We have until MIDNIGHT PST to get this thing done… just 10 HOURS away we’re at 93%, just a measly $2k left to make this giant collection happen!!

20 authors, 20 artists, all original weird horror... let’s GO!!

Just a reminder we're funding over on Kickstarter! Come support the project and check out some artist and author interviews in our Updates section :)

https://www.kickstarter.com/projects/sloanesloane/death-in-the-mouth-original-horror-from-the-margins/

Aloha all!

First of all we want to say thank you SO much for supporting the book so far! Unfortunately, we've hit some big snags with Backerkit and have decided we need to relaunch on Kickstarter next week on Tuesday August 15th 8AM PST! 

We hope you'll follow us there and pledge or repledge for your rewards! If you need help to do that or need help recalling what you ordered, let us know and we can provide that information. 

Click here to follow us on Kickstarter and get notified the minute we relaunch next week!

If you have any questions, let us know!

Mahalo,
Sloane & Cassie

Morning horror lovers! We're currently at 18% this morning and are hoping to reach our midway point by this weekend! Click here to pledge now! 

We’d love if you could introduce yourself and tell us more about what kind of art you make.

 

My name is Max Banshees. I’m a Colombian artist living in Massachusetts.

 

Primarily, I make prints, comics, and book illustrations. These works focus on love, pain, intertwinedness, and repetition. Many of them also take into account the materiality and history (real, or invented) of the objects themselves.

 

 

The ‘time’ component is what compels me the most about horror. Images, words, sensations, and scenes can ferment, rot, and even explode. The creation or experience of a work can start out slow and cautious and unsure until, suddenly, a horrific realization hits you. Other works are more quiet, more insidious, taking days, weeks, months, and even years to truly haunt you. A similar component in horror is unreality: events happen, but they also don’t happen, not literally, not fully, not directly, and the things that are never shown sometimes have more of a lasting effect than what is shown.

 

While this can apply to other genres– like tragedy, romance, narrative poetry, and writing about writing itself– it has been most impactful to me in the context of works that are categorized as (or that take advantage of aspects from) horror.

 

Talk a little about your creative philosophy. What keeps you making art?

 

Besides how incredible– and alarming– it is to be affected by a work of art, I’m also interested in how volatile that experience can be. We can be unhappy with something we’ve made or found today, just for it to be an important milestone, or catalyst, or lens for something else tomorrow. Basically, I love that the journey of making and discovering art is never really done.

 

 

Recently, I’ve been reading and illustrating works by South American authors who focus on horror, mystery, and/or magic realism. Borges (‘The Theologians’ & ‘Three Versions of Judas’) and Bazterrica (‘Tender Is The Flesh’) have been incredible, and are names that many readers of these genres might recognize. However, I did want to highlight Caio Fernando Abreu’s ‘A Story of Butterflies’. A fellow writer and constant inspiration– Francis Tanatologia– was generous enough to translate it from Brazilian Portuguese into English, and it has really stuck with me.

 

‘A Story of Butterflies’ is about a pair of people whose lives spiral out of control after they begin to grow butterflies from their scalps. Like many of Abreu’s works, this story is rough, embarrassing, specific, and human at the same time that it is incorporeal and beautiful. The interplay between the ambient existential horror, the tangible body horror, and the reality of the narrator’s life is what creates that simultaneous experience. It’s a work that will influence the visual and narrative aspects of my art for a long time. (I can still feel the sensation of the narrator plucking the butterflies from his hair…)

 

Currently, I’m working on a series of prints that highlight the artifacts and damage that they’ve collected throughout their histories. Some of these are cyanotypes, toned so that they resemble antique salt prints. Others are fire-damaged or torn prints. A few are old school B&W copier zines and incomplete sets of playing cards.

 

You can find my work on Instagram (@maxbanshees) and on my website (maxbanshees.com). I sell my work online as well (ko-fi.com/maxbanshees/shop).

Hello all!

Our campaign is making steady progress at 18% and we're looking on track to reach 25% by next week! We'll also be revealing a new mid-campaign pledge level the end of next week that we're very excited about :)

For now, we wanted to share one of the stories and illustrations from Death in the Mouth Volume 1 so you can get a sense of the collection's unique creepy vibe!

This story is entitled Paradise by Sloane Leong and was also featured in Tenebrous Press' Best New Weird Horror Volume One! The art for this story was drawn by Solomon Enos, a Native Hawaiian artist, illustrator, sculptor, muralist, game designer, eternal possiblest, and community leader in Honolulu.

Click here to read the story online at Expat Press!