- File Size: 5086 KB
- Print Length: 173 pages
- Publisher: Stupid Fish Productions (October 27, 2015)
- Publication Date: October 27, 2015
- Sold by: Amazon Digital Services LLC
- Language: English
- ASIN: B0178YXSGI
- Text-to-Speech: Enabled
- Word Wise: Enabled
- Lending: Enabled
- Amazon Best Sellers Rank: #499,987 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
Libidinous Zombie: An Erotic Horror Collection Kindle Edition
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Highlights: "The Night Frank Scored" by Remittance Girl knocked my socks off. Not only did it deliver on the horror and sex (all the stories do), it was laugh-out-loud funny. Neat trick and a very fun read. After that one, though, the dread takes over and things get dark fast (which is what you want). I'm talking very, very bad endings.
"Spell Failure" by Raziel Moore was most unsettling. The set-up is delicious: A novice witch sneaks a book of spells from the coven library into the boiler room, takes off her clothes, and, oh-my-god, be careful what you wish for! There's a reason witches-in-training shouldn't mess around with spells. What follows is a toe-curling, painfully erotic, and unrelenting sex scene that scared the hell out of me (and, even more disturbingly, got me excited!).
In "Alice in the Attic," author Malin James goes all late-Victorian insane asylum on us. The take away is that to have a correct diagnosis of multiple personality disorder, the patient must be human. Nuff said.
Rose Caraway contributes "Devil Winds," a grim yet satisfying revenge story that features a butcher shop, the Santa Ana winds, and the recently dead (and sex). "The Lucky One" by Jade A. Waters is a carnival fantasy--creepy enough--that goes crazy at a special midnight show. The ending is very, very bad (which is very, very good).
The feel of the stories overall is no-holds-barred, push-outside-your-comfort-zone writing, which is what you need with such a highly charged genre. Kudos to Stupid Fish for pulling it together. Highly recommended.
Horror and erotica are sisters under the skin. At root, both forms are transgressive, setting out to elicit strong visceral responses by stepping outside the boundaries of acceptable, ‘polite’ behavior. As W.J. Renehan suggests in ‘The Art of Darkness’, “. . . horror fiction effectively lifts the constraints of social, sexual, and moral codes for our entertainment." Few paranormal entities so effectively lift those constraints than the zombie, which has captured the collective imagination in the early years of the new century like little else. The mythos plays on our most fundamental apprehensions, fears and phobias; vast armies of dead things that don’t know they’re dead, corpses that won’t stay buried; a contagion from which no one among the quick is immune, no matter how watchful or cautious, normal or righteous, well-prepared or healthily paranoid. The undead evoke our reflexive disgust, forcing us to confront some of our most deep-rooted taboos; cannibalism, ghoulism, necrophilia, pure animal appetite without consciousness or conscience; social decay and anarchy.
But what if a spark of self-awareness remained? A hunger for more than meat? A desire to consume human flesh in a very different way? Heightened senses, telepathy, even acute emotional awareness—albeit often confused by instinct? For that matter, what would happen if a zombie girl—perhaps a little more than halfway through the change— walked into a butcher’s shop and applied for a job? (Rose Caraway’s claustrophobic, moody ‘Devil Winds’ in which the hot late-August Santa Anna winds of southern California become a virtual character in the drama.) What if the last two survivors of a zombie apocalypse and a subsequent tsunami found themselves drifting out to sea on an improvised boat, only to discover that one of them might have been bitten before casting off? (Tamsin Flowers’ harrowing, darkly sensual ‘The Only Girl in the World’)
Of course, more things other than zombies populate these pages. There are succubae and serial killers, werewolves, demons and vampiric wraiths, all brought to vivid, terrifying, luridly undead life by this hyper-creative cadre of writers. Jade A. Waters’ ‘The Lucky One’ figuratively borrows a page from Todd Browning’s ‘Freaks’, with its portrayal of a paranormal sideshow complete with werecarnies, a thigh-dampeningly charismatic ringmaster, and audience volunteers for a live sex exhibition like no other. Something wicked and very sexy this way comes when a handsome doctor finds himself locked up with the inmates of an early-20th-century mental asylum in Mallin James’ shatteringly twisty, highly satisfying ‘Alice in the Attic’. Allen Dusk’s neo-gothic ‘Damaged Melody’ conjures a storm of dark images while leaving a fair amount of mystery beyond the margins—enough to keep readers guessing long after the final paragraph. Raziel Moore’s ‘Spell Failure’ plumbs the occult with an intense, vividly-imagined, extended scene of demonic ravishment and a frightening cautionary tale of misinterpreted desire and good intentions gone horribly awry. Remittance Girl’s ‘The Night That Frank Scored’ is a delicious, macabre-ly tongue-in-cheek reimagining of the demonic-sex mythos, with a somewhat cynical, mind-reading succubus who picks up an apparent loser in a bar, only to change his life in the most unexpected and amusing of ways. Janine Ashbless’ ‘The Sorcerer’s Apprentice’ closes out the collection with an equally-scintillating story about a succubus; this one held captive by a well-heeled occultist. Needless to say, all kinds of horrifyingly orgasmic wackiness ensues when the master foolishly leaves his horny young assistant in charge for a week.
I faced my fear and read the book anyway. And I’m glad I did. Only one of the stories is about zombies. Tamsin Flowers’ zombie tale did give me the panicky feeling any story about zombies gives me because she tapped into that suffocating pursuit rather than the gore. But her tale turned out to be one of my favorites in the book.
The entire collection is full of horror and sex, and it’s a lot of fun. I’m a whimp about horror and there are a few stories I started at night and had to put down until daylight – most notably Malin James’s journey into an asylum. I also particularly liked Janine Ashbless’s erotic take on The Sorcerer’s Apprentice and the way Rose Caraway gave me second thoughts about how much I enjoy the Santa Ana winds.
These stories will keep you warm on a cold winter night and will make you pause to think about whether you want to turn the light off or not.