T. E. Grau is one of the many young Turks of the latest renaissance in Weird fiction who staked his claim in the woolly territory last year with the publication of his first collection The Nameless Dark (reviewed here) from Lethe Press. His stories of eldritch terror and gritty nihilism have appeared in a variety of anthologies and journals, and the collection itself was nominated for a number of “Best Of-” awards. He also maintains The Cosmicomicon, a site that acts as both author page and a hotspot for reviews and interviews with other luminaries of the genre. Currently hard at work on his next two novellas for This Is Horror, Grau hopped aboard the Omnibus the other day to discuss the challenges of loving Lovecraft, the place for hope in horror, and lessons learned from writing for the screen.

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REVIEW: The Nameless Dark by T. E. Grau


We live in a time of plenty.

In the last decade and change, the rise of small publishing houses and e-reader devices has opened up a doorway through which a veritable smorgasbord of dark fiction has poured forth into the hands of fans who might not have otherwise encountered them. But not even the accessibility or mass proliferation of grim literature can be held entirely accountable for the embarrassment of riches we have today. A similar wave passed during the Great Horror Boom of the 70s and 80s, but the current renaissance we live in now has granted us the gift of quality in addition to quantity.

This commitment to higher literary standards, along with a special devotion to the short story, has led to the releases of dozens of books in the last few years that all bear the craftsman’s seal of approval, a time when even debut collections hum with a vitality and talent that wouldn’t have been dreamt of in those bygone days of spinner rack terrors. With the unleashing of The Nameless Dark, T. E. Grau has cemented himself as an author whose byline should spark in readers a joyful expectancy for what surprises there are to follow.

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