Last week, I spoke with Corey Niles about how identity shapes our fiction. And this week, Girl Meets Monster welcomes horror film aficionado Nick Cato.
Nick Cato is the author of Don of the Dead, The Apocalypse of Peter, The Last Porno Theater, The Atrocity Vendor, Uptown Death Squad, and Death Witch. His debut non fiction film book, Suburban Grindhouse, will be released in February 2020. He has edited the anthologies Dark Jesters (with co-editor LL Soares) and The Gruesome Tensome: A Short Story Tribute to the Films of Herschell Gordon Lewis. Nick has had fiction published in many anthologies and writes a film column for the recently revamped Deep Red magazine.
Nick also oversees things at the long running fanzine/website The Horror Fiction Review and occasionally hosts the Suburban Grindhouse podcast.
GMM: Welcome to Girl Meets Monster, Nick! I’m ashamed to say that I haven’t picked up a copy of Suburban Grindhouse yet, but I’m really looking forward to reading it. Can you give us a synopsis of the book and maybe tell us what inspired you to write it? This is your first non fiction film book, what challenges did you encounter while switching gears between fiction and non fiction? Do you have plans for any other non fiction books?
NC: Suburban Grindhouse is a collection of columns (along with a bunch of new bonus material) originally published on a film site called Cinema Knife Fight. The columns are part film review, part memoir, as I often explain what audiences were like at certain theaters both in my hometown of Staten Island, NY, as well as in Times Square and some NJ theaters. I always found some audiences could actually shape the way you ended up feeling about a film, and this idea eventually became my column. When I pitched it to one of my favorite film book publishers (the UK’s Headpress) I was thrilled their editor had been familiar with my column and eventually bought my manuscript and added it to their amazing catalog.
It wasn’t difficult to switch gears as writing about film is something I do to “take a breather” while I’m working on a novella or novel. I find it a great way to get my fiction muse back. I’ve written about film since 1981 in various horror and cult film fanzines, so I had somewhat of a background when I decided to try it more seriously.
My second film book is currently being considered at another press, and I’m in full swing on a third.
GMM: The titles of your books are humorous, but you’re writing horror. Would you consider your work bizarro or weird fiction? Are they the same thing? What are the elements of your fiction that sets it apart from other horror stories?
NC: I originally wrote what would be considered “humorous horror,” but in time I think the majority of my fiction became weird or bizarro. I always try to bring in something unusual or try to turn a trope on it’s head. As subgenres, if you will, weird and bizarro are different, in that “weird fiction” was pretty much what Lovecraft and his like were considered, whereas “bizarro” usually follows more absurd/surreal and less fantasy-like ideas. Not always, but mostly. It’s surely a fine line. Lately lots of “Lovecraftian” or “cosmic” fiction is simply being labeled as weird fiction.
I think the main element that sets my stories apart is I bring in the bizarro element later on, be it during a short or longer story. Most of my tales are told in three sections (even my shorts), and I try to bring the strange in toward the end. Most of the stranger things I’ve come up with haven’t been “forced,” but rather came out naturally for me. In high school one of my friends used to say, “Nick doesn’t need drugs to be weird.” I always got a kick out of that. Weird ideas seem to continually pop up in my head, and the more witty ones I try to convert into fiction.
GMM: A few years ago I interviewed horror writer and academic, Michael Arnzen, and he talked about the connection between horror and humor. One of his quotes really spoke to me: “I think laughter bonds us, even though we’re all doomed.” I really like that statement as a worldview. What’s your philosophy on the connection between horror and humor?
NC: Mike would surely know. I loved his short story collection, 100 Jolts: Shockingly Short Stories. In fact it contains one of my all time favorite humorous horror stories, “Domestic Fowl.” Humor and horror have always gone hand in hand with me. Laughing…and I mean really cracking up, like the first time most people see a film like Blazing Saddles… is an experience that can make you feel naturally high. I’ve experienced that several times in my life through films and certain comedians. Same with horror. When I was 13, I saw the original The Texas Chainsaw Massacre for the first time in a theatrical rerelease. I had never been as terrified by a film before, or since to be honest. The feelings of sheer terror and “cracking up” laughing bring some of us to a place we both love and dread. That’s powerful. Some films tried to combine the two genres, but only a few succeeded. I’ve tried to combine both to an extreme degree but have yet to come up with something I’d say strongly captures both emotions at the same time. A couple of writers I admire have come close. I continually have my eye out for that inevitable short story or novel that will scare the crap out of us while simultaneously making us laugh till we cry.
“The Bowl,” by Nick Cato, was featured in his latest collection “The Satanic Rites of Sasquatch and other Weird Stories,” published by Bizarro Pulp Press (Journalstone)
Harold Anderson stared out the bedroom window, restless thanks to his wife’s snoring. The occasional bat fluttered by the street light, casting distorted shadows on his ceiling.
“Come on, honey,” he said, pushing Helen onto her side.
She half-consciously rolled over and fell right back to sleep.
Although his plan worked, it was the silence that now kept him awake. He decided to watch a late re-run of the Tonight Show, but was still alert when it ended.
He sat up, looking at the clothes he’d neatly laid out for tomorrow (today, actually). When he laid back down, his stomach gurgled loud enough to make Helen shift.
“Whoa,” he said, rubbing his belly. “I shouldn’t have had that second helping.”
He stepped into his #1 Dad slippers (a Christmas gift from Danny), slid on his bathrobe (a birthday gift from Nadine), then padded toward the bathroom. With each step, the need to expel last night’s dinner became more severe. Where had this come from? Four and a half hours of trying to fall asleep without so much as a fart, and now…
He reached into the darkness and felt for the switch. He dropped his robe as soon as the lime-colored bathroom was illuminated. The toilet—situated strategically between the sink and shower—seemed to beckon him. After pulling the latest issue of Entertainment Weekly from a magazine bin, Harold dropped his boxers and perched himself on the cool porcelain.
He read through the entire film review section before finishing his business. He broke the silence with two courtesy flushes along the way.
“That’s the last time I let her talk me into Mexican on a work night,” he said, washing his sweaty hands and face with lukewarm water. He put the robe back on, then gave the room a few cinnamon-scented blasts of Glade, making the place smell like a combo of Big Red Chewing Gum and ass.
He turned to walk back to bed. Someone said “thank you” in the blackened hallway.
Harold jumped. He flicked the bathroom lights back on, expecting to see Danny or Nadine up for a late-night pee. But on second thought, the voice was too deep for a five- or eight-year-old.
He checked his children’s bedrooms, happy to see them both asleep.
Man, do I need some shut-eye. Harold turned off the bathroom light and scratched the top of his auburn head.
He crawled under the blankets next to Helen, and within five minutes joined her in slumberland.
“You look bushed! Tough time last night?” Mr. Davis asked.
“I had a bit of trouble falling asleep. My stomach did backflips for a while.”
“Glad to see you’re here—you know we have that meeting with Tucker right after lunch today?”
“That’s why I’m here, even if I got less than three hours of sleep,” Harold said, taking a swig from his third cup of coffee.
“That’s the spirit!” Mr. Davis patted him on the back. “This is why you’re my number one man.”
At 11:43, Harold felt a sudden need to visit the restroom. He closed the file he was working on and headed to the lavatory.
He sat on the toilet, feeling disgusted by the prospect of doing this in a $600 suit. He experienced feelings of emptiness. Coldness. He couldn’t wait to finish. His heart began racing, as if he was having a panic attack.
He soon felt relieved to be rid of whatever was inside him, and to be off the office toilet; just knowing two dozen people shared it gave him the willies.
“Mr. Anderson? Call on line one.”
“Thank you, Margaret. I’ll take it in my office.”
“Please hold one moment,” she said, smiling as Harold passed by.
“Hello, Harold Anderson here.”
“Hello, may I help you?”
Silence. Then, “Thank you.”
Silence. A rusty click. “Thank you.”
Harold leaned forward in his plush leather chair. “I’m afraid I don’t understand. Who is this?”
“You know who this is, and I know what you just did.”
Harold slammed the phone down. “Freaking lunatic!”
Immediately, the phone rang in the lobby. He heard Margaret answer, then page him on the intercom. He accepted the call.
“Hello? Anderson here.”
“If you ever hang up on me again, I’ll destroy your wife and kids.”
“Okay—who is this? What’s your problem?”
Silence. Deafening, painful silence. Then the distinct sound of a toilet flushing. “Have a good day. We’ll discuss this later.”
“We’ll discuss what later?”
The phone went dead.
The voice was familiar, but Harold couldn’t match it to a face. He walked around his desk, anticipating another call.
It never came.
He left the office shortly after 5:00 p.m., still haunted by the menacing telephone conversation. Even the successful meeting with Tucker Industries couldn’t keep his mind off that voice. He spent the forty-minute drive home trying to figure out who would first thank him for something, then threaten to kill his family in the next breath.
Must be a prank. Harold tuned into a classic rock station as he hit the highway.
Do you have a fragment you’d like to share with the world? Send it my way at firstname.lastname@example.org. See you next week!
Guidelines: Submit 500-1000 words of fiction, up to 5 poems, a short bio, and a recent author photo to the e-mail above.