The time has come. I'd always written books, poetry, short stories, but never really did anything with them because I just didn't have the time. So in 2017, that's when I really came out and said, all right, the time is now. Indie publishing was doing great. The one good thing I do love about Amazon is they allowed us to come out there and start showing our craft to people. So in 2017, I just started—let's do this. Let's write full time. Let's put books out there. Let's be creative. Let's really get those juices flowing. Plus, I was getting a little bit old, and I was like, now is definitely the time to do this. Since then I've been publishing consistently, and most of my books are horror books, but I dabble. I have a sci-fi series, and I'm starting to get into psychological thrillers too. I've got a new psychological thriller that'll be published in early 2027 called Girl on a Mission. For the most part, I'm definitely into the horror genre—books, short stories, all that good fun stuff. Jo: Right, so a couple of follow-ups. You said you're a bit old. Can you give us what decade you're in at least? PD: Well, I'm 51, so born in 1971. Jo: Oh, there you go. Same age as me. PD: All right, good. See that? So we're going head-to-head there. Jo: I don't think that's old at all. Also, you mentioned you sold your business in 2016. So what was your business before? Because I think business experience is so important. PD: Agreed 100%. So I'm a psychotherapist, and I had owned a treatment centre for mental health and addiction. That was started in 2011, and in 2016 is when it sold. Since then, my wife and I started a private practice. So I still, even to this day—well, about a year and a half ago is when I stopped. I specialise in trauma, PTSD, and addiction. Trauma mostly. Most of my caseload has always been trauma, PTSD, sexual abuse, psychological abuse, war-type trauma. I was doing that mostly individually since 2016 in private practice, and I'll still go into treatment centres and see patients there too, specifically for trauma. About a year and a half ago is when I started wanting to do writing 100% full time. I thought about becoming a professor, maybe going to college, but then I wasn't sure if I wanted to get into that full time, as far as a caseload and school and everything like that. So I decided to just do group therapy, group facilitation, and I've been doing that consistently since then. It may be 15 hours a week. I do love to give back, and to me, it's more what I teach. I specialise in neuro-linguistic programming, bilateral stimulation or EMDR, hypnotherapy, science of mind concepts, psychopharmacology, biological bases of behaviour—which is pretty much how your brain works—ancient wisdom, quantum physics. I do this in a drug addiction treatment centre mostly, also mental health. And of course, just living an addictive lifestyle is traumatic, too, in and of itself. So pretty much I'm teaching them. Behaviour modification is a big part of what I'm teaching during that time. You'll see that, too, if you read my books. There's two things you can figure out from my books. You can figure out how to murder people and get away with it, and two, you can figure out how to overcome trauma as well. The whole “murder people and get away with it” comes from my upbringing. I have a very sorted past, let's put it that way. My upbringing was very different than what most people grow up in. Jo: Oh, can you give us any more than that? Now everyone's like, “Oh.” PD: “What's going on with this guy, right?” So I grew up, let's say, quote unquote, “in an Italian New York family.” Jo: Okay. All right. PD: That might give people ideas, right? Jo: That's going to give people a lot of ideas. PD: If you've ever seen the movie Goodfellas, I kind of grew up in that atmosphere, and with even some of those people too. My family had connections to those people in that movie, which I find very funny. If you watch that movie with me, you get a very different perspective on what's going on in the movie. Jo: Wow. So you're an interesting guy with an interesting background, with a very interesting backstory job as well. Some people are like, “Well, of course he's writing horror because horror is just awful and full of slasher gore and all that.” I often have to say to people who don't read horror, “Look, it's not like that.” Maybe some of it is, sure. But most of it isn't. Could you talk about how reading and writing horror can also be psychologically healthy? How do these worlds intertwine for you? PD: Well, sure. It 100% can be healthy. Especially over the last few years, there's a trend going on out there right now where people are taking their trauma and putting it into a creative process through poems, short stories, and even novels. They're taking their trauma and giving it a face, like a monster, where people are overcoming that monster within the creative process. I always say that horror is the genre that puts on display, better than any other genre out there, the human condition. Why is that? When people are in a terrifying situation, you really see who they are. You get to the heart of the matter of who that person is by putting them in these horrific but undefinable situations where it's like, what are they going to come out as? That real true personality needs to come out, and that courage comes out. That's huge in horror, and I think horror gets such a bad name. Now, I know there's the extreme horror and the splatterpunk, and that has its kind of role too in what I'm saying, but that's where horror is getting its bad reputation out there with the over-the-top type of gore. For the most part, that's a small part of the horror genre. It's a subgenre for a reason. It has its readership, and that's fine. Nothing wrong with it. I read it all the time. I find a lot of joy in it, a lot of excitement. However, for the most part, any horror novel that is not completely with the gore and stuff like splatterpunk can be seen as a psychological thriller, and a lot of psychological thrillers can be seen as a horror novel. Look at books like The Silence of the Lambs, Red Dragon. That's horrific as well, but if you read the novel, it's in there. It just gets that bad rap right now, and it's not all gore. Most horror novels that I read today are psychological horror. It's tame on the gore, and the psychological aspect is there. I always see that psychological aspect—it's like psychological trauma. Most people, even in my industry, when people are out there and you mention trauma, PTSD, they're thinking about sexual abuse, physical abuse, or war-type trauma. The silent psychological one—I once wrote an article called “Emotional Trauma: The Silent Psychological Killer.” The one that's out there is the psychological trauma, the emotional trauma that is widespread. Most people go through that, and it could even be from parent to child, and most people don't understand that that's a traumatic experience. It's like a distortion of reality that you're experiencing that then creates a belief system in your brain, and you're constantly acting out that belief system. That's where the psychological component of horror really comes out. People breaking through that psychological belief system that was created through a traumatic experience by reaching courage and coming out through a horrific situation. Jo: Yes, it really annoys me, because with romance, of course people understand that romance is a huge genre. Something like a small town sweet romance is a world away from the bully romantasy, dark, or mafia. Mafia romance is a really big thing with very dark themes. I'm like, well, how can you understand that romance is a huge genre with all these different subgenres, and not think that horror or thriller or fantasy or sci-fi all have so many different subgenres within them? I personally read a lot of supernatural horror, but rarely the slasher gore kind of stuff. So I'm really glad you said that, and hopefully more people will open up a bit more. I did also want to ask you about what you write. You write all these different things. You write standalone—I mean, often horror is standalone—but you also have some series. How do you balance it? What are the benefits of cross-genre writing, but also the challenges of it? PD: Okay. So obviously I love cross-genre writing. To me, I use fantasy to explain the supernatural elements. I blend mostly a tad of fantasy to help explain the supernatural components in my supernatural novels. When I write sci-fi, specifically sci-fi, that has the fantasy element in it too, but there's also a tad of horror in there as well. It's just who I am. When I grew up, I had a lot of different influences. I had Star Wars on one side, and then I'm watching B-rated '80s slasher films on the other side. Those two mixes just kind of followed me throughout my life, and that's why I like putting them into my novels. As I tell my patients, don't limit yourself. Never limit yourself. If you're just limiting yourself to one genre, you're missing out on so much more that's out there. So I love the blend of mixing genres. It just gets my goat each and every time. It is a challenge though. I remember when I first started getting into indie publishing, I was never big into Facebook and social media up until I started becoming an indie author. Before that, with my type of upbringing, you don't advertise yourself. You don't advertise where you're going. That's a big no-no. So I always had this aversion to social media. I'll tell you a funny story. It was the late 2000s, probably 2006. I was a full-time single father at that time, and I was living in Florida. My family—brothers and sisters-in-law—were living in New York, and my sister-in-law said, “Get a Facebook account so we can see pictures of the kids.” I said, “Oh.” I didn't want to do it, but I said, “Okay,” so I did it. And I'm thinking, looking at this Facebook thing, “How do I put pictures on here?” So I figured out how to put pictures in folders. Then I phone called her, and I'm like, “Okay, so they're on there.” And they're like, “Well, where are they?” I'm like, “I put them in these folders. You can go and look at them.” She's like, “No, you've got to post them.” That to me was like, “I'm not posting pictures of my kids.” That was a big no-no. It didn't click. When I got on there finally in 2016, 2017, I'm like, “Okay, so I need to figure out social media. As an indie author, I need to be on there, so I need to get through this aversion and get on there.” I started noticing how people are so particular with their genres. If they're reading a romance, it had to be very specific with that exact type of romance, and if you deviated from it, they're not going to like it. So that was the challenge. I was like, “All right, number one, I'm not going to dilute myself” and say, “All right, take things out of my writing or out of my novel just so I could cater to a certain type of audience.” I'm like, “I'm not going to do that.” I know with me, myself, as a reader, I'll read everything. I don't limit myself to a specific genre. I'll read psychological thrillers. I'll read romance. I've been doing that all my life. So I'm like, if there's a person like me out there—and look at this, I just met like four other people who also read cross genres—then I know that there's at least another 30,000 people, and I know that at least then there's 300,000, then there's three million people out there. So just write the books that you're writing and find your audience. Now, that takes longer. So you've got to chip away. Chip away. You're going to find readers here and there, and then that reader kind of tells a few people about you, and then you've got a few more readers. Then you keep going, and you go on these Facebook groups, and you do a whole bunch of different things, and then you gather a few more readers. Then they're telling some friends, and then you've got more. The process takes a lot longer, yes, 100% agreed, but I would say be true to yourself and you can never go wrong. Jo: Yes, I agree. I write cross-genre as well, and I've browsed your collection. Golem was the one I was like, “Ooh, yes, I like that one.” I haven't read it yet, it's on my list. I think when you're cross-genre, my people come to my store as well, and it's like, “Okay, I'm interested in lots of things, but this is the one by this author that I'm interested in.” Whereas with other authors who only write one type of thing, then I might not like any of their stuff. So I think there are definitely pros and cons and different ways into our world. I also wanted to ask you about the differences in business. Obviously you ran this treatment centre and there were physical humans on all sides, and now you've got a business as an author. So what have you learned in business from what you used to do and what you do now? PD: Okay. You're right. The treatment centre industry is very different from what I'm doing now, but it's still people. Treat those people right, have integrity. If you say you're going to do something, follow through with it. My word is my bond type of thing. That definitely has fed into the writing and publishing industry that I'm in now in a huge way. Just connecting with people is, to me, the biggest part of it. I mean, treatment centres, you've got to connect with people. When I would market the treatment centre, where would I go? I would go to hospitals, residential facilities, detoxes, and talk to them about my programme and why they should be referring clients there. It's the same thing here. Why should you be reading my books? You get there through interviews like what I'm doing here with you. Other podcasts. You get there by doing Facebook Lives, TikTok. I haven't started TikTok Lives yet, but I actually love that platform. I'm falling in love with it. IG Lives, anything like that where you're talking to people and you're making a connection with those people. Through that, I've gathered so many different types of readers who are like, “Yes, I'll give this book a shot.” And then they read it and they're like, “Hey, this is really good, and I'm going to read another book.” With my books, I have very different books. Golem is my psychological horror novel. It's my slow-burn psychological horror novel, heavily inspired by Frankenstein and the Pygmalion myth. It's my first true horror book that I published. Then there's Jigglyspot and the Zero Intellect, which is inspired by B-rated '80s horror movies and the old grindhouse movies of the '70s, and it's mind manipulation. It's just wild and bizarre. And then The Sleepy Hollow Incident is my Gothic tale—it's like a dark romance mixed in with Gothic horror. So I always try to put something for everyone that's out there. To me, when I'm writing, it's got to be about depth, psychological depth. I always refer to my books to be like peeling layers off a Texas-sized onion. The more you read, the more in-depth you get into not only the characters, but the story. It's just something that comes out of me. It's part of me. That's the way I always have to do it. I always have to put that depth in there. To me, that's good storytelling. When I grew up, I read a lot of classic literature. Yes, Edgar Allan Poe, but also Dante's Inferno, Milton's Paradise Lost, The Hunchback of Notre Dame, the Brontë sisters. Keep going. Ray Bradbury, Ayn Rand, Daphne du Maurier, Shirley Jackson. Those to me are my books that I absolutely love. So there's a sweet science in today's fast-paced, social media type of world in marrying the depth of the old classic literature and the entertainment value that is required today for being an author. There's that sweet science behind it, and I love just hitting that nail on the head every time. Jo: So did you ever pitch traditional publishing, or have you thought about going that way? Because I also find that a lot of horror actually sits very close to literary. Like, I read a lot more literary horror than I do in some of the other genres. PD: Correct. So in the beginning, yes. Not in a long time. I maybe went to a couple of indie publishers, but as far as traditional, the Big Five publishers, I have an aversion to them for a big reason. I know people who have worked in that industry that have told me some pretty bad horror stories about those places. So I haven't sent anything to that type of place in a very, very long time. Maybe close to 20 years. Indie publishers, the small presses, yes, here and there, but even then, I'm always moving at a fast pace. So if I've got a book and I'm sending it out as a query letter, by the time that query letter is even read, I'm almost done publishing. I love that aspect of it. The control of my story, where I know where this character's going. And listen, I've got my beta readers, I've got my ARC readers. They're there to tell me, “Hey, maybe you should change this or change that.” Whether I take that advice or not, of course my editor too, is really up to me. I always put out the book that I know is the one I want to read. And to me, I haven't gone wrong in doing so. I know with traditional publishing, you sometimes get too many thoughts in the pot there. Let's put it that way. Jo: Okay, so coming back to being indie then. You mentioned Amazon earlier, but you have a store where you sell direct. Many authors are doing this now, but it can be a challenge. So what have you found are the pros and cons of your direct store? What's working? Any lessons there? PD: Okay. So I use a place called Big Cartel. They're the platform where the books are on. They're hosting my website, PDAlleva.com. The big challenge was actually just starting it. It was so overwhelming. How do I put this on there? At the time, I've got all these books, so how do I present them? I'm even going to be doing another revamp with it too, because I want better pictures—taking pictures of the books, stuff like that, instead of just having the covers on there. I also have a lot of shirts that I'm selling. So I think the biggest challenge is just getting on there and starting it. Then of course, you've got to learn a whole new platform, and the mechanics, and how people are going to be downloading, and how that's done on an e-book versus a print version of the book. So it's a huge learning curve that you've really got to put your focus on and give it time. What most people like in indie publishing is signed copies. It's a huge part of indie publishing, selling those signed copies. People love a signed copy, and that's primarily what my website is for. You can order signed copies from me. I also use a place called IngramSpark, and they're more like a distributor. They're used by everyone. They've been around for a very long time. Traditional publishing uses them too, and they're just distributing your novel. I'd say about a year ago, maybe two years ago, they started where you can sell your books on discount through them as well. So I have that on my website too, where you're just clicking on the book and you're pretty much going directly to their site and you're buying paperbacks and hardbacks at a discount. That's going well too. For the most part, people are definitely coming to my site because they want the signed copies. A good thing with indie publishing is limited editions, first print copies, special editions. That type of stuff really just takes off. People love to see that, especially in the indie community. You can sell them too. I go to a few different book conventions during the year, and the limited editions are there. Like I said, people love the signed copies. They love being a part of that and getting that signed copy. They treasure it, just like I treasure my books too. I'm not referring to my books that I've written, but books that I have as well. I love my e-reader, don't get me wrong, but I still prefer the physical copy—the paperback, and even more so than the paperback, the hardback. So people love those signed copies, and that's why I created the website, to sell on there for them. Jo: Yes, I mean, we're getting to a point now though where I think some people are questioning the pros and cons of it. For example, you doing the signed copies—I don't do that from my Shopify store because I don't want to hold stock and I don't want to deal with postage. So I only do it when I do a Kickstarter. I've just finished one recently, Bones of the Deep, and I'm going up to the printer, and I'm going to sign a couple of hundred copies and then they do the postage. That's the only way I'm willing to do it because of the pain of getting books to your house, signing them, getting them in the post. So how do you manage that practically? PD: Okay, so the inventory's there. I don't go and sign everything right away. I just keep the inventory. Once somebody buys the book, then I'll pull out the book, log it and all that good fun stuff, sign it, and then ship it out immediately. Here in my country, we get discounts at the United States Post Office because they're books. So they pass that shipping cost over to the reader too, so it's a little bit cheaper for shipping. I'll just take books once or twice a week over to the United States Postal Service and ship those books out. I don't sign them until I actually get that order. Jo: How many do you have in your house? It's the holding stock of all the backlist that is the problem. PD: Ooh, gotcha. All right. That's why I have a two-car garage. But here's the thing, I won't order 500 at a time. I'll order 20 at a time. Jo: Okay. Right. PD: When I see that inventory's getting low, I'll order another 20 at a time. Jo: And you get those from IngramSpark? PD: Correct. When the new one comes out, maybe at that time I'm just selling those, bringing those to conventions that I go to. Or maybe doing a sale on those books at that time to get rid of the inventory so it's not sitting around anymore. Jo: I think that's so important. Then like you mentioned, you do T-shirts or shirts. That is also really hard because of sizing. So is that all print on demand? PD: Yes. So I don't really hold the stock on the shirts. When I get an order, whatever the size is at that time, I go directly to the place and order it. I use a place called Sublimation Station that's here in Orlando. They do great all-over print T-shirts. They're fantastic. I just did one for The Sleepy Hollow Incident. So The Sleepy Hollow Incident is one long story, and it's broken up into four books. Each book has its own. The covers are fantastic. I use a lady named Cherie Foxley. She's a phenomenal cover designer. So the shirts are, like, book one is on the front of one shirt with book two on the back, and then the second shirt is book three on the cover and book four on the back. However, I can customise those. I just did a giveaway in my Facebook group and I let people know I could customise them, and she wanted book one and book four, so I just got that and sent it out to her. Now, if people go ahead and order that on the website, I can just order it right away from them, boom, and that place will get it shipped right then and there. Jo: Right, so they do the shipping. These are all sort of practical things that people need to answer because I feel like sometimes it's like, “Oh, yes, having a direct store is great,” but there's actually quite a lot of work that goes into it, isn't there? PD: There is. There's a lot of work. You're pretty much opening almost like your own brick-and-mortar store at that point. You just don't have walk-in traffic coming in—your traffic is all coming online. So there is a lot to it, but it's worth it. If you're a self-published author or even a small indie press, it's good to have. Because like I said, people love the signed copies. Jo: When you say it's worth it, is it worth it financially or just because you like to serve the customers in that way? PD: Both. Jo: Right. So it is financially worth it for you? PD: Yes. Jo: I was talking to a friend of mine and saying, are you valuing your time in terms of things like taking the books to the post office and stuff like that? Do you find it eats into your writing at all, or do you just manage it all separately? PD: No, I manage it separately. So I'm an early morning riser. I get up at 3:00 in the morning, and that's when I write my books or do editing or brainstorming. I'm about to write a new novella now called The Adam and Eve Story, which is actually based on a little-known CIA shelved book from the 1990s called The Adam and Eve Story as well. So I've been brainstorming that, and I was doing that this morning. I get up at 3:00 a.m. and I do my writing, and by the time the kids are up and by the time the wife is up, it's like 8:00 a.m. is rolling around and I'm pretty much done at that point. Then I have my days. Tuesday I'm completely working from home and I do my thing in the morning, and then the rest of the day is marketing, fulfilling orders, stuff like that. On the days when I'm going to do group facilitation, I'll of course still get up at 3:00 o'clock in the morning, and then I'll plan out the day. I've got an hour between this group and I can go ahead and do that, and I'm already there so it's not a problem. The post office is right around the corner. You kind of figure out all the logistics for yourself. There are some days, like on Monday, I don't facilitate groups until the afternoon, so I've got the whole morning to work on marketing and do other things, and fulfilment. Then of course Saturday's a big day for that too. Jo: Oh, that's good. I feel like people always need to know how to balance their time, but it sounds like you manage, because at 3:00 a.m., as you say, there's not much else to do other than write. You mentioned marketing, and you have a Substack, pdsalternativefiction.substack.com. Talk about that and serialising fiction and how Substack works. Because I feel like a load of people are jumping in but might not necessarily know how it works, especially for fiction. PD: Correct. It is becoming quite popular out there. I think the one before that was Patreon, and Patreon is pretty big for that too, kind of the same thing. I wanted to start something and just get the work out there. I was very interested when Amazon came out a few years ago with what was called Vella. They kind of started that. I was like, “This is kind of cool.” Couple chapters at a time. I'm writing the books anyway, so why don't we kick this off and see how it goes—a type of experiment. I had a lot of fun doing it. I started on October 4th, 2024. I've done four novels so far. One is still going, which is Volume 3 of my Dark Veil serie— that's a sci-fi series. I wrote three other novels. The Hypnotist, which is a thriller, heavy on the sci-fi and a tad of horror in there too. And then I wrote Girl on a Mission, which is my psychological thriller, and then Cat Fight, which is a horror novel—all within that time. I think I finished all three of those novels in January, and then the first week of February they were all pretty much done. Now what I'm doing is, I went paid recently on the Substack. It's like everything else that's out there—chip away, chip away. I fell into that hole where they say, “Hey, we can promote you and get people to sign up for your newsletter.” And I'll be honest with you, don't do it. It's not worth it. You spend money, and what happens is they're what I refer to as dead leads. They don't click. You wind up shuffling them off after three to six months, because they're just not clicking. Everybody gets a star rating, so you know—are they clicking, are they staying on, are they not? So I got rid of pretty much all of those people, and I'll never do that again. It's got to be done organically. That's why when you read my books, especially the new books, towards the end it'll say, “Sign up for my newsletter.” I do more with that newsletter too. If you're on the free tier, every month I do a monthly newsletter, which is just me talking about updates, things going on in the publishing industry, things going on with me. My daughter puts together a weekly Horror and Sci-Fi Chronicles newsletter, which gives what's going on in new releases in the industry—sci-fi, horror, books, movies, television. She does deep dives into industry tropes, historical tidbits, and a weekly quiz. I also do a monthly Terrors and Tales newsletter. I started this last year, and it was a quarterly newsletter. It's other authors who are new, upcoming, never been published before, looking to get published. It's a chance for them to be on the newsletter where they have a flash fiction story or poem or even a short story that I publish for them. It's called the Terrors and Tales newsletter. What happened is I would put out calls for submissions. And a place called Duotrope—I don't even know who these people are, but all of a sudden I got an email from them stating, “Hey, we found that you're looking for submissions, and we posted your link. We hope you don't mind.” I'm like, “No, of course I don't mind.” I got so many submissions from that one link. I'm like, “Okay.” Do I really want to deny people? I'm not like that. I want to help promote other authors. I know what it's like when you're new and upcoming, no matter what age you are, to say, “Hey, here's a platform for you to see your stuff in print.” Obviously, I read through them just to make sure they're up to a certain standard, but for the most part, if you submit, you're getting in there. With Duotrope, I'm like, I have enough here to put out one a month. So in May 2026, the first one goes out, and then I'll have one each month until December, and then who knows? In 2027 I might go back to quarterly. I might get enough submissions to just keep it going once a month. So that's the Terrors and Tales newsletter, and it usually comes out towards the end of the month—the last two weeks. I have nothing to do with it in terms of content. None of my stories are on there. None of my poems are on there. None of my flash fiction. It's all other authors, just for them to see their name in print, see their work in print, share it with their friends, and put something on their resume, and to encourage people to keep reading and keep the craft going. Jo: When you say in print, you don't mean in physical print? PD: Oh, I mean in the newsletter. I'm sorry. Jo: I think that's important, or you're going to get a lot more submissions, and you will need to do publishing contracts and all that kind of thing. I think that's the difficult thing with a Substack newsletter approach—it's difficult to know where to categorise it. Is it marketing? Is it publishing? It's all of these things, I suppose. A bit like this podcast, it's all kinds of things. In terms of Substack actually making money on its own or leading to book sales that make money, do you think it does serve that purpose? PD: I think I've gotten more book sales through it, and also ARC readers who are enjoying the books and giving reviews. As far as the paid tiers, that's kind of a little bit slow, and that's where I'm saying chip away at it. Keep it up there. Keep it going. Over time, you're going to build that type of audience where it's going to be like, “Hey, this is financially feasible for me to continue to do this.” That's the response that I'm getting out there. Jo: Yes. Before, you mentioned you were doing Facebook Lives and you're looking at TikTok, but— Is anything else working for you in book marketing? If people have a few books and they're like, “What is working for book marketing right now?”—what do you recommend? PD: Okay. For me, the thing that has made the most sense is making sure the reader knows the book is out there through some sort of social media. I've had really good success on TikTok since the beginning of this year especially. I started it about a year ago, year and a half ago, but then my father got sick and passed away, and it was a new venture and I put it off to the side. I really got the flavour going at the beginning of this year. February, March of this year. It seems to be going really well, and I've noticed an uptick in sales from just getting the videos out there and getting it in front of people's eyes. There's an event I'm going to in August called ShiverCon, which is a pretty big event. After that event, I'm going to look to see what type of inventory I have left over from the event, and I'm going to start doing TikTok Lives. I'm very comfortable being on camera. So I'm like, “Yeah, that seems like a good way to go.” I know there's a few other horror authors who are doing it and having good success with TikTok Lives as well. A guy named Jason Davis is doing really well with TikTok Lives, and a few other authors too. I'm like, “Yes, I could definitely do that.” I want to get up to a certain number of people, and I want these events. I'm going to one in July, and then ShiverCon in August. Once those are done, I'm going to have more time to do the TikTok Lives. As far as Facebook is concerned, what I've had really great success with on Facebook is being in the groups and meeting other authors. That's not always about my book per se, but whatever books I'm reading, I'm posting my reviews about those books in those groups and meeting readers. Then obviously, they always say the three-to-one rule. Post about three different books and then post about your own book, whether you're doing a sale or a new release or a re-release or whatever. I've found success through that just by interacting with readers. When they post a book, I'll comment, “Hey, I've read that book,” or, “Hey, that book looks really cool. I like the review.” Commenting on it so you start these relationships with people who are out there in these Facebook groups. I've recently started my own Facebook reader group. I kind of go with the same thing. Last night, we did a live reading for another author. I like other authors to be on there. I always like to think, what does the reader need? What do I want to see as a reader? I would love to hear live readings from authors. So I kind of learn about them, learn about the book, and get a live reading. To me, that's a good way to go. So I started that recently, and it seems to be going well. I've got a new folk horror coming out soon, and I put out a call for ARC readers and got a fantastic response from that. That kind of drives the sales anyway, because when you get those reviews, then people see it gives credibility to the book, and then other people see it, and then they're buying it too. So that comes from the groups. There's so many wheels to spin in this industry as an indie author when you're doing this, especially when you're doing 99% of it on your own. You've got to get out there. No one's going to know your book exists if you don't get out there and tell somebody about it. Jo: Brilliant. Well, tell us— Where can people find you and your books online? PD: All right. Perfect. So obviously I'm on Amazon like everyone. Most of my books are worldwide, so you'll find them in Barnes & Noble as well. And of course, if you want the signed copies or discount print books, I always lead people straight to my website, PDAlleva.com. Then, of course, if you go to my Substack, you'll get all the updates, and you'll get all the links to purchase or find out where they are on Amazon and Barnes & Noble and things like that too. Jo: Brilliant. Well, thanks so much for your time, Paul. That was great. PD: Thank you very much for having me. It was great chatting with you. The post Writing Cross-Genre, Selling Direct, And Serialising On SubStack With P.D. Alleva first appeared on The Creative Penn.

Celebrate America's aviation heroes:

Edgar Allan Poe's gothic horror masterpiece comes alive in "Shadow, A Fable"—a chilling tale of death, plague, and ancient dread that feels disturbingly modern. Henrique brings his filmmaker's eye to Poe's most eerie fiction, crafting an immersive audio experience of supernatural terror as a group of men confront something unseen lurking just beyond the light. Perfect for horror fiction fans and Poe enthusiasts.Turn down the lights, my spookies… because in Poe's world, the shadow is never just a shadow.Shadow, a Fable — by Edgar Allan Poe

Rendez-vous le 29 juin au Théâtre des Bouffes du nord pour découvrir la première création de l'Académie de La belle saison. Un spectacle conçu comme un conte musical en deux volets associant Le masque de la mort rouge d'André Caplet inspiré par Edgar Allan Poe et une œuvre originale du compositeur Corentin Apparailly sur un livret de Yanowski intitulée La louve. Une soirée qui marque l'aboutissement d'un processus de création associant de jeunes musiciens. Corentin Apparailly ainsi que deux membres de l'Académie de La belle saison, le violoniste Oscar Hatzfeld et l'altiste Iris de Sousa nous raconteront ce soir l'élaboration de ce projet collectif qui s'est décliné pendant une année sous la forme de résidences. L'occasion donc pour de jeunes musiciens d'assister à l'éclosion d'une nouvelle œuvre et de participer à sa création. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

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En 1845 la frontera entre la ciencia y el espiritismo se difumina en un entorno de creencias poco ortodoxas que fascinan en los círculos esotéricos de la época. La obra del medico y filosofo alemán Franz Mesmer, considerado el padre de la hipnosis moderna, incluyendo su teoría del "magnetismo animal", inspiraron a Edgar Allan Poe en la creación de su trilogía mesmérica, cuyo relato más afamado, es nuestra historia de esta noche. Durante años, los entusiastas del mesmerismo pensaron que podría tratarse de un testimonio real, y Poe fue interrogado a este respecto en múltiples ocasiones... Pero, confesó Poe si el relato era real? Averígüenlo amigos, acomodándose en su cubil favorito... Prepárense para disfrutar de una nueva adaptación invocada desde las Narraciones Extraordinarias de El Club Diógenes de la Editorial Valdemar, con la maravillosa traducción de Mauro Armiño y la inestimable colaboración de Toliol, librero del mal en Gigamesh. Sigan al maestro Toliol en sus redes: https://bsky.app/profile/toliol.eurosky.social Visiten la web de Valdemar para hacerse con estos grimorios: https://www.valdemar.com/autor/poe-edgar-allan/ Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

En 1845 la frontera entre la ciencia y el espiritismo se difumina en un entorno de creencias poco ortodoxas que fascinan en los círculos esotéricos de la época. La obra del medico y filosofo alemán Franz Mesmer, considerado el padre de la hipnosis moderna, incluyendo su teoría del "magnetismo animal", inspiraron a Edgar Allan Poe en la creación de su trilogía mesmérica, cuyo relato más afamado, es nuestra historia de esta noche. Durante años, los entusiastas del mesmerismo pensaron que podría tratarse de un testimonio real, y Poe fue interrogado a este respecto en múltiples ocasiones... Pero, confesó Poe si el relato era real? Averígüenlo amigos, acomodándose en su cubil favorito... Prepárense para disfrutar de una nueva adaptación invocada desde las Narraciones Extraordinarias de El Club Diógenes de la Editorial Valdemar, con la maravillosa traducción de Mauro Armiño y la inestimable colaboración de Toliol, librero del mal en Gigamesh. Sigan al maestro Toliol en sus redes: https://bsky.app/profile/toliol.eurosky.social Visiten la web de Valdemar para hacerse con estos grimorios: https://www.valdemar.com/autor/poe-edgar-allan/

Check out this link to buy DB's Books[link] Season 22 bonus episodes 65-88 # Name Author Description 65 The Fall of the House of Usher Edgar Allan Poe A gothic tale of a decaying family, a decaying mansion, illness, obsession, and a terrible burial mistake. 66 What Was It? Fitz-James O'Brien A strange invisible creature is discovered in a boarding house, turning supernatural terror into a problem of observation, capture, and proof. 67 The Upper Berth Francis Marion Crawford A passenger aboard a ship investigates a cursed cabin where something horrifying appears from the sea. 68 The Death of Halpin Frayser Ambrose Bierce A nightmarish tale of murder, memory, and supernatural revenge, centered on a man lost between dream, guilt, and death. 69 The Mark of the Beast Rudyard Kipling A colonial horror story in which a drunken insult to a sacred image brings a hideous curse. 70 The Captain of the 'Pole-Star' Sir Arthur Conan Doyle An Arctic ghost story about a doomed captain, an obsessed expedition, and something haunting the frozen wastes. 71 The Yellow Sign Robert W. Chambers An artist and his model become drawn into a decadent supernatural mystery involving a sinister symbol and the King in Yellow. 72 Xelucha M. P. Shiel A lush, strange, morbid tale of obsession, death, and uncanny beauty, written in Shiel's dense decadent style. 73 The Red Room H. G. Wells A skeptical man spends the night in a supposedly haunted room and discovers terror without needing a visible ghost. 74 The Shadows on the Wall Mary E. Wilkins Freeman A domestic ghost story where grief, suspicion, and a strange shadow reveal something dreadful within a family home. 75 The Harbor-Master Robert W. Chambers A weird tale of coastal mystery, pursuit, and monstrous transformation, mixing adventure with uncanny horror. 76 The White People, Pt 1 Arthur Machen The opening of Machen's occult horror story, framing forbidden knowledge, childhood innocence, and hidden pagan mysteries. 77 The White People, Pt 2 Arthur Machen The central portion of the story, presenting a young girl's secret diary of strange rites, hidden places, and uncanny encounters. 78 The White People, Pt 3 Arthur Machen The conclusion of the tale, where the innocent-seeming account becomes something much darker and more spiritually dangerous. 79 Lost Hearts M. R. James A young orphan comes to live with an elderly relative and uncovers a cold, scholarly evil involving missing children. 80 The Willows, Pt 1 Algernon Blackwood The beginning of a cosmic nature-horror story about two travelers canoeing down the Danube into a remote and hostile landscape. 81 The Willows, Pt 2 Algernon Blackwood The travelers become increasingly aware that the landscape around them may be alive, watching, and spiritually alien. 82 The Willows, Pt 3 Algernon Blackwood The pressure of the place grows unbearable as natural details become signs of a vast, inhuman presence. 83 The Willows, Pt 4 Algernon Blackwood The conclusion reveals the full terror of the willows: not a simple haunting, but contact with forces beyond human scale. 84 The Hashish Man/The Unhappy Body Lord Dunsany Two short Dunsany pieces: one dreamlike and visionary, the other a strange fable about the body, identity, and dissatisfaction. 85 Fishhead Irvin S. Cobb A grotesque backwoods horror story about an outcast man with fishlike features and a reputation for uncanny violence. 86 The Hashish-Eater, or the Apocalypse of Evil Clark Ashton Smith A visionary prose-poem of cosmic horror, decadent imagery, and apocalyptic evil unfolding through drug-induced revelation. 87 Seaton's Aunt, Pt 1 Walter de la Mare The first half of a quiet psychological ghost story about a boy's unsettling visit to his friend's house and his terrifying aunt. 88 Seaton's Aunt, Pt 2 Walter de la Mare The second half deepens the dread around Seaton's aunt, leaving the horror ambiguous, oppressive, and emotionally cruel.

Check out this link to buy DB's Books[link] Season 22 bonus episodes 65-88 # Name Author Description 65 The Fall of the House of Usher Edgar Allan Poe A gothic tale of a decaying family, a decaying mansion, illness, obsession, and a terrible burial mistake. 66 What Was It? Fitz-James O'Brien A strange invisible creature is discovered in a boarding house, turning supernatural terror into a problem of observation, capture, and proof. 67 The Upper Berth Francis Marion Crawford A passenger aboard a ship investigates a cursed cabin where something horrifying appears from the sea. 68 The Death of Halpin Frayser Ambrose Bierce A nightmarish tale of murder, memory, and supernatural revenge, centered on a man lost between dream, guilt, and death. 69 The Mark of the Beast Rudyard Kipling A colonial horror story in which a drunken insult to a sacred image brings a hideous curse. 70 The Captain of the 'Pole-Star' Sir Arthur Conan Doyle An Arctic ghost story about a doomed captain, an obsessed expedition, and something haunting the frozen wastes. 71 The Yellow Sign Robert W. Chambers An artist and his model become drawn into a decadent supernatural mystery involving a sinister symbol and the King in Yellow. 72 Xelucha M. P. Shiel A lush, strange, morbid tale of obsession, death, and uncanny beauty, written in Shiel's dense decadent style. 73 The Red Room H. G. Wells A skeptical man spends the night in a supposedly haunted room and discovers terror without needing a visible ghost. 74 The Shadows on the Wall Mary E. Wilkins Freeman A domestic ghost story where grief, suspicion, and a strange shadow reveal something dreadful within a family home. 75 The Harbor-Master Robert W. Chambers A weird tale of coastal mystery, pursuit, and monstrous transformation, mixing adventure with uncanny horror. 76 The White People, Pt 1 Arthur Machen The opening of Machen's occult horror story, framing forbidden knowledge, childhood innocence, and hidden pagan mysteries. 77 The White People, Pt 2 Arthur Machen The central portion of the story, presenting a young girl's secret diary of strange rites, hidden places, and uncanny encounters. 78 The White People, Pt 3 Arthur Machen The conclusion of the tale, where the innocent-seeming account becomes something much darker and more spiritually dangerous. 79 Lost Hearts M. R. James A young orphan comes to live with an elderly relative and uncovers a cold, scholarly evil involving missing children. 80 The Willows, Pt 1 Algernon Blackwood The beginning of a cosmic nature-horror story about two travelers canoeing down the Danube into a remote and hostile landscape. 81 The Willows, Pt 2 Algernon Blackwood The travelers become increasingly aware that the landscape around them may be alive, watching, and spiritually alien. 82 The Willows, Pt 3 Algernon Blackwood The pressure of the place grows unbearable as natural details become signs of a vast, inhuman presence. 83 The Willows, Pt 4 Algernon Blackwood The conclusion reveals the full terror of the willows: not a simple haunting, but contact with forces beyond human scale. 84 The Hashish Man/The Unhappy Body Lord Dunsany Two short Dunsany pieces: one dreamlike and visionary, the other a strange fable about the body, identity, and dissatisfaction. 85 Fishhead Irvin S. Cobb A grotesque backwoods horror story about an outcast man with fishlike features and a reputation for uncanny violence. 86 The Hashish-Eater, or the Apocalypse of Evil Clark Ashton Smith A visionary prose-poem of cosmic horror, decadent imagery, and apocalyptic evil unfolding through drug-induced revelation. 87 Seaton's Aunt, Pt 1 Walter de la Mare The first half of a quiet psychological ghost story about a boy's unsettling visit to his friend's house and his terrifying aunt. 88 Seaton's Aunt, Pt 2 Walter de la Mare The second half deepens the dread around Seaton's aunt, leaving the horror ambiguous, oppressive, and emotionally cruel.

Cześć! W tym odcinku mamy dla Was dwie książki pełne korników, patyków, nawiedzonych domów i rozważań o przeszłości. To powieść „Kornik” Layli Martinez w tłumaczeniu Mai Gańczarczyk i „Klekot tysięcy patyków” Jarosława Maślanka. W obu książkach ważne są relacje rodzinne, w jednej pojawiają się mroczne cienie i święci, w drugiej gołe drzewa i duchologiczny klimat. W rozmowie gościnnie występują Edgar Allan Poe i Zdzisław Beksiński (znów duchy, a co!) Zachęcamy Was do słuchania: takie klimatyczne książki można czytać nie tylko na jesień.Książki, o których mówimy w podkaście: Layla Martinez, „Kornik”, tłum. Maja Gańczarczyk, bo.wiem; Jarosław Maślanek, „Klekot tysięcy patyków”, PIW.Dziękujemy Państwowemu Instytutowi Wydawniczemu za książkę [współpraca reklamowa].Jeśli spodobał Ci się ten odcinek, możesz nam podziękować na ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Suppi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Zapłacisz bezpiecznie i bez prowizji Blikiem, przelewem czy kartą.A jeśli chcesz zostać z nami na dłużej: wejdź na nasz profil ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patronite⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Jeżeli chcesz dołączyć do naszego grona Matronek i Patronów, będziemy zaszczycone! Dla tych, którzy zdecydują się nas wspierać, mamy spersonalizowane książkowe rekomendacje, spotkania klubu książki, podziękowania na stronie i wiele więcej.Zachęcamy do odwiedzin na naszym profilu na ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagramie ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠i na ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebooku⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, na naszym kanale ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠oraz na naszej ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠stronie internetowej⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Intro: http://bit.ly/jennush

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Lesung und Gespräch. So schöne Zähne! Und eine so grausame Tat! "Poe holt das Böse in das Ich hinein", sagt Übersetzer Andreas Nohl. Und: der US-amerikanische Schriftsteller hat mit seinem Werk die literarische Moderne begründet.

Daniel Torregrosa nos acerca a una sorprendente y desconocida faceta de Edgar Allan Poe como un voraz lector y apasionado de la ciencia. Este autor es más conocido como el maestro del terror, pero en este ensayo plasma una cosmogonía propia sobre el origen, la expansión y el destino final del universo desafíando las conclusiones de los científicos más respetados de su época y demostrando un profundo interés por disciplinas como la astronomía, las matemáticas y la biología. Poe logra intuir conceptos revolucionarios que la ciencia corroboró mucho tiempo después, como la teoría del Big Bang o la resolución a la paradoja de Olbers sobre la oscuridad del cielo nocturno. Como curiosidad, el mayor éxito de ventas en vida de Poe no es ninguno de sus célebres relatos de misterio, sino "El libro del conquiliólogo", un manual sobre conchas de moluscos que el genio de Boston publica por encargo económico y que escribió plagiando a un científico.

On this episode of The Horror, we'll hear two stories from Edgar Allan Poe as dramatized by The Black Mass. From September 20, 1964, here's A Predicament And The Tell-Tale Heart. Listen to more from The Black Mass https://traffic.libsyn.com/forcedn/e55e1c7a-e213-4a20-8701-21862bdf1f8a/TheHorror1281.mp3 Download TheHorror1281 | Subscribe | Spotify | Support The Horror Support your weekly hauntings by visiting donate.relicradio.com! Thanks!

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"the business in the crypt" [SHOS]    If you experience claustrophobia, this may not be the episode for you. Because it's all about being shut up in close spaces. And it's the monthly "Mr. Sherlock Holmes the Theorist" episode.   Denise M. Rogers walks us through the gothic theme shared between Edgar Allan Poe and some of the Sherlock Holmes stories in her Baker Street Miscellanea article "Crypts, Secret Rooms and Subterranean Passageways: Entombment as a Motif in the Canon" from Spring 1990. It's just a Trifle.     If you have a question for us, please email us at trifles@ihearofsherlock.com. If you use your inquiry on the show, we'll send you a thank you gift.   Our Merch Store is open: Trifles mugs, notepads, and oval stickers can be yours (or someone else's, if you'd like to make it a gift). Start shopping today.    Don't sleep on "Trifling Trifles" — short-form content that doesn't warrant a full episode. We release these at the beginning of every month. The latest episode is "for those with ears attuned to catch the distant view-halloo!" This is a benefit exclusively for our paying subscribers.  Check it out (Patreon | Substack).     Leave Trifles a five-star rating on Apple Podcasts and Spotify; listen to this episode here or wherever you get podcasts   Links Baker Street Miscellanea (Abebooks) All of our social links: https://linktr.ee/ihearofsherlock Email us at trifles @ ihearofsherlock.com    Music credits Performers: Uncredited violinist, US Marine Chamber Orchestra Publisher Info.: Washington, DC: United States Marine Band. Copyright: Creative Commons Attribution 3.0      

Send us a text or a voicemailA woman, employed as a website content moderator, comes across a series of offensive audio podcasts that have been reported by listeners. She is torn between sending them a take down notification and subscribing. On Episode 720 of Trick or Treat Radio our feature film discussion is the re-imagining of the cult classic Faces of Death from director Daniel Goldhaber! We also talk about the original viral videos from early VHS shockumentaries, we talk about old commercials, and we react to trailers for the films; The Voices of Our Mother, and The Dead Place. So grab your old VHS copy of Faces of Death, try not to imitate any of its videos, and strap on for the world's most dangerous podcast!Stuff we talk about: Horror authors, Stephen King, Edgar Allan Poe, writers of terror, Dan Ackroyd, big twinkies, Bloodsport, Revenge of the Nerds, RIP Donald Gibb, Old Taco Bell commercials, Mike Mignola, Bee Gees, Andy Gibb, King of the Zombies, Nightmare in Wax, Child of Glass, The House Where Evil Dwells, Conan the Barbarian, The Evil Within, Heavy Mental: A Rock and Roll Bloodbath, Sophia Coppola, Frankenweenie, The Entity, The Day the Time Ended, The Amityville Horror, Kingdom of the Spiders, Natasha Ryan, Danny Huston, Clash of the Titans, 30 Day of Night, Tim Roth, Planet of the Apes, Dark Water, Rob Tapert, Robert Zemeckis, The Frighteners, Tales From the Crypt, Joe Zito, Friday the 13th: The Final Chapter, The Prowler, George Lucas, William Friedkin, Victor Miller, Richard Deacon, Howard the Duck, Top Secret, Real Genius, Val Kilmer, Fassbender, X-Men: Apocalypse, Nunsploitation, Mr. Destiny, The Voices of Our Mother, The Dead Place, David Howard Thornton, Destiny Plays the Radio, The Golden Girls, Quentin Tarantino, Dr. Frances B. Gross, Faces of Death, Traces of Death, Shockumentary, Mondo Films, Hackers, Angelina Jolie, Dacre Montgomery, Barbie Ferreira, Charlie XCX, copycat killers, Censor, video nasties, i screen you screen we all screen for green screen, and traumatized and desensitized.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

We're back with our continuing fourth collection. This week it's: "The Sphinx" by Edgar Allan Poe.

Irma and Karen answer a listener question about the transition from emerging writer to established, then chat about their latest reading recommendations.Then Karen talks to poet Robbie Coburn about how discovering Edgar Allan Poe when he was 14 was like being let out of jail, how mimicking great writers can help develop your writing early on, how he connects poems to memories like songs, the best way for poets to get their work out into the world, the value of mentorship for poets, why allowing horses to gallop into his work helped him find himself as a writer, how to persist despite devastating rejection, and how his granny would have been proud of him receiving an award sticker for his verse novel.About Robbie Robbie Coburn is the author of several poetry collections and a young adult verse novel The Foal in the Wire. He has published several chapbooks and zines, and his poems have been published in numerous Australian and international journals. He has run poetry workshops for Headspace – a youth mental health organisation. He grew up on a farm in regional Victoria and now lives in Melbourne.Find out more about Irma and KarenVisit Irma Gold's website, or follow her on Instagram and FacebookVisit Karen Viggers' website, or follow her on Instagram and FacebookFollow Secrets From the Green Room on Instagram and Facebook

En el Teatro Luis del Olmo se ha colado un cuervo y dos ornitólogos se han lanzado a cazarlo. Sin embargo, Sergio del Molino ha decidido sustituirlos por un cazador mucho más experimentado.

This April was the great Roger Corman’s centennial, so what better time to finally discuss his work on Eros + Massacre. Writer, artist, programmer, and friend of the show Klon Waldrip joined me for an epic conversation about Corman’s 8-film series loosely based on the stories of Edgar Allan Poe. In this episode we discuss: House of Usher (1960), The Pit and the Pendulum (1961), The Premature Burial (1962), Tales of Terror (1962), The Raven (1963), Lovecraft adaptation The Haunted Palace (1963), The Masque of the Red Death (1964), and The Tomb of Ligeia (1964), and a handful of related films. We talk a lot about the overlapping plots and themes in these narratives, the distinctly American use of gothic tropes, Vincent Price, evil redheads, being obsessed with death, Vincent Price with a side of Peter Lorre, sinister doubles, doomed romance, and so much more. Be sure to check out Klon’s new solo podcast, Late List, which you can find on YouTube (with a really cool video component), Apple, or Spotify. The first episode is all about Something Weird Video!

While we are on a break, enjoy this episode from Season 2. Season 3 starts May 19!Week 39 of Ted Gioia's Immersive Humanities Course takes on nineteenth-century American literature. To my surprise, this became one of the most enjoyable weeks so far. I went in dreading familiar names and old high-school resentments, but came out newly energized. Mark Twain's The Adventures of Huckleberry Finn (chapters 1–6) was funny, humane, and immediately engaging. Edgar Allan Poe's The Fall of the House of Usher and “The Raven” used ornate language to heighten unease, while Emily Dickinson's poems felt weightless and startlingly modern. Henry David Thoreau's Walden was quotable and provocative, if ultimately grating, and Herman Melville surprised me most of all: Bartleby, the Scrivener lingered with quiet power, and the opening of Moby-Dick left me eager for more. This week revealed a real shift in voice and sensibility—and changed my mind about American literature. I'm looking forward to going back and reading more, but first we need to move on to Week 40 and Russian Literature!LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!) The complete list of Crack the Book Episodes (Amazon affiliate links): https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rCONNECTTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ Like what you heard? Buy me a coffee! https://ko-fi.com/crackthebookLISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts - https://podcasts.apple.com/us/podcast/crack-the-book/id1749793321 Captivate - https://crackthebook.captivate.fm

Gabriel Mckee is a librarian, curator, and author whose research focuses on UFO culture, science fiction, religion, and book history. His past work includes books on theology and science fiction, curating exhibitions on Edgar Allan Poe and Mark Twain, and working as part of the editorial team for PHILIP K. DICK'S EXEGESIS. Last year, he published THE SAUCERIAN: UFOS, MEN IN BLACK, AND THE UNBELIEVABLE LIFE OF GRAY BARKER with the MIT Press -- a biography of a controversial ufological trickster.His latest book BEHOLD THE BEHEMOUTH: THE COLLECTED POEMS OF GRAY BARKER was released earlier this year.BEHOLD THE BEHEMOUTH can be ordered directly from the publisher Apport Editions, here: https://www.abebooks.com/Behold-Behemouth-Collected-Poems-Gray-Barker/32406173691/bdTHE SAUCERIAN can be ordered from Amazon here:https://www.amazon.com/Saucerian-UFOs-Black-Unbelievable-Barker/dp/0262049546/Visit Gabriel online, here: https://gabrielmckee.com/Info about BEHOLD THE BEHEMOUTH:A master storyteller, prankster, and mainstay of the UFO world, Gray Barker (1925-1984) is best known for his bizarre tales of Men in Black, the Mothman, and the Philadelphia Experiment. Barker is widely recognized for his skill as a prose stylist in books like They Knew Too Much About Flying Saucers--skills that he developed through a lifelong practice of composing poetry, most of which remained unpublished at the time of his death.In Behold the Behemouth, Gabriel Mckee (author of the biography The Saucerian: UFOs, Men in Black, and the Unbelievable Life of Gray Barker) compiles all of Barker's surviving poetry, from his early experiments as a college student through enigmatic verse about UFOs and other uncanny subjects in his later career.At turns melancholic, otherworldly, and side-splittingly hilarious, Barker's poetical writings enrich the picture of midcentury ufology in general and the life of this peculiar literary outsider in particular.Gabriel visits with Talking Weird to chat about the amazing life and poems of Gray Barker, who was one of the most influential and fascinating figures of Ufology.This is an enthralling episode, filled with stories about early Ufology, that you do not want to miss!

Gabriel Mckee is a librarian, curator, and author whose research focuses on UFO culture, science fiction, religion, and book history. His past work includes books on theology and science fiction, curating exhibitions on Edgar Allan Poe and Mark Twain, and working as part of the editorial team for PHILIP K. DICK'S EXEGESIS. Last year, he published THE SAUCERIAN: UFOS, MEN IN BLACK, AND THE UNBELIEVABLE LIFE OF GRAY BARKER with the MIT Press -- a biography of a controversial ufological trickster.His latest book BEHOLD THE BEHEMOUTH: THE COLLECTED POEMS OF GRAY BARKER was released earlier this year.BEHOLD THE BEHEMOUTH can be ordered directly from the publisher Apport Editions, here: https://www.abebooks.com/Behold-Behemouth-Collected-Poems-Gray-Barker/32406173691/bdTHE SAUCERIAN can be ordered from Amazon here:https://www.amazon.com/Saucerian-UFOs-Black-Unbelievable-Barker/dp/0262049546/Visit Gabriel online, here: https://gabrielmckee.com/Info about BEHOLD THE BEHEMOUTH:A master storyteller, prankster, and mainstay of the UFO world, Gray Barker (1925-1984) is best known for his bizarre tales of Men in Black, the Mothman, and the Philadelphia Experiment. Barker is widely recognized for his skill as a prose stylist in books like They Knew Too Much About Flying Saucers--skills that he developed through a lifelong practice of composing poetry, most of which remained unpublished at the time of his death.In Behold the Behemouth, Gabriel Mckee (author of the biography The Saucerian: UFOs, Men in Black, and the Unbelievable Life of Gray Barker) compiles all of Barker's surviving poetry, from his early experiments as a college student through enigmatic verse about UFOs and other uncanny subjects in his later career.At turns melancholic, otherworldly, and side-splittingly hilarious, Barker's poetical writings enrich the picture of midcentury ufology in general and the life of this peculiar literary outsider in particular.Gabriel visits with Talking Weird to chat about the amazing life and poems of Gray Barker, who was one of the most influential and fascinating figures of Ufology.This is an enthralling episode, filled with stories about early Ufology, that you do not want to miss!

Can reading about the paranormal actually open a door to something otherworldly? Some real-life accounts suggest the act of delving into the supernatural may invite more than just stories – it may invite something far darker.FEATURED STORIES IN THIS EPISODE: As long as there has been talk of evil spirits, ghosts, and demons, there have been tales of ways to bind, subdue, and imprison them. (Bizarre Real Demon Traps) *** Is it possible that reading about the world of the paranormal can somehow expose a person to it? (Can Reading A Book Open a Paranormal Door?) *** A truck driver passes a specter on a night road. (Night Driving In Alabama Left Me Speechless) *** The 1964 murder of Kitty Genovese – killed in front of 38 people, yet no one came to her aid - became an American legend. But how much of the story is true? (The Woman Killed In Front Of 38 Witnesses) *** The skeleton of a young boy was found on the side of a road and eventually a man named Marcellus Bunch was arrested for the crime – yet he seemed completely unconcerned about himself, the trial, or his fate. (A Hidden Skeleton) *** You don't have to be sleeping with someone to be the victim of a blanket hog. You only need an invisible entity to give you those chills. (The Phantom Blanket Puller) *** Beloved horror author Edgar Allan Poe was a master of terror and mystery – but his greatest mystery may not have been in the pages of his writings, but in the days immediately before his death. (The Last Mystery of Edgar Allan Poe)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = The Foreboding00:00:40.612 = Show Open00:02:50.945 = The Last Mystery of Edgar Allan Poe00:06:17.849 = Can Reading a Book Open a Paranormal Door?00:12:47.692 = The Phantom Blanket Puller ***00:14:02.393 = A Hidden Skeleton00:16:43.963 = Night Driving in Alabama Left Me Speechless00:17:48.486 = The Woman Killed In Front of 38 Witnesses00:26:42.524 = Bizarre Demon Traps ***00:34:24.358 = Show Close*** = Begins immediately after inserted ad breakLISTEN ON PODCAST APPS: Look for this podcast on YouTube Music, Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other apps. Get the full list of options here: https://weirddarkness.com/wdapps*No AI Voices Are Used In The Narration Of This Podcast*SOURCES and RESOURCES:“The Last Mystery of Edgar Allan Poe” by Doug MacGowan for Historic Mysteries: http://bit.ly/2lGCHQk“Can Reading A Book Open a Paranormal Door” by Nick Redfern for Mysterious Universe: http://bit.ly/2m414Yk“The Woman Killed In Front of 38 Witnesses” by Stephanie Merry for the UK's Independent: http://bit.ly/2lFt7xe“A Hidden Skeleton” by Robert Wilhelm for Murder By Gaslight: http://bit.ly/2lHB1pI“The Phantom Blanket Puller” by Megan Amos for MyHauntedLifeToo.com: http://bit.ly/2k7NfYf“Night Driving In Alabama Left Me Speechless” by Alan Orr for MyHauntedLifeToo.com: http://bit.ly/2m0IkZI“Bizarre Real Demon Traps” by Brent Swancer for Mysterious Universe: http://bit.ly/2m9HDNZ(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.Originally aired: November 06, 2022EPISODE BLOG PAGE (includes sources and full transcript): https://weirddarkness.com/ReadingParanormal

We're back with our continuing fourth collection. This week it's: "Silence - A Fable" by Edgar Allan Poe. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're back with our continuing fourth collection. This week it's: "Silence - A Fable" by Edgar Allan Poe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen Ad Free https://www.solgoodmedia.com - Listen to hundreds of audiobooks, thousands of short stories, and ambient sounds all ad free!

"El Sabueso" (The Hound), escrito en 1922 y publicado en 1924 en la mítica revista Weird Tales, no es solo un cuento de terror; es el puente definitivo entre el horror gótico tradicional y el horror cósmico que definiría la carrera de Lovecraft.La historia narra el descenso a la locura de dos amigos, el narrador y su compañero St. John. Hartos de la banalidad del mundo moderno, ambos se convierten en estetas de lo macabro, dedicándose a saquear tumbas antiguas para alimentar un museo privado lleno de reliquias necrófilas.Su perdición comienza en un cementerio de Holanda, donde desentierran los restos de un profanador de tumbas del siglo XVIII. Del cuello del cadáver extraen un amuleto de jade verde con la efigie de un perro alado. A partir de ese momento, el aire se llena de un aullido constante y el sonido de alas pesadas. Uno a uno, los protagonistas descubren que no se puede robar a los muertos sin que algo de "el otro lado" venga a reclamar su propiedad.Este relato es históricamente vital porque marca la primera mención en la literatura del Necronomicón, el grimorio ficticio de Abdul Alhazred. Aquí, Lovecraft lo introduce no como un libro de hechizos, sino como un registro de ritos prohibidos y advertencias sobre las entidades que habitan en los umbrales de la realidad.El objeto es el motor de la trama. Representa el vínculo físico entre la codicia humana y las fuerzas sobrenaturales. Su descripción sugiere una conexión con el culto a los Ghouls (Gules), seres que Lovecraft desarrollaría más tarde, estableciendo que hay una jerarquía de criaturas que protegen los cementerios.A diferencia de otros relatos donde el horror es puramente alienígena, aquí Lovecraft se sumerge en el decadentismo. Los protagonistas buscan el placer en lo "enfermo" y lo "muerto", una temática inspirada en autores como Edgar Allan Poe y Baudelaire.El relato se divide en tres fases psicológicas que puedes resaltar en tu audiolibro:La Arrogancia: La creencia de que pueden controlar lo oculto y que el saqueo es una forma de arte superior.El Acoso: La manifestación de lo sobrenatural a través de los sentidos (oído y tacto), creando una atmósfera de paranoia creciente.La Inevitabilidad: El clímax en el que el narrador se da cuenta de que la criatura es física, implacable y que su destino está sellado.Aunque "El Sabueso" se siente como un cuento gótico de fantasmas, sienta las bases del horror cósmico al sugerir que:Existen cultos ancestrales que preceden a la humanidad.Ciertos objetos actúan como faros para entidades de otras dimensiones.El conocimiento prohibido (el Necronomicón) es una sentencia de muerte para quien lo posee.

De skelettstylade garagerockarna The Dahmers bildades efter en Halloweenfest 2011. Trummisen Karl Oskar Hansson och frontfiguren Christoffer Karlsson hade känt varandra sedan högstadiet då de var Bromöllas enda punkare. "Det fanns inte så mycket att göra där", minns Christoffer. "Antingen spelade man fotboll eller så spelade man musik. Eller så var man nynazist." Hemma hos Strage pratar The Dahmers bland annat om kärleken till The Stooges, Joan Jett och Screaming Lord Sutch, om filmerna som skrämde livet ur dem som barn, om att besöka huset där "Motorsågsmassakern" spelades in, om sitt nya album "Creature feature", om att bota hjärtesorg med Edgar Allan Poes poesi och om varför det är "borgerligt" att rengöra scannern när man designar t-shirts. Hosted on Acast. See acast.com/privacy for more information.

THIS IS PART TWO - Listen to part one hereCONTENT HEADS UP:  This episode contains discussions of death, dying, end-of-life care, and sensitive topics related to mortality, including chosen suicide and medicalization of death and illness. Listener discretion is advised, especially for individuals who may find these topics distressing or triggering. Please prioritize your emotional well-being while engaging with this content.Also, Ali wants to note that when she asks Karen about her thoughts on suicide, she meant to make a disctinction between “chosen” suicide (when someone wants to live but they are in too much physical pain/their body is too deteriorated without hope of recovery) and “suicide under duress” (meaning due to emotional/psychological/spiritual pain, that may or may not be accompanied by an unavoidably dying body, the person does not want to live). Of course facing a death someone does not want can also be considered duress!  SYNOPSIS:What does good acting and dying have in common? In this episode, Ali discusses all things death, dying, and living as bodies with Karen Bellone, Certified End-of-Life Doula and Death Educator. They focus on the interconnectedness of life and death, the significance of conscious living, and the complexities of end-of-life care. Karen shares her experiences working with dying individuals, highlighting the challenges of the dying process, including issues related to dementia and Alzheimer's. They discuss the importance of compassionate and holistic approaches to end-of-life care, emphasizing the need for conscious decision-making aligned with personal values to achieve a good death without regrets. Throughout the conversation, they reflect on the essence of embodiment and the importance of being present in the moment, trusting the intelligence of the body to embrace a richer life and ultimately a better death.  ALI & KAREN EXPLORATION POINTS:-  The concept of a 'good death,' this discussion emphasizes the significance of conscious decision-making and holistic approaches to end-of-life care, challenging societal norms and perceptions surrounding death.  -  The complexities, ethical considerations and medicalization surrounding end-of-life decisions, highlighting the need for open dialogue and support for individuals facing such choices.-  The role of a Death Doula, illuminating the profound support and guidance provided by these compassionate professionals in assisting individuals and families through the dying process, fostering a sense of empowerment and comfort.-  How our physical and emotional bodies communicate and play integral roles in the dying process, highlighting the importance of listening to and honoring the body's wisdom. -  Insights into embracing conscious living, pursuing meaningful experiences, and aligning actions with personal values to cultivate a sense of fulfillment and purpose.-  Sensory experiences shape our perception of life and death, emphasizing the significance of sensory elements in the dying process and fostering connections with loved ones.To be an angel to the podcast, click here: To read more about the podcast, click here: MORE ALI MEZEY:Website BODY MAPPING VIDEO LIBRARYPersonal Geometry® and the Magic of Mat Work Course informationTransgenerational Healing FilmsMORE KAREN BELLONE:Film Website: Website: The Seventh Sense BIO:Founder, Doula, Educator: Karen Bellone, MFA, is a Certified End-of-Life Doula and Death Educator. She is the founder of The Seventh Sense in NY's Hudson Valley, where she is an integral part of a worldwide community that is reigniting the wisdom of death within our modern lives. She is also founder of Exit Strategy for Dying, a monthly Death, Arts and Culture Readers supporting a resource hub to educate and refocus the narrative around death and grief through the lens of arts, culture, storytelling and innovation. Prior to embracing her passion for end-of-life work, Karen has had a long career as an award-winning filmmaker and internationally collected photographer. She received a BFA in Film Production from New York University, and did graduate work with the world-renowned Actors Studio, through their inaugural program at the New School for Social Research.After training and becoming certified with INELDA (International End of Life Doula Association), Karenworked with an innovative hospice in Los Angeles where her skills as a death doula were developed and broadened. In addition to working with patients in various stages of their life journeys, she was responsible for training the volunteer staff, nurses and other hospice and medical professionals to bring more understanding, humanity and compassion into their work with the dying. She spoke regularly with groups, such as the Alzheimer's Project, about the role of the doula at end-of-life, and the space that can be held to bring about ‘a good death'. She believes strongly in the ability to demystify and assuage the fear that surrounds death in our culture and to foster safe passage for the dying, as well as to aid the families and loved ones through grief and bereavement.As a visual artist and storyteller, Karen acquired a multitude of skills throughout her career that unlocked a deep passion for the healing power of visual and auditory perception on human consciousness. She integrated these strengths and resources into tools to bring aid and comfort for those imminently facing their mortality. Working with somatic and sensory awareness, Karen utilizes visual, sound and meditation therapy, personalized guided imagery, and commemoration of the sacred in the form of ritual, legacy and memory work, in order to bring comfort - physically, emotionally, spiritually to celebrate and commemorate the life of the individual. In addition to her ongoing private practice, Karen is currently directing a feature film about living American artist Michelle Stuart, whose work also engages with the elemental and ineffable nature of existence.RESOURCES:Edgar Allan PoeErik EriksonExit strategy for dying (Karen's monthly newsletter)Omega Home NetworkAll...

Hey — let's talk Gothic. If you loved the Wuthering Heights episode but aren't sure what “Gothic” means, here's a friendly, no‑pressure rundown: it's a literary vibe that exploded in the late 1700s and early 1800s (part of Romanticism) and stuck around because people couldn't get enough of spooky mystery, big feelings, and weird houses. At its core Gothic mixes suspense and the supernatural with secrets from the past: ghosts (or things that feel like ghosts), hidden diaries or cursed heirlooms, murmured scandals, and the sense that history is still very much alive — and maybe angry. Stories often leave the door open between a rational explanation and the uncanny, so you're always wondering what's real. The setting matters: remote, isolated places—windy moors, stormy cliffs, spooky woods, and usually a grand but slightly crumbling manor. That atmosphere of beauty plus decay is basically Gothic's aesthetic fingerprint. Protagonists are frequently women, which made these books especially thrilling for female readers back when options for adventurous stories were limited. Other common threads: intense emotion over reason, troubled or doomed romances, the ever‑present shadow of death, and objects that carry memory or menace. Short stories work great as an intro (hello, Poe), and novellas are perfect if you want a quick, delicious chill. Gothic isn't one thing — it splinters into cool subgenres. Southern Gothic, for example, folds in religious hypocrisy, the legacy of violence, and heavy landscape feeling. Contemporary takes like Mexican Gothic (Silvia Moreno‑Garcia) remix classic Gothic tropes—isolated mansions, family secrets—with new cultures, histories, and anxieties. Other great touchstones: Jane Eyre, Wuthering Heights, Rebecca, The Turn of the Screw (Bly Manor), Shirley Jackson's Hill House, Daphne du Maurier, Edgar Allan Poe, and even films like Crimson Peak that lean into the look and mood. Gothic also shows up in real cultural practices and local histories: think of rituals that try to heal a place's memory or reckon with past violence. Those real world echoes are part of what keeps the genre alive and relevant — it's not just spooky houses, it's how communities remember and reckon with what happened there. If you want to dive in, try a Poe short story, a classic like Jane Eyre, or a modern pick like Mexican Gothic or a T. Kingfisher novella. And hey — if you've got favorites, tell us. I want to know what weird, moody books give you chills.

Vi tar en närmare titt på Roger Cormans adaptioner av Edgar Allan Poe, ofta i nära samarbete med storheterna Vincent Price och Richard Matheson. Det blir, bland mycket annat, ett samtal om psykoanalys, manlighet, arvsskuld, trauma och ett billigt och effektivt filmskapande gjort av gubbar i form av den absoluta gräddan av den amerikanska skräckmyllan. I avsnittet som helhet pratar vi också bland annat om: H.P Lovecraft, Peter Pan-syndromet, Lucio Fulci, gotisk skräck, skräckromantik, det makabra, galenskap, självdestruktivitet, blommigt språk, weird fiction, kosmisk skräck, exploateringsfilm, Sigmund Freud, Alfred Hitchcock, Psycho, det undermedvetna, det overkliga, Besökarna, Sam Raimi, The Evil Dead, gravvalv, kryptor, degenering, romantiseringen av den döende kvinnan, Hammer Horror, Bram Stoker, HBTQ-perspektiv, påkostade för- och eftertexter, det psykedeliska, Les Baxter, jazziga soundtracks, dödsdrift, skräckmelodram, Saw-franchisen, Barbara Steele, Mario Bava, Black Sunday, aristokratisk dekadens, katalepsi, Ray Milland, taphofobi, The Autopsy of Jane Doe, The Whisperer in Darkness, Agatha Christie, omotiverad dimma, Slå nollan till polisen, tvångsneuroser, OCD, spöken, kameraåkningar, Peter Lorre, M, Fritz Lang, skräckkomedi, Basil Rathbone, Sherlock Holmes, hypnos, transliknande tillstånd och Mike Flanagan. Mycket nöje!

Your deadicated hosts enjoy this feature reel of Vincent Price in TALES OF TERROR (1962), a horror anthology from Roger Corman! Unfortunately, writer Richard Matheson stumbles in adapting Edgar Allan Poe's short stories "Morella," "The Black Cat," "The Cask of Amontillado," and "The Facts in the Case of M. Valdemar." But does that matter when Price, Peter Lorre, and Basil Rathbone get to come together? Context setting 00:00; Synopsis 45:15; Discussion 59:17; Ranking 1:21:46

CONTENT HEADS UP:  This episode contains discussions of death, dying, end-of-life care, and sensitive topics related to mortality, including chosen suicide and medicalization of death and illness. Listener discretion is advised, especially for individuals who may find these topics distressing or triggering. Please prioritize your emotional well-being while engaging with this content. SYNOPSIS:What does good acting and dying have in common? In this episode, Ali discusses all things death, dying, and living as bodies with Karen Bellone, Certified End-of-Life Doula and Death Educator. They focus on the interconnectedness of life and death, the significance of conscious living, and the complexities of end-of-life care. Karen shares her experiences working with dying individuals, highlighting the challenges of the dying process, including issues related to dementia and Alzheimer's. They discuss the importance of compassionate and holistic approaches to end-of-life care, emphasizing the need for conscious decision-making aligned with personal values to achieve a good death without regrets. Throughout the conversation, they reflect on the essence of embodiment and the importance of being present in the moment, trusting the intelligence of the body to embrace a richer life and ultimately a better death.  ALI & KAREN EXPLORATION POINTS:-  The concept of a 'good death,' this discussion emphasizes the significance of conscious decision-making and holistic approaches to end-of-life care, challenging societal norms and perceptions surrounding death.  -  The complexities, ethical considerations and medicalization surrounding end-of-life decisions, highlighting the need for open dialogue and support for individuals facing such choices.-  The role of a Death Doula, illuminating the profound support and guidance provided by these compassionate professionals in assisting individuals and families through the dying process, fostering a sense of empowerment and comfort.-  How our physical and emotional bodies communicate and play integral roles in the dying process, highlighting the importance of listening to and honoring the body's wisdom. -  Insights into embracing conscious living, pursuing meaningful experiences, and aligning actions with personal values to cultivate a sense of fulfillment and purpose.-  Sensory experiences shape our perception of life and death, emphasizing the significance of sensory elements in the dying process and fostering connections with loved ones.To be an angel to the podcast, click here: To read more about the podcast, click here: MORE ALI MEZEY:Ali's Website BODY MAPPING VIDEO LIBRARYPersonal Geometry® and the Magic of Mat Work Course informationTransgenerational Healing FilmsMORE KAREN BELLONE:Film Website: Website: The Seventh Sense BIO:Founder, Doula, Educator: Karen Bellone, MFA, is a Certified End-of-Life Doula and Death Educator. She is the founder of The Seventh Sense in NY's Hudson Valley, where she is an integral part of a worldwide community that is reigniting the wisdom of death within our modern lives. She is also founder of Exit Strategy for Dying, a monthly Death, Arts and Culture Readers supporting a resource hub to educate and refocus the narrative around death and grief through the lens of arts, culture, storytelling and innovation. Prior to embracing her passion for end-of-life work, Karen has had a long career as an award-winning filmmaker and internationally collected photographer. She received a BFA in Film Production from New York University, and did graduate work with the world-renowned Actors Studio, through their inaugural program at the New School for Social Research.After training and becoming certified with INELDA (International End of Life Doula Association), Karenworked with an innovative hospice in Los Angeles where her skills as a death doula were developed and broadened. In addition to working with patients in various stages of their life journeys, she was responsible for training the volunteer staff, nurses and other hospice and medical professionals to bring more understanding, humanity and compassion into their work with the dying. She spoke regularly with groups, such as the Alzheimer's Project, about the role of the doula at end-of-life, and the space that can be held to bring about ‘a good death'. She believes strongly in the ability to demystify and assuage the fear that surrounds death in our culture and to foster safe passage for the dying, as well as to aid the families and loved ones through grief and bereavement.As a visual artist and storyteller, Karen acquired a multitude of skills throughout her career that unlocked a deep passion for the healing power of visual and auditory perception on human consciousness. She integrated these strengths and resources into tools to bring aid and comfort for those imminently facing their mortality. Working with somatic and sensory awareness, Karen utilizes visual, sound and meditation therapy, personalized guided imagery, and commemoration of the sacred in the form of ritual, legacy and memory work, in order to bring comfort - physically, emotionally, spiritually to celebrate and commemorate the life of the individual. In addition to her ongoing private practice, Karen is currently directing a feature film about living American artist Michelle Stuart, whose work also engages with the elemental and ineffable nature of existence.RESOURCES:Edgar Allan PoeErik EriksonExit strategy for dying (Karen's monthly newsletter)Omega Home NetworkAll the Little DeathsRabbi Leder's book, The Beauty of What RemainsAllen GinsbergHenry Firsco WeissThe Rites of the DyingPhilip ShepherdThis one is for you, Pop: April 12, 1931 - April 15, 2015With my deep love - AM

The Murder Of Captain Joseph WhiteJump to AD-FREE Safe House EditionEpisode 472 takes us back to Salem, Massachusetts in 1830 when an old man dead in his bed from thirteen stab wounds. The clues: an unlocked window and a fortune that was never what anyone thought it was. The plot implicates four young men from two of Salem's best families and involves one famous and very expensive lawyer. This is the murder that taught Edgar Allan Poe everything he needed to know about guilt.More CAPERS & CONSPIRACIESBecome a supporter of this podcast: https://www.spreaker.com/podcast/true-crime-historian--2909311/support.You can pay more if you want to, but rent at the Safe House is still just a buck a week, and you can get access to over 400 ad-free episodes from the dusty vault, Safe House Exclusives, direct access to the Boss, and whatever personal services you require.We invite you to our other PULPULAR MEDIA podcasts:If disaster is more your jam, check out CATASTROPHIC CALAMITIES, telling the stories of famous and forgotten tragedies of the 19th and 20th centuries. What could go wrong? Everything!For brand-new tales in the old clothes from the golden era of popular literature, give your ears a treat with PULP MAGAZINES with two new stories every week.This episode includes AI-generated content.

"The Facts in the Case of M. Valdemar" is a short story by the American author Edgar Allan Poe about a mesmerist who puts a man in a suspended hypnotic state at the moment of death. An example of a tale of suspense and horror, it is also to a certain degree a hoax, as it was published without claiming to be fictional, and many at the time of publication (1845) took it to be a factual account. Poe admitted it to be a work of pure fiction in letters to his correspondents. Check out this link to buy DB's Books[link]  

In this episode, we explore extraordinary stories of sensory perception and the profound impacts of blindness and deafness. Discover how these conditions transform perception, influence identity, and enable unique connections to the world around us.Most of us underestimate the power of perception—and the danger of what lies hidden beneath what we see. This episode unravels a haunting story where sight and sound collide with astonishing consequences, revealing how greater awareness can both liberate and destroy.Join us as we explore a chilling tale of deafness, vision, and morality. Simon, a musician who loses his hearing, discovers an unlikely way to perceive the world—through his eyes—and begins to see the true nature of those around him. But what happens when what you see conflicts with what you hear? This story dives into the terrifying realization that sometimes, even our senses betray us, forcing us to confront our deepest fears and impulses.You'll discover: how extraordinary perceptual shifts can alter human behavior; the fine line between empathy and suspicion; and why viewing the world through a different lens might be the greatest challenge—and gift—of all. We break down the haunting metaphor of the "telltale heart" that isn't a heart at all, but something far worse. Plus, we analyze the moral dilemmas at the story's core and what they reveal about human nature when perception is twisted.This episode is perfect for anyone curious about the limits of human senses, the power of perspective, and the dark complexities lurking beneath surface appearances. In a world obsessed with seeing and hearing, understanding these deeper truths could change the way you view your reality and your instincts.If you're ready to question what you think you know, this story will leave you unsettled—and enlightened. Step into a narrative where perception is the ultimate weapon and morality hangs in a fragile balance. Don't miss it.[Note: The story features a vividly constructed mystery drama inspired by Edgar Allan Poe's style, centered on themes of blindness, deafness, and moral conflict, highlighting the profound influence of our sensory experiences on our moral compass.]

UNEXPLAINED: The Strange Death of Edgar Allan PoeJoin Josh as he dives into one of the most chilling and mysterious deaths in literary history, the final days of Edgar Allan Poe. From his sudden disappearance during a routine trip to his reappearance in the streets of Baltimore confused, delirious, and wearing someone else's clothes, the story only becomes more unsettling the deeper you go.With theories ranging from illness and alcohol to a dark form of election fraud known as cooping, and even eerie stories surrounding his grave long after his death, this case refuses to be explained. Was it a tragic series of events, a crime lost to history, or something that was never meant to be understood at all? Find out in this episode.Follow us on Instagram: @outtherecryptids Support the show on Patreon: https://www.patreon.com/c/outtherecryptidsWatch the episodes on Youtube: https://www.youtube.com/@outtherecryptidsVisit our website: https://outtherecryptids.com

Step into the strange and biting world of Edgar Allan Poe's Lionizing, a sharp gothic satire that blends dark humor, social commentary, and Poe's signature fascination with vanity, status, and human absurdity. In this unforgettable classic, a man's rise to fame is built on something as ridiculous as it is disturbing — and the higher he climbs into fashionable society, the more twisted the praise, obsession, and cruelty become.If you love Edgar Allan Poe stories, classic horror, gothic fiction, macabre satire, and eerie tales that expose the ugliness hiding beneath beauty and popularity, this episode delivers a weird, witty, and wonderfully unsettling listen. Lionizing is a perfect example of Poe's ability to mix the bizarre with the brilliant, turning a strange premise into a chilling reflection on ego, reputation, and the madness of public adoration.Lionizing — by Edgar Allan Poe

Every year on Edgar Allan Poe's birthday, someone sneaks into a Baltimore graveyard and mysteriously places a bottle of cognac on his grave. It's been going on for more than 40 years, and no one knows who it is or why they do it. Carly and Lewis visit a graveyard at midnight to solve the mystery. Originally aired 3/6/24.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Edgar Allan Poe was one of the most influential and haunting voices in American literature, a writer whose imagination reshaped horror, detective fiction, science fiction, and the modern short story Poe lived a life marked by poverty, personal loss, and professional struggle, yet from that turbulence he forged works of enduring power such as The Raven, The Tell-Tale Heart, and The Fall of the House of Usher.  His poetry explored obsession, beauty, and grief, while his tales of psychological terror probed the darkest corners of the human mind. Learn about the life, death, and legacy of Edgar Allen Poe on this episode of Everything Everywhere Daily. Sponsors Quince Go to quince.com/daily for 365-day returns, plus free shipping on your order! Mint Mobile Get your 3-month Unlimited wireless plan for just 15 bucks a month at mintmobile.com/eed Subscribe to the podcast!  https://everything-everywhere.com/everything-everywhere-daily-podcast/ -------------------------------- Executive Producer: Charles Daniel Associate Producers: Austin Oetken & Cameron Kieffer   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Discord Server: https://discord.gg/Ds7Rx7jvPJ Instagram: https://www.instagram.com/everythingeverywhere/ Facebook Group: https://www.facebook.com/groups/everythingeverywheredaily Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/  Disce aliquid novi cotidie Learn more about your ad choices. Visit megaphone.fm/adchoices

In February 1826, 17-year-old Edgar Allan Poe was a promising student at the University of Virginia. But within a few months, gambling debts forced him to abandon his studies. It was just one of many setbacks Poe endured in a life marked by financial struggle, alcoholism, and personal tragedy.But Poe launched a remarkable career in writing, helping to establish American literature with a bold, new voice. From short stories including “The Fall of the House of Usher,” to the poem that made him famous, “The Raven,” he transformed the horror genre by delving into the dark recesses of the human subconscious and pushing the boundaries of fiction and verse.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode we cover a little of Poe's life, then two of his famous stories.

A wax figurine forgotten in museum storage. A book of poems that prophesied a ghost. A woman on a beach who found something she wasn't looking for. In the final episode of the Charleston Gothic series, the investigation returns to where it began — the Dock Street Theatre — and follows the last of three trails through Charleston's tangled relationship with Edgar Allan Poe. Along the way, a century-old literary vision resurfaces, a forgotten poet speaks truths the city wasn't ready to hear, and the question that launched the series finally gets its answer.   Sources referenced in the episode: Books Israfel: The Life and Times of Edgar Allan Poe by  Hervey Allen (1926) Carolina Chansons: Legends of the Low Country  by DuBose Heyward and Hervey Allen (1922) The Arrow of Lightning by Beatrice Witte Ravenel (1926) The Dreamer: A Romantic Rendering of the Life-Story of Edgar Allan Poe  by Mary Newton Stanard Edgar Allan Poe's Charleston  by Christopher Byrd Downey Poe's Brother: The Poems of William Henry Leonard Poe by Hervey Allen and Thomas Ollive Mabbott Ghosts and Legends of Charleston by Denise Rolfe (2010) Poe-Land by J.W. Ocker Sheppard Lee, Written By Himself by Robert Montgomery Bird (1836) Poems "Edgar Allan Poe" by DuBose Heyward (from Carolina Chansons) "Alchemy" by Hervey Allen (from Carolina Chansons) "Poe's Mother" by Beatrice Witte Ravenel (from The Arrow of Lightning) Articles "A Source for 'Annabel Lee'" by Robert Adger Law (1922) Plays Nevermore by Julian Wiles (1994) Scholarly Work Thomas Ollive Mabbott's annotated edition of Poe's works (notes on "Annabel Lee") Louis Rubin's new edition of Beatrice Witte Ravenel's poems (1969) Historical Sources Charleston Evening Post coverage of the 1923 Charleston Museum diorama unveiling "The Mourner" an anonymous poem, Charleston Courier (1807) People Referenced as Sources/Informants Eric Lavender, Charleston tour guide Christopher Byrd Downey, author and historian Scott Peeples, Poe scholar (quoted via Ocker's Poe-Land)

Happy Friday the 13th and Valentine's Day weekend. Nothing says romance like Swedish meatballs, felony pickleball charges, and a prophecy called Liquid Shadow finally coming true in someone else's mesh shorts. Yeah. That happened.Make America Moon Again. Rafe's Ememoriam. Friday Fails. Donny at Hardees.On today's episode of The Rizzuto Show, Clownvis storms the studio and helps navigate this superstition season. We break down a legendary St. Louis IKEA shopping experience featuring suspiciously enthusiastic employees and what might've been using Colombian customer service rocket fuel. We also tackle a listener email about marrying someone with zero ambition… because nothing screams “forever” like spaghetti-in-bed energy and motivational drought.Oh, and that 317-day Edgar Allan Poe-level prediction? It ends in betrayal, athletic fabric, and a white couch that barely survived the blast radius. Trust a fart after 40 at your own risk.Plus in this beautifully unhinged daily comedy show episode:Friday the 13th superstitions that cost the economy millionsA Texas police department offering to “arrest your ex” for Valentine's DayWhy getting married on Valentine's Day might be a terrible omenA Florida pickleball Fight Club that proves retirement communities are lawlessAI-generated Brad Pitt vs. Tom Cruise fight footage that looks WAY too realRyan Gosling hosting SNL, Kid Rock vs. ticket scalpers, and Galentine's Day movie debatesA troll who accidentally linked his LinkedIn to his hate emails (bold strategy, Cotton)A political candidate campaigning to “Make America Moon Again”If you like your funny podcast loaded with weird news, celebrity chaos, St. Louis nonsense, and sarcastic humor that makes you question your own life choices — congrats. You found your people.Subscribe for more clips from your favorite comedy podcast, and hit the bell so you never miss the daily nonsense.Follow The Rizzuto Show → linktr.ee/rizzshow for more from your favorite daily comedy show.Connect with The Rizzuto Show Comedy Podcast online → 1057thepoint.com/RizzShow.Hear The Rizz Show daily on the radio at 105.7 The Point | Hubbard Radio in St. Louis, MO.Study Shows Certain Wedding Dates Have A Higher Rate Of Divorce — And 1 Is Coming Up‘Arrest your ex': Harris County constable revives viral Valentine's Day traditionWendy's celebrating 'singles' with $1 burgers on Feb. 15.Florida couple gets into 'heated' pickleball brawl with 'over 20' country club membersHeatUpStLouis, Hardee's partner for 26th annual ‘Rise and Shine' fundraiserA fugitive on the run for years is arrested when he turns up at the Olympics to watch hockeyBeehives stolen from Central California recovered in Yolo County, suspect arrestedAmazon driver arrested for DWI after crashing into China Spring mailbox while delivering packagesTruck doing donuts on frozen lake falls through ice, gets stuckSnow leopard mauls skier in China's Xinjiang regionRomantic Is Busted Over Stripper GiftsAffidavit: Man walks out on his bar tab; comes back the next day because of a forgotten phone chargerDriver ends up in ocean after Huntington Beach chaseFormer Little Caesars employee arrested after breaking into shop, making pizzas for customersMan accused of ‘sexual performance with a vacuum' at Florida resortSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On today's episode of The Rizzuto Show, the prophecy of the Liquid Shadow finally came true… and it struck in someone else's shorts. Yes. You read that correctly. A 317-day Edgar Allan Poe-style prediction ends in betrayal, mesh athletic fabric, and a white couch that almost didn't survive. This is what happens when you trust a fart after 40.We also break down the newest “sport” called Run It Straight — which is basically two grown men sprinting at each other full-speed to see who forgets their childhood first. It's like Red Rover but with CTE. And naturally, Riz wants to start a league in the hallway.Then we address a longtime troll who accidentally linked his LinkedIn to his hate emails (bold strategy), and we introduce a political candidate whose platform is simple: Make America Moon Again. That's right. Responsible, mid-cheek-only patriotism may be the one thing that can unite this divided nation.Plus:• Galentine's Day, Kiss Day, and National Self Love Day• The coolest full name ever revealed (Zayn Hunter Little Rain Graham?!)• Radio Day (you're welcome)• And real RIP tributes at the endIf you like your comedy podcast slightly unhinged but still lovable, welcome home. This is your daily dose of chaos from your favorite funny show.Subscribe for more clips from the most chaotic daily show on the internet. New episodes every weekday.Follow The Rizzuto Show → linktr.ee/rizzshow for more from your favorite daily comedy show.Connect with The Rizzuto Show Comedy Podcast online → 1057thepoint.com/RizzShow.Hear The Rizz Show daily on the radio at 105.7 The Point | Hubbard Radio in St. Louis, MO.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A man who once loved animals more than anything confesses from death row how a single act of drunken cruelty against his beloved black cat set him on an inescapable path toward madness, murder, and supernatural vengeance.IN THIS EPISODE: Would you stay at your grandparents' house if their entire neighborhood was haunted? (“Grandpa and Grandma's House”) *** When it comes to hardened criminals in tough prisons, there is no escape… not even in death. (“America's Most Haunted Prisons”) *** At least 45 deaths of young men are attributed to the Smiley Face Killer, but most police departments say he doesn't exist. (“The Smiley Face Killer”) *** And finally, by special request, I will narrate the classic Edgar Allan Poe story - “The Black Cat”!YOUTUBE CHAPTERS & TIME STAMPS…00:00:00.000 = The Foreboding00:01:02.592 = Show Open00:02:23.301 = Grandpa And Grandma's House00:05:39.097 = The Smiley Face Killer00:10:21.475 = America's Most Haunted Prisons***00:27:22.215 = “The Black Cat” by Edgar Allan Poe***00:53:03.937 = Show Close*** = Begins immediately after inserted ad breakSOURCES AND REFERENCES FROM THE EPISODE…“Grandpa and Grandma's House”: https://weirddarkness.tiny.us/yxxfrdma“America's Most Haunted Prisons” written by Troy Taylor: https://weirddarkness.tiny.us/55828b4t“The Smiley Face Killer”: https://weirddarkness.tiny.us/yx2y4xvc“The Black Cat” written by Edgar Allan Poe (1845): https://poestories.com/read/blackcat=====(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.=====Originally aired: September, 2018EPISODE PAGE (includes sources): https://weirddarkness.com/BlackCatPoeABOUT WEIRD DARKNESS: Weird Darkness is a true crime and paranormal podcast narrated by professional award-winning voice actor, Darren Marlar. Seven days per week, Weird Darkness focuses on all things strange and macabre such as haunted locations, unsolved mysteries, true ghost stories, supernatural manifestations, urban legends, unsolved or cold cases, conspiracy theories, and more. Weird Darkness has been named one of the “20 Best Storytellers in Podcasting” by Podcast Business Journal. Listeners have described the show as a blend of “Coast to Coast AM”, “The Twilight Zone”, “Unsolved Mysteries”, and “In Search Of”.DISCLAIMER: Stories and content in Weird Darkness can be disturbing for some listeners and intended for mature audiences only. Parental discretion is strongly advised.#WeirdDarkness, #EdgarAllanPoe, #TheBlackCat, #GothicHorror, #ClassicHorror, #CreepyStories, #HorrorStories, #Macabre, #PsychologicalHorror, #ScaryStories