The Sugar Fuck Sensation, A Bitchin Urban Poem

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The Sugar-Fuck Sensation

(A 1-Minute Poem)

I’ve discovered the boobie-doobie
time machine. The glossy
skin-flick magazine. Wet buzz,
effervescent upper. The schplooge
I want to have for supper.
In youth, it was summer fling in
frosty glass on beach-sand, babe-hunting
bikini chicks—midlife finds the chick a
dick—in a lick, the chick with a dick
(you pick). It’s almost better than
S&M. It fucks my stress. It gropes
my sin. An alternative to wank-a-whacking.
And, sometimes, even ass-smacking.
I horde it. Crave it. I misbehave it.
I’ll never live without this—
obsession, possession, this sandpail
confession. Preoccupation,
Sugar-Fuck sensation—I’ve tried but can’t
explain it. But, then, ‘Love is an endless
mystery, for nothing can contain it…’
Talk to Mama,
Baby.

– Mrs. maudlin, 2017

(from Mrs. Maudlin’s Bitchin Urban Poetry)

(C)2017. All Rights Reserved.

Read the Actual 1949 Diary of the Priest Who Inspired the 1973 William Peter Blatty Film: The Exorcist!

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“Nobody in that quiet neighbourhood had a clue about the battle of good and evil that was about to take place in that quaint brick house.”

– Steve LaChance, Author of Confrontation with Evil: An In-Depth Review of the 1949 Possession That Inspired The Exorcist, Llewellyn, 2017

CAUTION! PLEASE READ AT YOUR OWN RISK…

The following post contains language and situations that some readers may find offensive or troubling. Reader discretion is advised.


A Message from the Editor…

Some believe that, when we share words such as those shared here, other…things…travel along with those shared words—whether it be through a discussion, a letter, a phone call, a text message, or the Internet—things of a less beneficent nature than the sharer would have originally intended. This is most likely the very reason why a devoutly religious man, such as Father William Bowdern, chose not to comment very often, if at…

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Year’s Best Weird Fiction Is Here to Stay! See the New Cover & TOC from Volume 4!

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Art: Alex Andreev. Design: Vince Haig.

Wow. It’s hard to believe it’s been FOUR years! I began following this series of anthologies with the publication of Volume One, edited by author Laird Barron. Three spectacular volumes later (links below), Undertow books, one of our favorite publishers here at The Sanguine Woods, has revealed the new cover* and the Table of Contents from Volume 4 in its annual series: Year’s Best Weird Fiction—and of course we are excited to share these with our readers!

We cannot say enough about how important it is to support publishers who are all about publishing the highest quality fiction being written today—especially independent publishers in this age of publishing monopolies and corporate marketing mayhem (remember You’ve Got Mail?)

Read more about Year’s Best Weird Fiction here…

So, please visit Michael Kelly proprietor and owner, and his team, over at Undertow; and don’t forget to get your back issues of the first three volumes of Year’s Best Weird Fiction!

Year’s Best Weird Fiction, Volume 1, ed. by Laird Barron & Michael Kelly…

Year’s Best Weird Fiction, Volume 2, ed. by Kathe Koja & Michael Kelly…

Year’s Best Weird Fiction, Volume 3, ed. by Simon Strantzas & Michael Kelly…

We Came Back Haunted: An Essay on the Ghostly by Ernest Rhys (1921)

We Came Back Haunted

Ernest Rhys, 1921


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In my recent Ghost Book (The Haunters and the Haunted,1921), M. Larigot, himself a writer of supernatural tales, collected a remarkable batch of documents, fictive or real, describing the one human experience that is hardest to make good. Perhaps the very difficulty of it has rendered it more tempting to the writers who have dealt with the subject. His collection, notably varied and artfully chosen as it is, yet by no means exhausts the literature, which fills a place apart with its own recognised classics, magic masters, and dealers in the occult. Their testimony serves to show that the forms by which men and women are haunted are far more diverse and subtle than we knew. So much so, that one begins to wonder at last if every person is not liable to be “possessed.” For, lurking under the seeming identity of these visitations, the dramatic differences of their entrances and appearances, night and day, are so marked as to suggest that the experience is, given the fit temperament and occasion, inevitable.

One would even be disposed, accepting this idea, to bring into the account, as valid, stories and pieces of literature not usually accounted part of the ghostly canon. There are the novels and tales whose argument is the tragedy of a haunted mind. Such are Dickens’ Haunted Man, in which the ghost is memory; Hawthorne’s Scarlet Letter, in which the ghost is cruel conscience; and Balzac’s Quest of the Absolute, in which the old Flemish house of Balthasar Claes, in the Rue de Paris at Douai, is haunted by a dæmon more potent than that of Canidia. One might add some of Balzac’s shorter stories, among them “The Elixir”; and some of Hawthorne’s Twice-Told Tales, including “Edward Randolph’s Portrait.” On the French side we might note too that terrible graveyard tale of Guy de Maupassant, La Morte, in which the lover who has lost his beloved keeps vigil at her grave by night in his despair, and sees—dreadful resurrection—“que toutes les tombes étaient ouvertes, et tous les cadavres en étaient sortis.” And why? That they might efface the lying legends inscribed on their tombs, and replace them with the actual truth. Villiers de l’Isle Adam has in his Contes Cruels given us the strange story of Véra, which may be read as a companion study to La Morte, with another recall from the dead to end a lover’s obsession. Nature and supernature cross in de l’Isle Adam’s mystical drama Axël—a play which will never hold the stage, masterly attempt as it is to dramatise the inexplainable mystery.

Among later tales ought to be reckoned Edith Wharton’s Tales of Men GHSTSGRBXN1937and Ghosts, and Henry James’s The Two Magics, whose “Turn of the Screw” gives us new instances of the evil genii that haunt mortals, in this case two innocent children. One remembers sundry folk-tales with the same motive—of children bewitched or forespoken—inspiring them. And an old charm in Orkney which used to run:

“Father, Son, Holy Ghost!
Bitten sall they be,
Bairn, wha have bitten thee!
Care to their black vein,
Till thou hast thy health again!
Mend thou in God’s name!”

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Rue Morgue #176! Are You Reading It?

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INSIDE ISSUE #176

FEATURES

TWILIGHT OF THE GODS Series creators Bryan Fuller and Michael Green bring Neil Gaiman’s American Gods to network television. Plus: Vincenzo Natali on directing Crispin Glover, Dark Horse’s American Gods comic and a look back at Gaiman’s novel. By Andrea Subissati, Pedro Cabezuelo and Jess Peacock

THE GREAT AND SECRET SHOWMAN The life and legacy of cultural boogeyman Anton Szandor LaVey on the 20th anniversary of his death. Plus: the occult in fashion and a few words with 3teeth frontman Lex. By Sean Plummer, Benoit Black and Andrea Subissati

THE WONDER FEARS The Watcher in the Woods director John Hough takes us back to the Disney movie that traumatized a generation of tots. Plus: a look at Disney’s dark side. By Amy Seidman and Paul Corup

CHAINSAW AND DAVE’S CLASS REUNION Summer School’s lovable gorehounds celebrate 30 years of the characters who made being a horror fan cool. Plus: a dossier of horror devotees. By Jeff Szpirglas and Tal Zimerman

DEPARTMENTS

NOTE FROM UNDERGROUND Andrea says hello.

POST-MORTEM Letters from fans, readers and weirdos

DREADLINES News highlights, horror happenings

THE CORONER’S REPORT Weird stats, morbid facts and more

NEEDFUL THINGS Strange trinkets from our bazaar of the bizarre

CINEMACABRE The latest films, the newest DVDs and reissues feat. The Void

THE LATE-NITE ARCHIVE I Bury the Living

BOWEN’S BASEMENT The Horror of Party Beach

BLOOD IN FOUR COLOURS Comics feat. Not Drunk Enough

THE NINTH CIRCLE Book reviews feat. John Cornell’s Chalk

THE FRIGHT GALLERY The spooky works of Eric Millen

THE GORE-MET Human Pork Chop and Dr. Lamb

AUDIO DROME Music reviews feat. new album from Ghoultown

PLAY DEAD Game reviews feat. Resident Evil 7: Biohazard

CLASSIC CUT The Cat and the Canary

Source and Buying Info:

http://www.rue-morgue.com/online-store/Rue-Morgue-176-May-Jun-2017-p83323287

“The Fascination of the Ghost Story” by Arthur B. Reeve, 1919

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The Fascination of the Ghost Story

An Essay by Arthur B. Reeve, 1919


What is the fascination we feel for the mystery of the ghost story?

Is it of the same nature as the fascination which we feel for the mystery of the detective story?

Of the latter fascination, the late Paul Armstrong used to say that it was because we are all as full of crime as Sing Sing–only we don’t dare.

Thus, may I ask, are we not fascinated by the ghost story because, no matter what may be the scientific or skeptical bent of our minds, in our inmost souls, secretly perhaps, we are as full of superstition as an obeah man–only we don’t let it loose?

Who shall say that he is able to fling off lightly the inheritance of countless ages of superstition? Is there not a streak of superstition in us all? We laugh at the voodoo worshiper–then create our own hoodooes, our pet obsessions.

It has been said that man is incurably religious, that if all religions were blotted out, man would create a new religion.

Man is incurably fascinated by the mysterious. If all the ghost stories of the ages were blotted out, man would invent new ones.

For, do we not all stand in awe of that which we cannot explain, of that which, if it be not in our own experience, is certainly recorded in the experience of others, of that of which we know and can know nothing?

Although one may be of the occult, he must needs be interested in things that others believe to be objective–that certainly are subjectively very real to them.

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