NOIRLATHOTEP 2: MORE TALES OF LOVECRAFTIAN CRIME features six all-new stories by the writers of Psycho Drive-In that push the boundaries of what you can do with the concept of Lovecraftian Mythos-inspired crime fiction.Dan Lee kicks us off with "Little Girls and Other Nightmares" as a hard-boiled detective's job to find a little girl is complicated by her very possessive mother.Then we move to "Dust Devil" by R. Mike Burr, where small-town hostilities spiral into mind-shattering devastation for everyone involved.Then Alex Wolfe's "Devil in the Machine" takes us back to the days shortly before her NOIRLATHOTEP 1 story, to discover the backstory of a very intriguing, and mind-addled, hacker.Rick Shingler then takes us into the "Belly of the Beast" as an intrepid reporter mistakenly believes that getting the scoop of a crime boss's notorious past is the most important thing that's going to happen to him on that day.Paul Brian McCoy is up next with "The Stuff Nightmares are Made Of" - a 1920s riff on The Maltese Falcon, Indiana Jones adventures, and the Cthulhu Mythos, with a healthy dose of sex and drugs thrown into the mix.We round out the collection with John E. Meredith's novella "Watching, Waiting" which tells both the past and future history of the world through the eyes of a professor who discovered a little too much truth in the course of his studies.
“It’s all rather confusing, really” was one of the catchphrases used by Spike Milligan in his ground-breaking radio comedy program The Goon Show. In a series of mock-epics broadcast over the course of a decade, Milligan treated listeners to a cosmology governed by confusion, contradictions, fluidity and uncertainty. In The Goon Show’s universe, time and space expand and contract seemingly at will and without notice. The worldview featured in The Goon Show looked both backward and forward: backward, in the sense that it paralleled strategies used by schoolchildren to understand time and space; forward, in the ways it anticipated and prefigured a number of key features of postmodern thought. Winner of the Ann Saddlemyer Award 2017 of the Canadian Association for Theatre Research.
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