within its pages to create an effectively innovative blend of super- natural fiction that is disturbing, disgusting and, sometimes, sur- prisingly beautiful. Hailey, who lives with her mother Lana in an urban housing proj-


dred like-minded book buffs? This is one of many reasons I am excited about KillerCon 3, a relatively new four-day celebration of horror, sci-fi, thrillers and other forms of paranormal fiction, taking place in Las Vegas from September 22 – 25. For the sake of full disclosure, I’ll admit I’m a guest at this year’s event, but that’s neither here nor there, because everything I’m about to tell you is equally true, whether you’re a fan, creator or guest. For example, ever wonder just how much business


I


takes place while you’re attending panels and work- shops and browsing through the dealer’s room for rare hardcovers? Tons. “It has long been said that most business gets done


around the bar at your average convention,” says hor- ror author/KillerCon co-organizer Wrath James White. “Pitch sessions have worked for some authors, but at most conventions the big deals are made around the dinner table or on the barstool.” I can back that up: several of the stories I’ve curated


for my own small press, Burning Effigy, were born of furtive conversations had at cons. Why? Because con- ventions are a communal love-in for dark fiction, re- gardless of whether you’re a professional author or not. “There are lots of opportunities to pick the brains of


more established writers,” confirms White, who notes this is particularly true of smaller shows. “You have unprecedented access to not just the writers but edi- tors, agents and publishers, as well. We also make sure to have lots of panels geared toward the business and craft of writing to help new and established au- thors alike to improve their skills and learn the ins and outs of this wacky business we’re in.” Yes, a cheap education is yet another perk. Want to


find out how to pitch a publisher or hone your craft? Then attend a panel. Need help making your murder scenes more authentic? Fear not, KillerCon will have an actual forensic pathologist on hand to teach a blood spatter workshop about just what happens to the human body when it’s slashed, gashed and bashed. If it sounds like I’m trumpeting this show, I am. We


on the East Coast have long been blessed with brilliant writer-focused events such as Necon (Northeastern Writer’s Conference), but West Coasters have had to wait until travelling shows such as World Horror land in a state close to them. No more, which is cause for celebration. So, should you end up in Vegas in September, be sure


to shake hands with special guests Mick Garris, Jonathan Maberry, Lucky McKee and Ray Garton, but do dive into the programming, because the best thing you can walk away with is not an autograph, it’s inspiration. MONICA S. KUEBLER


RM56 T H E N I N T H C I R C L E THE SECRET LIFE OF CONVENTIONS love genre lit conventions because the folks in


attendance are my tribe, and what could be bet- ter than spending a weekend with several hun-


ect known as Concrete Grove, begins suffering from blackouts and unexplained physical abnormalities (namely, she becomes preg- nant with a flock of hummingbirds) after exploring an abandoned building in the complex called The Needle. Her mother, in the meantime, owes money to the mob and is facing the conse- quences of her own sordid past. With her daughter becoming in- creasingly ill and unstable due to the strange incubation inside her, Lana has no one to turn to but Tom, a married man that helped Hailey after one of her blackout spells, who is grappling with his own domestic nightmares. While The Concrete Grove’s plot is far from straightforward, it becomes further complicated


by the fact that the characters slip in and out of hallucinogenic dream sequences, which are in- duced by the dark forces that reside in the Grove. Tom becomes tortured by his own internal fear and guilt surrounding his failing marriage, and soon his nightmares begin to creep into his waking reality. The same forces also seem to be talking to Tom’s wife, telling her about his secret liaisons with Lana, while Hailey, who continues to carry the mysterious flock, slips into her own terrifying head trip. As you’ve probably already guessed, if you don’t enjoy heady, abstract reads, you might have


trouble maintaining interest in this novel, even though McMahon maintains a good pace and amps up the tension with plenty of gore and menace. He also has a way of mixing grotesque imagery (decrepit homes, taboo situations and undignified characters) with poetic, ethereal prose that feels completely unique, making The Concrete Grove a compelling destination for discerning bib- liophiles who prefer their genre fiction both weird and challenging.


JESSA SOBCZUK THE LEAPING Reading Tom Fletcher’s debut novelThe Leaping is almost like trying to decipher a quilted tapestry;


there are many pieces and only some of them match. On their own, the pieces are beautiful and rich, but when spun together, things begin to get a little messy. The narrative alternates between roommates Francis and Jack. They are both in love with the


same girl, Jennifer, who eventually buys a house on Fell Hill, which is part of a remote mountain range. The area also happens to be a hot spot for were- wolf activity (including orgies!) and seems to mystically attract wannabe shape-shifters, including Jennifer her- self. And since Francis and Jack are so damned smitten with her, they blindly follow along. Unfortunately, a lot of the novel doesn’t deal with the wolves at all, as the author chooses to focus on Francis’ father’s battle with cancer, Jack and Jennifer’s budding relationship and the pair’s former roommates, who like to drink, play Mario Kart and make fun of each other. While Fletcher’s writing is imaginative and thoughtful,


there’s a distinct feeling he’s giving priority to ideolog- ical messages (in this case, freedom and independence versus responsibility) over structure and plot progres- sion, resulting in the book’s disjointed rhythm and dis- connected story arc. Furthermore, the first 150 pages could easily be lopped off, as nothing happens that adds to the story in a meaningful way. The pages are used to set up the daily lives of the main characters, while name-dropping the dozens of albums, movies and books that they spend their time on. Even the prologue seems irrelevant as it deals with the sec- ondary plotline of a minor character and sets up imagery (i.e. a red sandstorm) that is never men- tioned again. It would be smart to keep Fletcher on your radar, however, because these are all problems that


could’ve been solved with the help of a more attentive editor. Ultimately, this book suffers from over- ambition, not lack of skill. If The Leapingwas streamlined into a novella, it could be a deadly modern interpretation of the werewolf mythos, but as it stands, there is a lot to wade through before you get to the tasty innards.


JESSA SOBCZUK


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