The Year’s Midnight
The World's Whole Sap Is Sunk
As the winter solstice passes, Litopia After Dark becomes Litopia After Darker.
it’s time for festive cheer, certainly. But it’s also the moment when the fabric (sorry) between our nightmares and our waking world is at its thinnest. A time for cosy hibernation, yes– but also fear, depression and real-life demons. Especially in the days of glowing rectangles when the lights never completely go out.
To help navigate this darkest part of the Northern year, we’re joined by ladies Light and Wilde– Jessica Light, one of the last remaining trimming weavers in the UK, and former Cenobite, Barbie Wilde. But which one really loves a rainbow and which one is afraid of the dark?
(Hint: one of them’s a real cut-up and the other will have you in stitches…)
One is a horror writer who played a mutilating demon in Clive Barker’s Hellraiser II. The other is a passementriere (pass-a-mon-tree-air) who helped fringe the Sultan of Brunei’s throne room… and brocaded the balcony for the royal wedding! One brings zombie rapists to life in her latest book Voices of the Damned. The other makes macrame dip-bleached Taiwan tie-back tassels that retail for £95. AND WE’VE GOT THEM ON THE SAME SHOW!
Illustration by Vectorig licensed by iStockPhoto
Barbie has very kindly donated a SIGNED, FIRST EDITION copy of her new book Voices of the Damned, with a very special cover illustration by the eminent Clive Barker.
The starred review in Publishers Weekly says:
“In this impressive collection of short stories, actor Wilde (who played the Female Cenobite in the film classic Hellbound: Hellraiser II) reveals a world of beautiful fear. The most delightfully terrifying entries form the Cilicium Trilogy, which reveals the complex origin and destiny of Sister Cilice. This character-focused exploration is sensual in its brutality. In “Writer’s Block,” Wilde combines the psychological torture of an unknown artist with the erotic egotism of fandom to create a fascinating sexual horror. She creates a dreadful family legacy in “Botophobia,” in which there are not merely skeletons in the closet but unworldly powers hidden in the basement. Wilde’s mastery of shocking violence is given full rein in subjects ranging from reclusive self-imprisonment to the exploration of European nightmares. As much a chilling collection of frightful fiction as a delight for the darker senses, this is a satisfying triumph in a befitting, unforgiving, style.”
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