Author Spotlight
TEATRO GROTTESCO BY THOMAS LIGOTTI
hello friend
So for a while, whenever I looked at Amazon’s page for one of my own obscure books, the system recommended something called Teatro Grottesco by Thomas Ligotti. According to the unfathomable Amazonian formula, if you liked one, you might like the other. (Because both their covers feature masks?) Ligotti’s name came randomly to my attention other ways, too. I’d be searching for something unrelated and a relevant keyword would pop up in some message board post about Ligotti. I found a site devoted entirely to his work, which by then I realized had a hardcore cult following.
The work itself sounded Lovecraftian in content and style. I don’t like Lovecraft much. A purple writer with visceral but repetitive and fairly superficial ideas. But out of curiosity I finally bought Teatro Grottesco. I’m pleased to report that it’s fucking phenomenal.
Teatro Grottesco isn’t a page-turner. It’s more like a scope-creep of dread and awe. It took me about a week this fall to read all the stories–but since then I’ve thought of them pretty much every day, puzzling them out, piecing them together.
Ligotti writes in a genre all his own. The only title I can think to give it is philosophical horror. Think Kafka meets David Lynch meets… I don’t know, Cortazar? Ligotti’s stories contain grotesqueries, but almost no violence whatsoever. They’re about as far from traditional horror as horror can get. The dread Ligotti creates is the dread of living a life with no agency whatsoever, deluded and hopeless, controlled by malevolent and incomprehensible forces.
From “My Case For Retributive Action,” the story of a man starting a new job in foggy town on the wrong side of an ill-defined border:
“In those moments, which were eternal I assure you, I had no location in the universe, nothing to grasp for that minimum of security which every creature needs merely to exist without suffering from the sensation that everything is spinning ever faster on a cosmic carousel with only endless blackness at the edge of that wheeling ride.”
Ligotti’s characters are always being stricken by gastrointestinal ailments which seem to function as manifestations, sometimes veiled but sometimes explicit, of their psychological afflictions: brain as intestine. In the title story, the narrator (Ligotti always writes with a first-person narrator) writes of a mysterious organization called the Teatro Grottesco that terrorizes artists, causing them to lose their artistic inclinations and in some cases disappear entirely. The narrator is then laid low by “an intestinal virus.” (Emphasis Ligotti’s.)
Suffering through the days and nights of an illness, especially an intestinal virus, one becomes highly conscious of certain realities, as well as highly sensitive to the functions of these realities, which otherwise are not generally subject to prolonged attention or meditation. Upon recovery from such a virus, the consciousness of these realities and their functions necessarily fades, so that the once-stricken person may resume his life’s activities and not be driven to insanity or suicide by the acute awareness of these most unpleasant facts of existence. Through the illumination of analogy, I came to understand that the Teatro operated in much the same manner as the illness from which I had recently suffered, with the consequence that the person exposed to the Teatro-disease becomes highly conscious of certain realities and their functions…
In Ligotti, the body is an analog of the mind and the environment is an analog of the body. (Perfectly enough, Ligotti is apparently based in Detroit.) In one of the most excellent stories, “The Red Tower,” a bizarre factory interacts with the landscape surrounding it, and the underground levels produce “hyper-organisms” out of “birthing-graves.” You have a sense of rising, horrified awe reading Ligotti’s description of these creatures, a description that I won’t reproduce here because it would spoil the dreadful recognition you feel as you begin to realize what, in fact, he’s describing.
“Gas Station Carnivals” is maybe my favorite story (it’s either that or “The Clown Puppet”). It comes in the third segment of the collection, a cluster of five stories called “The Damaged and the Diseased.” These stories are the most brain-twisting and arcane, usually involving tales told to a narrator by an interlocutor whose veracity (or existence) comes into question even as the tale coils back onto itself and starts to strangle the narrator. “Gas Station Carnivals” is best read without any prior knowledge of its completely bizarre contents.
That’s true of the whole book, actually, but I don’t think I’m spoiling much by saying that it’s profound and terrific and there’s nothing else like it. And if nobody told you to go out and get it as soon as humanly fucking possible, then you’d be less likely to do so, wouldn’t you?
Tags: teatro grottesco, thomas ligotti
Nick, I totally agree, particularly the part about your thoughts returning to these stories every day since reading them. There’s something in his writing that adheres to the hindbrain. “The Town Manager”, which is in this collection, still comes back to me at unexpected times, and the title novella from “My Work is Not Yet Done” left me perturbed for weeks after finishing it. Excellent write up. Makes me want to read Midnight Picnic and Fires. Thank you, Amazon.
Nick, I totally agree, particularly the part about your thoughts returning to these stories every day since reading them. There’s something in his writing that adheres to the hindbrain. “The Town Manager”, which is in this collection, still comes back to me at unexpected times, and the title novella from “My Work is Not Yet Done” left me perturbed for weeks after finishing it. Excellent write up. Makes me want to read Midnight Picnic and Fires. Thank you, Amazon.
Yeah, The Town Manager. That scrawled note…”DUSTROY TROLLY” The makeshift town behind the town… so fucking discomfiting.
Yeah, The Town Manager. That scrawled note…”DUSTROY TROLLY” The makeshift town behind the town… so fucking discomfiting.
Thomas Ligotti has a cult of followers, one of whom is me. This is a fine article, Nick Antosca on my favorite author. Thank you.
Thomas Ligotti has a cult of followers, one of whom is me. This is a fine article, Nick Antosca on my favorite author. Thank you.
His collection Songs of a Dead Dreamer is a good place to start, if you can find it..
His collection Songs of a Dead Dreamer is a good place to start, if you can find it..
[…] For the rest of this post on Ligotti, go to HTMLGIANT. […]
yes and more yes
yes and more yes
I have this book and haven’t read it yet. Maybe I’ll read Ligotti next. It’s right here.
I have this book and haven’t read it yet. Maybe I’ll read Ligotti next. It’s right here.
Thank you for this review. You didn’t use the word, but Mr. Ligotti indeed writes “existential” fiction.
Thank you for this review. You didn’t use the word, but Mr. Ligotti indeed writes “existential” fiction.
I guess that’s true. Very, very true, actually. But when people hear “existential fiction,” especially if they’re conversant in indie lit, they tend to think it’s like Tao Lin. Tao Lin, this ain’t.
I would strongly encourage you to do that. In fact, I’d be very curious to hear what you think of it.
Thanks for encouraging me to read this.
I guess that’s true. Very, very true, actually. But when people hear “existential fiction,” especially if they’re conversant in indie lit, they tend to think it’s like Tao Lin. Tao Lin, this ain’t.
I would strongly encourage you to do that. In fact, I’d be very curious to hear what you think of it.
Thanks for encouraging me to read this.
Yeah, it’s better.
Yeah, it’s better.
This book is one of the most perfect books ever. I spent the first half of this year reading virtually everything else written by Ligotti via inter-library-loan, and unfortunately, in my opinion, the only other collection that lives up to the perfection that is TEATRO GROTTESCO is GRIMSCRIBE.
This book is one of the most perfect books ever. I spent the first half of this year reading virtually everything else written by Ligotti via inter-library-loan, and unfortunately, in my opinion, the only other collection that lives up to the perfection that is TEATRO GROTTESCO is GRIMSCRIBE.
Nick Antosca, I want to create a link to this fine article as a bulletin on my MySpace page — I have over a thousand friends there I believe. What is the direct link? Again, thank you. You’ve certainly done your work, Mr. Antosca.
Nick Antosca, I want to create a link to this fine article as a bulletin on my MySpace page — I have over a thousand friends there I believe. What is the direct link? Again, thank you. You’ve certainly done your work, Mr. Antosca.
I think this is it:
http://htmlgiant.com/author-spotlight/teatro-grottesco-by-thomas-ligotti
I think this is it:
http://htmlgiant.com/author-spotlight/teatro-grottesco-by-thomas-ligotti
Sounds good. I’ll add it to the list.
Sounds good. I’ll add it to the list.
[…] For the rest of this post on Ligotti, go to HTMLGIANT. […]
That is it. http://htmlgiant.com/author-spotlight/teatro-grottesco-by-thomas-ligotti/
That is it. http://htmlgiant.com/author-spotlight/teatro-grottesco-by-thomas-ligotti/
Nick: I agree with much of your praise for Ligotti. A quick question, though: what do you mean by “[p]erfectly enough, Ligotti is apparently based in Detroit”? Is this a slam against Detroit? If so, it seems cheap and out of place in an otherwise thoughtful article. (Especially since your line is preceded by “In Ligotti, the body is an analog of the mind and the environment is an analog of the body.” What does this have to do with where Ligotti lives?) Ligotti’s stories take place in imagined worlds that are physical manifestations of the characters’ (and author’s) anxieties, because life is bleak and hopeless and the end is certain. If he lived in Hawaii or San Diego or sunny Florida, his fiction would still reflect the absolute certainty of our ultimate spiritual obliteration.
Ligotti’s “The Nightmare Factory” collects almost all of his stories up to 1996. It’s expensive and difficult to find, but worth it.
Nick: I agree with much of your praise for Ligotti. A quick question, though: what do you mean by “[p]erfectly enough, Ligotti is apparently based in Detroit”? Is this a slam against Detroit? If so, it seems cheap and out of place in an otherwise thoughtful article. (Especially since your line is preceded by “In Ligotti, the body is an analog of the mind and the environment is an analog of the body.” What does this have to do with where Ligotti lives?) Ligotti’s stories take place in imagined worlds that are physical manifestations of the characters’ (and author’s) anxieties, because life is bleak and hopeless and the end is certain. If he lived in Hawaii or San Diego or sunny Florida, his fiction would still reflect the absolute certainty of our ultimate spiritual obliteration.
Ligotti’s “The Nightmare Factory” collects almost all of his stories up to 1996. It’s expensive and difficult to find, but worth it.
“In Ligotti, the body is an analog of the mind and the environment is an analog of the body. (Perfectly enough, Ligotti is apparently based in Detroit.)”
Brandon, my take on this is that Nick is saying Detroit is as perfect as Ligotti’s stories and/or it’s a perfect place to have lived to write perfect stories. That’s my two cents worth, Brandon. In no way do I find it cheapens the article.
“In Ligotti, the body is an analog of the mind and the environment is an analog of the body. (Perfectly enough, Ligotti is apparently based in Detroit.)”
Brandon, my take on this is that Nick is saying Detroit is as perfect as Ligotti’s stories and/or it’s a perfect place to have lived to write perfect stories. That’s my two cents worth, Brandon. In no way do I find it cheapens the article.
I’ve heard from Thomas Ligotti and he has asked me to say to you, Brandon Trenz, his friend and scriptwriting collaborateor, and that his view of Detroit is the same as that of Camillo Vergara in his book “American Ruins: a heartfelt fondness for decay.” Also, Thomas wanted me to say thanks to Nick Antosca for his review, which includes a blurb in it that he’d like to use for his forthcoming book (a nonfiction work titled “The Conspiracy against the Human Race”: “Ligotti writes in a genre all his own. The only title I can think to give it is philosophical horror. Think Kafka meets David Lynch. . . . The dread Ligotti creates is the dread of living with no agency whatsoever, deluded and hopeless, controlled by malevolent and incomprehensible forces.” Thomas has told me this quote perfectly echoes one the themes in Conspiracy which he took from Arthur Schopenhauer: “Here. . . is the signature motif of the pessimistic imagination that Schopenhauer made discernible: Behind the scenes of life there is something pernicious that makes a nightmare of our world.”
I’ve heard from Thomas Ligotti and he has asked me to say to you, Brandon Trenz, his friend and scriptwriting collaborateor, and that his view of Detroit is the same as that of Camillo Vergara in his book “American Ruins: a heartfelt fondness for decay.” Also, Thomas wanted me to say thanks to Nick Antosca for his review, which includes a blurb in it that he’d like to use for his forthcoming book (a nonfiction work titled “The Conspiracy against the Human Race”: “Ligotti writes in a genre all his own. The only title I can think to give it is philosophical horror. Think Kafka meets David Lynch. . . . The dread Ligotti creates is the dread of living with no agency whatsoever, deluded and hopeless, controlled by malevolent and incomprehensible forces.” Thomas has told me this quote perfectly echoes one the themes in Conspiracy which he took from Arthur Schopenhauer: “Here. . . is the signature motif of the pessimistic imagination that Schopenhauer made discernible: Behind the scenes of life there is something pernicious that makes a nightmare of our world.”
CORRECTED:
I’ve heard from Thomas Ligotti and he has asked me to say “hello” to you, Brandon Trenz, his friend and scriptwriting collaborateor, and that his view of Detroit is the same as that of Camillo Vergara in his book “American Ruins: a heartfelt fondness for decay.” Also, Thomas wanted me to say thanks to Nick Antosca for his review, which includes a blurb in it that he’d like to use for his forthcoming book (a nonfiction work titled “The Conspiracy against the Human Race”: “Ligotti writes in a genre all his own. The only title I can think to give it is philosophical horror. Think Kafka meets David Lynch. . . . The dread Ligotti creates is the dread of living with no agency whatsoever, deluded and hopeless, controlled by malevolent and incomprehensible forces.” Thomas has told me this quote perfectly echoes one the themes in Conspiracy which he took from Arthur Schopenhauer: “Here. . . is the signature motif of the pessimistic imagination that Schopenhauer made discernible: Behind the scenes of life there is something pernicious that makes a nightmare of our world.”
CORRECTED:
I’ve heard from Thomas Ligotti and he has asked me to say “hello” to you, Brandon Trenz, his friend and scriptwriting collaborateor, and that his view of Detroit is the same as that of Camillo Vergara in his book “American Ruins: a heartfelt fondness for decay.” Also, Thomas wanted me to say thanks to Nick Antosca for his review, which includes a blurb in it that he’d like to use for his forthcoming book (a nonfiction work titled “The Conspiracy against the Human Race”: “Ligotti writes in a genre all his own. The only title I can think to give it is philosophical horror. Think Kafka meets David Lynch. . . . The dread Ligotti creates is the dread of living with no agency whatsoever, deluded and hopeless, controlled by malevolent and incomprehensible forces.” Thomas has told me this quote perfectly echoes one the themes in Conspiracy which he took from Arthur Schopenhauer: “Here. . . is the signature motif of the pessimistic imagination that Schopenhauer made discernible: Behind the scenes of life there is something pernicious that makes a nightmare of our world.”
Thanks Nick, great to see your thoughts up here at HTML as I have really been in sync with your recent posts. Ligotti is somebody I’ve also been meaning to get into more, only having read a bit of here and there. I’ll add this to my wish list.
Also, if you haven’t already, check out Steve Erickson, his name popped into my head when reading this.
Thanks Nick, great to see your thoughts up here at HTML as I have really been in sync with your recent posts. Ligotti is somebody I’ve also been meaning to get into more, only having read a bit of here and there. I’ll add this to my wish list.
Also, if you haven’t already, check out Steve Erickson, his name popped into my head when reading this.
Many of his stories involve factories, industrial wastelands, and blighted urban environments. I don’t think it’s implausible to suppose that his take on such environs might have something to do with living in Detroit. I’m saying that this is definitely the case, but it’s an obvious connection to make. I don’t have anything “against” Detroit. It has a reputation as a collapsing city, however.
Examples (very fascinating and worth looking at regardless) :
http://www.kevinbauman.com/100abandonedhouses/
(bauman is based in detroit)
http://www.flickr.com/photos/snweb/sets/302324/
http://www.forgottendetroit.com/
Many of his stories involve factories, industrial wastelands, and blighted urban environments. I don’t think it’s implausible to suppose that his take on such environs might have something to do with living in Detroit. I’m saying that this is definitely the case, but it’s an obvious connection to make. I don’t have anything “against” Detroit. It has a reputation as a collapsing city, however.
Examples (very fascinating and worth looking at regardless) :
http://www.kevinbauman.com/100abandonedhouses/
(bauman is based in detroit)
http://www.flickr.com/photos/snweb/sets/302324/
http://www.forgottendetroit.com/
I’m *not* saying that this is definitely the case, rather.
I’m *not* saying that this is definitely the case, rather.
Just read these after posting my above comments about the Detroit question. Cool. And if Ligotti wants to quote from the piece, that is very cool too. Thanks, Barry.
Just read these after posting my above comments about the Detroit question. Cool. And if Ligotti wants to quote from the piece, that is very cool too. Thanks, Barry.
I liked Rubicon Beach a lot, although it’s been a while. Ellroy uses a great epigraph from Erickson at the beginning of LA Confidential, I think.
I liked Rubicon Beach a lot, although it’s been a while. Ellroy uses a great epigraph from Erickson at the beginning of LA Confidential, I think.
Thank you very much, Nick.
Thank you very much, Nick.
The Clown Puppet is also one of my favorite Ligotti stories. I was pleasantly surprised to see this review of Teatro Grottesco at HTML Giant.
The Clown Puppet is also one of my favorite Ligotti stories. I was pleasantly surprised to see this review of Teatro Grottesco at HTML Giant.