lucius_t (lucius_t) wrote in theinferior4,

Club Culture, the Hellish Editor, y Mas...

There's a half hour reality show on Versus called South Sydney Story about the Australian Football team that Russell Crowe bought, along with another Aussie rich guy. The team is called the Rabbitohs, their symbol is a white bunny, which Crowe doesn't perceive as being ferocious and he changed it to a black bunny. He bought the team Armani outfits, inclusive of 600 dollar underwear, and gives them lectures on loving one another being the key to a great team. All this acts to give the old-timers in the front office a pain and the players, to say the least, are non-plussed. Crowe comes off like an American with an Australian affectation who's spent too much time with Tony Roberts. It's pretty hilarious.

One thing that puzzles me is they keep talking about "club culture." I thought this was referring to the team at first, but then they started making references to Australia being a club culture, talking about bowling clubs and other kinds of clubs and such. Anyone know what this means? Is it just that there are a lot of clubs in Oz?

Here's the starred PW review of an antho edited by "the premiere horror editor of her generation," whom we all know by another name, a name that screams in a terrible harsh voice, BUY ME! :)

Inferno Edited by
Ellen Datlow. Tor, $25.95 (384p) ISBN 978-0-7653-1558-8
Datlow (The Year's Best Fantasy and Horror) makes a solid claim to being the premiere horror editor of her generation with this state-of-the-art anthology of 20 new stories by some of horror fiction's best and brightest. Several outstanding selections feature imperiled children and explore the horrific potential of childhood fears, among them Glen Hirshberg's "The Janus Tree," which gives a creepy supernatural spin to a poignant memoir of adolescent angst and alienation, and Stephen Gallagher's "Misadventure," in which a young man's near-death experience as a child endows him as an adult with consoling insight into the afterlife. The compilation's variety of approaches and moods is exemplary, ranging from the natural supernaturalism of Laird Barron's cosmic horror tale "The Forest," to the unsettling psychological horror of Lucius Shepard's "The Ease with Which We Freed the Beast"; the metaphysical terrors of Conrad Williams's "Perhaps the Last"; and the slapstick grotesquerie of K.W. Jeter's black comedy "Riding Bitch." If this book can be taken as a gauge of the vitality of imagination in contemporary horror fiction, then the genre is very healthy indeed. (Dec.)

I'll be reading with Matt Cheney at KGBs in NYC next month, the day before Thanksgiving, Nov. 21. Be there for your pre-triptofan fix.
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