Category Archives: Decades

Clark Ashton Smith

Clark Ashton Smith (January 13, 1893 – August 14, 1961) was an American author of horror, dark fantasy, and science fiction. He rose to prominence during the golden age of the pulp era, and was part of the famous Weird Tales triumvirate along with H.P. Lovecraft and Robert E. Howard. He was widely published not only in Weird Tales but literary journals and other pulps as well, including Wonder Stories, Astounding, Strange Tales of Mystery and Terror, Stirring Science Stories, The Magic Carpet, The Black Cat, and others. Smith was author of approximately 250 short stories and over 900 poems. He wrote only one full length novel, The Black Diamonds, which owes a lot to his fondness for the Arabian Nights. The novel was 90,000 words, written at the age of 14.

Those who’ve read Smith’s work but who know little about the man himself might be surprised to learn he never attended high school. Possibly due to “psychological disorders including a fear of crowds” (Wikipedia), Smith’s education was finished at home, where he read voraciously and studied a variety of subjects. Smith’s vocabulary is wide in scope and gave his fiction a singularly otherworldly feel that, in my opinion, wove a spell around the reader unlike any other prose written by the peers of his time. His dark fantasy and horror was dark indeed. Sorcerers of the black arts from Smith’s stories are deeply disturbed individuals with gruesome keepsakes and a clear penchant for diabolic evil.

Smith’s prose certainly isn’t for everyone. I have had discussions with pulp fans who either love or strongly dislike his work. Some find him unnecessarily verbose. Those like myself, who enjoy his work, find his vast vocabulary and amazing use of language the clear differentiation between his and other writers’ dark fiction. Among his admirers are Ray Bradbury, who cited Smith’s story “The City of the Singing Flame” as a standout favorite.

Smith’s careful employment of uncommon language and cadence in his prose is due in part to his history as an artist; Smith spent ten years as a poet before he attempted to sell any fiction. One of his earliest publication credits was a booklet called The Star-Treader and Other Poems in 1912. He began publishing short stories in the mid-1920s. He increased his fiction output as The Great Depression settled over America. He wrote the bulk of his fiction between 1929 and 1935. Throughout the mid to late-1930s, a series of tragedies left him deeply affected to the point that he stopped writing fiction completely. His mother died in 1935, Robert E. Howard committed suicide in 1936, and H.P. Lovecraft died of cancer in 1937, which was the same year that Smith’s father died. The deaths of his contemporaries, with whom he had forged meaningful relationships through letters over the years, coupled with the deaths of his parents, “left him exhausted.” Ultimately, Smith turned to sculpting, art, and resumed writing poetry.

In the early 1940s, August Derleth started Arkham House and published many of the first collected works of Smith’s fiction. Despite Derleth’s encouragement, Smith never took up writing fiction again. He left behind a relatively large number of unpublished pieces of fiction, many if not all of which were published posthumously.

Smith lived the majority of his life in Auburn, California. He passed away at the age of 61 in Pacific Grove, California. His remains were cremated and his ashes were buried near the site of his boyhood home in Auburn, which was destroyed by fire in 1957. The burial site had no marker until recent years, when the site was commemorated by a plaque in what is now a small park near the Placer County Law Library. For those interested in learning more about Clark Ashton Smith, I recommend a comprehensive website called The Eldritch Dark. Smith has received his rightful share of scholarly attention, as the site clearly shows. He also achieved literary canonization in a Penguin Classics collection of his work in 2014.

Clark Ashton Smith’s work has been published in many collectible editions over the years. My personal collection includes an Arkham House hardcover, A Rendezvous in Averoigne, with cover art by Jeffrey K. Potter, which is one of only a handful of things that I still own from my teenage years and holds a great deal of sentimental value for me. I do have one of the Neville Spearman hardcover editions of Lost Words, but other than that, the rest of my CAS collection in is paperback — some seriously beautiful paperbacks with amazing wraparound art. Ballantine’s adult fantasy series features art by George Barr, Gervasio Gallardo, and Bill Martin. Panther Books in the UK released paperback editions of Neville Spearman’s Arkham House reprints with more amazing cover art. Some of the art was done by B. Pennington, but the other artwork, including that on the Out of Space and Time volumes which I have featured here, is uncredited.

To browse the list of related titles currently available on Amazon, click here.

These cover scans are from the library of author Christopher Fulbright.

Nicholas Pine

Nicholas Pine is the pen name of C. A. Stokes, an author of young adult horror and suspense, namely the Terror Academy series published by Berkley Books in the early 1990s. This series (and a long list of others) clearly intended to capitalize on the popularity of R. L. Stine and Christopher Pike. It also seems clear it appealed directly to fans of the latter author, since the chosen pen name got these books shelved next to books by Christopher Pike. Clever indeed.

No information about the author is listed in the books, and searches online yield no biographical details. The series itself appears to have run for 15 books between June 1993 and May 1995. The titles indicate that all teen horror requirements were met: Sixteen Candles, Spring Break, The New Kid, The Prom, and Breaking Up. I did find a complete list of all titles in the Terror Academy series, relisted here in the event the source site goes belly-up.

  1. Lights Out
  2. Stalker
  3. Sixteen Candles
  4. Spring Break
  5. The New Kid
  6. Student Body
  7. Night School
  8. Science Project
  9. The Prom
  10. The In Crowd
  11. Summer School
  12. Breaking Up
  13. The Substitute
  14. School Spirit
  15. Boy Crazy

I also found a great blog where the last book in the series gets a pretty entertaining review. Fans of young adult fiction from the glory days should check it out: Young Adult Revisited.

To browse the list of related titles currently available on Amazon, click here.

These cover scans are from the library of Christopher Fulbright, except The New Kid, which was provided by Retro Reads. Please note that Realms of Night has an eBay page with monthly horror auctions. Follow our page and save us as a favorite seller for updates.

Jeffrey Konvitz

Jeffrey Konvitz is an American author of horror and suspense, best known for his 1974 novel The Sentinel, which hit #2 on the New York Times bestseller list in the wake of Catholic horror blockbuster The Exorcist. The stepback art for his first novel was probably one of the first in a long line of novels featuring the soon-to-be overused blurb “Rosemary’s Baby, The Exorcist, The Other, and now….”

Konvitz’s debut propelled him, and his follow-up novel The Guardian, to the top of the lists. Around the same time, he co-produced with Lloyd Kaufman of Troma fame the horror film Silent Night, Bloody Night, which appears to have set him up to write the screenplay for and produce the 1977 film adaptation of The Sentinel. He only wrote a couple more novels — Apocalypse (1979) and Monster (1981), which was published as The Beast in the UK. He continued to produce films through 2007.

Konvitz is a native New Yorker, and was educated at Cornell and the Columbia University School of Law. Biographical information in the back of The Guardian says “he began his career in 1969 working for a Hollywood talent agency.” He went on to become general counsel to a theater chain, and then a production executive at MGM studios. He currently works as an entertainment finance attorney in Los Angeles.

To browse the list of his titles currently available on Amazon, click here.

These cover scans are from the library of author Christopher Fulbright.


Mason Burgess

Mason Burgess is a pen name for Canadian horror author Gregory Zawidoski, who wrote three novels for Leisure Books in the mid-1980s. There is no biographical information in any of the novels published during that time, but his debut novel Child of Demons (1985) bears a copyright under his real name, which led me to a Google search, where I found confirmation in the Lotus archives of the pen name, and — surprisingly — a website for the author. A new Mason Burgess novel, Skinned Babies, was released in 2015 and, as of this writing, can be picked up for a mere $788.29 from Amazon.

Prior to his latest effort, the horror novels published under the Burgess name were Child of Demons, Blood Moon (1986), and Graveyard (1987). Burgess’s Web site says “Blood Moon became a national best seller in the span of only three weeks.” He has Facebook and Twitter accounts which were only updated for a few weeks to promote his new book, and then nada since 2015.

Burgess’s bio cites his influences as Poe, Lovecraft, M.R. James, Bloch, Bradbury, Matheson, and Stephen King. It also notes that he has written a number of other books (fiction and non-fiction) under various other pen names. A search for him or other books under his own name of Gregory Zawidoski nets nothing, so one can only guess at some of the other names under which he has written. The public catalog of the U.S. copyright office only has two records in its database associated with Zawidoski’s real name, Blood Moon and Graveyard, and two spellings of his last name (alternatively listed as Zawidowski), so honestly, I have no idea which spelling is correct. All I can say for sure is, this is the guy who wrote these three novels from Leisure in the mid 1980s, and he re-emerged to publish a new horror novel in 2015 … only to disappear again. Here is a link to his Amazon page for more information on his books and their availability.

These cover scans are from the library of author Christopher Fulbright.


John Skipp & Craig Spector

John Skipp and Craig Spector are American horror authors who rose to prominence in the mid-1980s after breaking into Twilight Zone magazine. The publication by Bantam of their first novel, The Light at the End, in 1986, ushered in a new wave of horror fiction with sharp edges and deep hurts. Skipp and Spector ended up as central figures in what came to be known as the “splatterpunk” movement, a term coined in jest by author David J. Schow. The term caught on, for better or for worse for these authors, since they would forever be regarded as a part of this movement, which ended fairly definitively in the mid-1990s — along with everything else horror-related that were direct offspring of the tumultuous, fear-mongering, devil-worshipping, video store-scented, Headbanger’s Ball-watching, PMRC-stamped 1980s. A handful of other authors were considered a part of the movement. While some might argue the splatterpunk style never died, my personal take is that the movement itself died an uncharacteristically quiet death around 1995.

It’s important to me to get the discussion of splatterpunk out of the way up front. Although it seems like these guys embraced it for a while, if for no other reason than it represented something new, edgy, and controversial, their work in my mind transcends the label even today.

Skipp and Spector started working together in the early 1970s not as authors, but as rock musicians. When they started writing together, they confessed in interviews their process was a lot like jamming together, tossing ideas back and forth, working a story into a rhythm. They later composed rock scores to some of their novels.

Their early novels hit the scene like nuclear warheads: The Light at the End in 1986 — their self-confessed attempt to take everything to the utmost maximum and de-romanticize vampires; The Cleanup in 1987 — featuring one of the most controversial scenes in horror fiction at the time; and The Scream in 1988 — which took all of the fears of Tipper Gore and the conservative right wing and made them come true in novel form. What if rock bands really did do all of the terrible things the establishment accused them of: ritual sacrifice, tapping into forces of evil, and using that power to influence listeners toward diabolical ends? Of the seven novels Skipp and Spector wrote together, The Scream remains my favorite. When I read it, I was a 17-year-old steeped in heavy metal and horror. This novel brought both of my favorite flavors of art together in a way that had never been done before and it resonated with me deeply. This book made me a fan for life.

The Cleanup had a similar impact for me. I got in bit of trouble in my high school years and ended up going to a school for troubled youths in Colorado Springs. One day, I said to hell with this place, I’m done. I left the campus, which was down by Maizeland and Academy, walked up to the Austin Bluffs Mall, and shoplifted a copy of The Cleanup. This bit of work complete, I hiked into Palmer Park, found a rock to sit on, and read for the rest of the afternoon. The main character had failed at everything — failed rock star, jilted lover, and all around fuck-up. This certainly resonated with me. It was a powerful story and connected with me at critical levels of my being. I don’t remember how I got home that day, but I remember reading that book thirty years ago. The Cleanup and The Scream solidified one thing in my mind: Skipp and Spector were my new literary heroes.

The duo drew equal amounts of negative criticism and accolades. Some critics excoriated their work. Some prominent writers protested the visceral approach, but they had the support of powerful forces in the industry such as Clive Barker and editor T.E.D. Klein, who purchased their early stories for Twilight Zone magazine. Despite detractors, there was no denying that horror and the metal attitude of the 1980s had cross-pollinated to attract a following of excited fans. In 1989, Skipp and Spector edited the landmark Book of the Dead anthology, which revived Romero-esque zombies in fiction with plenty of talent; the book contained a forward by George Romero, with stories by horror luminaries Stephen King, Robert McCammon, Ramsey Campbell, Joe Lansdale, Richard Laymon, Brian Hodge, David J. Schow, and Edward Bryant, among others.

Skipp and Spector dabbled in Hollywood stuff, too. They wrote the movie novelization of Fright Night in five weeks in 1985 when they were halfway through the writing of The Cleanup and ran out of money. An interview in the Fall 1988 The Horror Show recounts an ill-fated project where they worked on a screenplay for an unnamed small budget film, but ultimately the deal went south and they were sent packing without credit for the work they had done. The pair wrote the original story for Nightmare on Elm Street 5: The Dream Child in 1989. Skipp also did some uncredited work on the script for Class of 1999.  Three of their novels — The Light at the End, Deadlines, and The Bridge — were optioned but never went into production. Animals was adapted to film in 2008.

In all, John Skipp and Craig Spector co-wrote seven novels together and sold millions of copies of their books. They met with a great deal of success. Alas, it was not meant to last forever. The pair parted ways in 1993 and have not collaborated since. In all, for me, this is a sad development. I loved these guys’ work, and while I have enjoyed some of the individual books they have done since then, it’ll never be the same. Perhaps it’s just nostalgia, or maybe it was lightning in a bottle, something that happened at the time and the energies of the universe have now realigned. Romero (R.I.P.) never made another film like Dawn of the Dead. Iron Maiden will never make another album like Powerslave. These are things I grudgingly accept. And though I am saddened that the collaboration came to an end, I will always have these novels to enjoy. And I’m glad. Because no matter what label was slapped on these guys, their fiction connected with me at a critical time in my life, was powerful, visceral, moving, and had real depth. Maybe only certain people can relate, but I believe their work is of a lasting quality that future horror fans will read with awe and respect.

Discovering these guys for the first time? There are many editions available — the original editions are not terribly rare (well, some of them are), but all of them except for the Fright Night novelization are available in ebook editions here.

These cover scans are from the library of author Christopher Fulbright.



Robert D. San Souci

Robert D. San Souci (October 10, 1946 – December 19, 2014) was an American author of children’s books, horror novels, and a consultant to Disney Studios.

Since my only knowledge of Mr. San Souci was through the above mentioned horror novels, I was surprised to learn, after searching for information about his life, that he was primarily an author of children’s books — over 100 of them. In fact, the horror novels I own by him are not even mentioned in his bibliography on Wikipedia. Although I began to wonder if this was the same Robert San Souci, a list of other books by this author in the front matter of his 1985 Leisure horror novel Blood Offerings also listed Legend of Scarface, which garnered a mention in his obituary from The Mercury News by virtue of its selection as a New York Times best illustrated-book in 1978. San Souci was named an American Library Association notable author, and wrote the original story that served as the basis for the Disney movie Mulan.

The horror novels that I own by San Souci include Emergence, published by Avon in 1981, Blood Offerings, published by Leisure in 1985, and The Dreaming, published by Berkley in 1989. If other horror novels by him exist, I haven’t seen them. If anyone out there knows more about his work in the adult horror field, please post a comment.

San Souci was born in San Francisco and attended St. Mary’s College in Moraga, California. He died unexpectedly after falling and suffering a head injury in December 2014. He was 68.

To browse the list of his titles currently available in print and eBook editions, click here.

These cover scans are from the library of author Christopher Fulbright.


R. L. Stine

R. L. Stine is an American author of children’s mystery, suspense, and horror. Generally thought of as the “Stephen King of children’s fiction,” Stine has written more novels than anyone has bothered to count (okay, so there is what might be a complete bibliography at Wikipedia), plus worked in television, movies, and even wrote a few suspense novels for adults. Anyone who read choose your own adventures probably read one or two by Mr. Stine. He wrote more than 80 books in his Goosebumps series, which spawned a television show that ran from 1995-1998. He wrote well over 100 books as part of his Fear Street series, over 30 stand-alone novels, and many media tie-ins, including G.I. Joe novels, Indiana Jones choose your own fate books, Masters of the Universe stuff, and a whole slew of other choose your own adventure books in the Twistaplot and Wizards, Warriors, and You series.

Stine got his start publishing a humor magazine called Bananas through Scholastic Press and writing joke books for kids in the mid-1970s. His first horror novel, Blind Date, was published as part of the Scholastic Point Horror line in 1986 and he never looked back. He started his long journey down Fear Street in 1989 working with Archway books, and hit it big again with his Goosebumps series, which kicked-off in 1992.

Stine achieved the kind of success most authors only dream of. His Wikipedia article claims (you’re probably sensing lazy researching here and you’d be right, alas…) his books have sold more over 400 million copies worldwide. He was USA Today’s number-one best selling children’s author three years in a row, was in People magazine, and is in the Guinness Book of World Records as the best selling children’s author of all time. He was on the Forbes list of the 40 top-grossing entertainers of 1996 and 1997 at $41 million. Movies and television shows have been made based on numerous Stine works, and his stories have inspired amusement park attractions at Sea World and Busch Gardens. I probably don’t even need to mention his awards. He’s got some.

In all seriousness, I give Mr. Stine his due — this is a man who worked hard to get where he is today. A collector looking for R. L. Stine books is in for a lifetime search, which is another way of saying he is one prolific dude. I can’t imagine what his annual output in word-count must have been at its peak, but it surely matched that of the pulp writers of yore who were churning out a new novel every two weeks.

I admit that as a teen I never read any R. L. Stine. I was already reading Stephen King at an early age, so Stein’s more “family friendly” horror didn’t appeal to me. That said, I know his Fear Street and Point Horror books served as a gateway drug to folks who went on to become fans of adult horror, and there’s nothing wrong with that. As an adult collector of paperback horror, I began to pick up a few of these here and there. I collected Point Horror for a while, so I started with those. I enjoyed them for what they were. I branched out into reading a few Fear Street books. It seemed to me they varied in quality; many felt rushed or unfinished. In any event, I am not a harsh critic, and I continued to enjoy collecting them for a while.

My oldest son (now in his early 20s) loved the Goosebumps books when he was a young boy. My youngest daughter (11 years old at the time) read a few Goosebumps titles as well, until one of them give her nightmares. And here I held onto all these novels thinking I’d indoctrinate my kids into the realm of horror. Heh … well, I wasn’t going to force it on her, but here I had a big box of these Point Horror and Fear Street books that no one would touch. My youngest daughter paled when I showed them to her (obviously reliving that previously-mentioned nightmare), my 15-year-old daughter wouldn’t look twice at them, and the YA novels seemed sufficiently suspicious in the “marketed-to-girls” department that my youngest son (already reading Star Wars young adult novels at 8 years old) wouldn’t touch them. So … millions of people were reading these books at some point. I get it, but … who were they? Check out the scans below. One of those books includes press-on tattoos in the middle of the book, like the kind you used to get out of Cracker Jacks. Crazy. I mean, something doesn’t connect in my mind with how these targeted readers. Girls? Yes. Age? Not sure. Clearly Archway and Scholastic had something good going on. My only guess is that the audience for these books (meaning the novels) was composed of more “tween-agers” in the ’80s and ’90s than young adults. Who knows? Stine knocked it out of the park, and it’s not my puzzle to solve. Ultimately, my plan to use them as gateways to the wider realms of horror for my children failed. As much as I enjoyed collecting them for a while, I have confidence they’ll all find wonderful new homes. In the meantime, it is my pleasure to share them with you here.

To browse the list of R. L. Stine titles currently available in print and eBook editions, click here.

These cover scans are from the library of Christopher Fulbright, except for four scans provided by Retro Reads. Please note that Realms of Night has an eBay page with monthly horror auctions. Follow our page and save us as a favorite seller for updates.


Owl Goingback

Owl Goingback is an American author of supernatural horror and suspense. He spent his early days in the U.S. Air Force working as a jet engine mechanic, then owned a restaurant and lounge for a while before committing to writing full time in 1987. His American Indian Choctaw-Cherokee heritage informs much of his fiction. His first novel Crota features a creature lifted from Native American mythology, an Indian curse as a lynch pin for the plot, and a sheriff and shaman working together to overcome ancient evil. Crota sold to Signet and won the Bram Stoker Award for First Novel in 1996.

Goingback’s short fiction has appeared in numerous anthologies. His short story “Grass Dancer” appeared in Warner Books’ Excalibur anthology in 1996 and was nominated for a Nebula Award the same year. In addition to a number of children’s books, Goingback was the author of four more horror novels: Shaman Moon, which appeared in The Essential World of Darkness, an omnibus with four other novels published by White Wolf in 1997, followed by Darker Than Night (1999), Evil Whispers (2001), and Breed (2002), all published by Signet.

Goingback currently lives in Florida with his wife and two sons. To browse the list of his titles currently available in print and eBook editions, click here.

These cover scans are from the library of author Christopher Fulbright.

Robert R. McCammon

Robert R. McCammon is an American author of horror and historical suspense. He was, of course, one of the giants of the genre during the horror boom, legitimately placed on par with usual suspects from the horror pantheon including King, Koontz, Straub, et al. He is a New York Times bestseller and multiple award-winning author.

McCammon was born and raised by his grandparents in Birmingham, Alabama and graduated from the University of Alabama with a B.A. in Journalism in 1974. He was eager to become a reporter in the wake of the 1972 Washington Post exposé by Bob Woodward and Carl Bernstein that blew the lid off Watergate, leading to the bestselling novel and subsequent movie All the President’s Men.  He was not the only one inspired by the work of Woodward and Bernstein; their investigation had romanticized the profession and intrigued many, so there was a lot of competition for jobs at the time. McCammon was hard-pressed to find a position as a reporter. He eventually landed a position as copyeditor and headline writer for the Birmingham Post-Herald, but this left him frustrated and unhappy. During this time he turned his eye toward writing a novel, channeling his inner turmoil into Baal.

Baal was accepted and published in paperback by Avon books in 1978. He admits in retrospect that he was surprised by this — not expecting his first novel to sell so readily — but he quickly forged ahead and wrote The Night Boat. About this time the horror movie Shock Waves was released, which contained elements similar to his novel, so Avon was reluctant to publish it, opting instead to release his third novel Bethany’s Sin in 1980 as his follow-up to Baal. Avon published The Night Boat later that same year.  They Thirst was published in 1981, followed by Mystery Walk and Usher’s Passing in 1983 and 1984. Mystery Walk was McCammon’s first hardcover release, published by Holt, Rinehart, and Winston, who also published Usher’s Passing in hardcover. At this time he switched paperback publishers to Ballantine Books, who did interesting things with cover art — Mystery Walk had three variations, and Usher’s Passing featured striking, embossed art.

On a personal note, my fondness for Usher’s Passing is the primary reason I am writing this article two days before Halloween. It is a fantastic novel that should be appreciated by anyone who likes a good occult horror tale, but especially those like me who grew up with Edgar Allan Poe at their bedsides. Usher’s Passing is one of the penultimate autumn horror novels, and I highly recommend it.

By 1986, McCammon had met with praise and accolades for his work, but admitted to feeling isolated from fellow writers in the genre. With the idea of fostering a horror community and organization to help writers of like-mind, he reached out to his friends Joe and Karen Lansdale to help organize H.O.W.L — the Horror and Occult Writers League. This later became the Horror Writers of America, with Dean Koontz serving as the first official president. Later still, the organization expanded to include members world-wide and became the Horror Writers Association, which continues to this day.

The year 1987 marked the publication of what some feel is McCammon’s masterpiece Swan Song, an epic that drew inevitable comparisons to The Stand, if only because it was a long novel about the apocalypse by a horror novelist. This also marked McCammon’s return to the paperback format exclusively for a while, with the exception of Stinger, which was released in a Book Club hardcover format the following year. In 1987, McCammon also contributed three stories to Night Visions IV, appearing alongside Dean R. Koontz and Edward Bryant, and an introduction by Clive Barker. One of my favorite McCammon short stories, “The Deep End,” appears in this anthology and remains uncollected elsewhere, as far as I know. It won the 1987 Bram Stoker Award for Best Short Story.

Pocket Books handled the publication of McCammon’s remaining titles through 1993, by which time his books were being released in hardcover once again. These include what I feel is a timeless classic Boy’s Life (see my review here), Mine, and Gone South.

By this time McCammon had published 12 well-received novels and the collection Blue World. He took some time to focus on family and spend more time with his wife and daughter. He took two years to complete his next novel, Speaks the Nightbird, which was a significant departure from the work he had done up to that point. Since it was not a “McCammon novel” — at least as far as the publishers were concerned — they recommended changes to the book that would have transformed it into a historical romance.  Editorial commentary on the book led McCammon to pull it from consideration and start work on another novel, The Village, which took three years to finish. Again a significant departure from his previous work, publishers were cool on the book overall. Finally, McCammon announced his retirement from writing fiction in 1999.

Of course, we all know that was by no means the end of the story — Speaks the Nightbird was published in hardcover by a small Alabama press, River City, in 2002.  This opened the door for McCammon to return to the world of fiction. In a somewhat ironic twist of fate, Pocket Books ultimately published the book in mass market and trade paperback editions. He has written several new works since then, including new horror and historical novels released by Subterranean Press, Pocket Books, and TOR. As of this writing, his latest novel The Listener, is scheduled to be released in Feburary 2018 from Cemetery Dance Publications. Perhaps this goes without saying, but anyone looking for information on Robert McCammon needs to visit his official website, which is maintained and curated by Hunter Goatley.  It contains staggering amounts of information on McCammon and is frankly one of the best author websites I’ve visited. For fellow paperback collectors, it includes complete cover galleries for every edition published to-date.

To browse the list of Robert McCammon’s titles currently available in print and eBook editions, click here.

These cover scans are from the library of Christopher Fulbright. Please note that Realms of Night has an eBay page with monthly horror auctions. Follow our page and save us as a favorite seller for updates.

Leslie H. Whitten

Leslie H. Whitten is an American author and journalist. Born in Jacksonville, Florida, Whitten spent most of his life in the northeastern United States, where he attended Lehigh University for a while before taking off to Paris and then Mexico, and then back to Paris. He met his lifelong wife, Phyllis in Paris where they were married in 1951. They spent most of the 1950s in Europe, where Whitten got his start in journalism. The couple eventually moved back to Maryland, and Whitten worked as an investigative reporter for the Washington Post.

Whitten is the author of eleven novels and a few non-fiction titles. He started his fiction career as an author of Gothic horror with his 1965 novel Progeny of the Adder. He followed up two years later with Moon of the Wolf.  These books were originally published by Doubleday and later released in paperback editions by Ace. Moon of the Wolf was adapted into a made-for-TV movie of the same name; it aired in 1972 as an ABC Movie of the Week. Whitten’s fourth novel was an occult thriller, The Alchemist, which sold to Charterhouse in 1973 and was subsequently released in paperback by Avon. They followed up with paperback reprints of his first two novels. His only other horror novel, The Fangs of Morning, was published by Leisure Books in 1994 in a 2-for-1 omnibus edition with a reprint of The Alchemist (which was also reprinted by Zebra Books in 1986).

Whitten currently resides in an assisted living center in Adelphi, Maryland. I’m sorry to report that Phyllis, his wife of 65 years, passed away earlier this year. They had three sons and five grandchildren. Mr. Whitten is 89 years old.

To browse the list of his titles currently available in print and eBook editions, click here.

These cover scans are from the library of author Christopher Fulbright.