An interview with Michael Kelly by Derek Newman-Stille
I was very pleased when Michael Kelly was willing to share some insights with readers of Speculating Canada. I have been reading his work for years, and was impressed at the depth of his insights and thoughts about Canadian horror. I hope that readers enjoy our conversation as much as I did.
Spec Can: To begin our interview, could you tell readers a little bit about yourself?
Michael Kelly: Thanks, Derek. I’m an author, editor, and publisher based near Toronto, originally hailing from Charlottetown, Prince Edward Island. My work has appeared in a number of journals and anthologies, including Black Static, The Mammoth Book of Best New Horror, Postscripts, Space & Time, Supernatural Tales, Tesseracts, and others. I’ve been a finalist for The Shirley Jackson Award, and the British Fantasy Society Awards.
Spec Can: What inspired you to become a horror author? What appeals to you about horror?
Michael Kelly: Horror’s appeal is that it is, to me at least, the broadest and most inclusive of all literary forms. It truly has the widest canvas. If we are to categorize literature into genres, then certain works of science fiction, fantasy, thrillers, and mainstream literature can easily fit under the horror umbrella. Douglas Winter famously opined that horror is not a genre, it’s an emotion. Though that is a bit simplistic, I do ascribe to that basic notion, somewhat. Horror is a mode of literature more than a genre.
When I write, I don’t actually aspire to genre. I don’t sit down to write horror. I just write. What comes out, I guess, can loosely be described as horror. But, if we are to categorize (and I understand people’s need to do so), then I guess you could call my work horror, for the most part. I prefer Robert Aickman’s term “strange stories.”
Spec Can: What do you hope your readers will take from reading your fiction?
Michael Kelly: I hope they experience a shift in their perceptions, a slight subversion of the every day, a queer unease. Whether my approach is ontological or psychological, hopefully I can reveal to readers some small insight into human nature.
Spec Can: What is different about Canadian horror from that of other nationalities?
Michael Kelly: Is Canadian horror different from other horror fiction? Well, some say my raison d’etre is promoting Canadian horror. It’s the reason I edit the Chilling Tales series for EDGE Publications. Volume 2 will be out soon.
Canada is certainly fertile ground for imaginative minds. What I’ve discovered is that Canadian writers explore the same themes as their contemporaries. Stories of corporate horror; side trips into surrealism and modern supernatural horror. Tales of loss. And the all-too-real horrors of everyday life, of existing in harsh climates, whether literal or psychological. Not unlike any good horror fiction, then. Except I sense a distinctly Canadian worldview, a disquieting solitude, perhaps, or a tangible loneliness, that permeates these stories and makes them truly chilling Canadian tales. There is definitely a Canadian aesthetic.
Spec Can: What can horror do to inspire readers or challenge the status quo?
Michael Kelly: Hmmm, well, other than to entertain, much of horror fiction is grounded in philosophical treatises. Horror is, to me, so inclusive of themes and ideas, the outré, that by it’s very nature it challenges the status quo. Much of it is reliant on mood, atmosphere, and the unknown. It is a mode, especially, I think, in the short form, that tests our meager existence.
Spec Can: You have been instrumental in creating Undertow Publications, a small press that produces horror work. What is the virtue of small independent presses?
Michael Kelly: I am a very small press, a micro-press, to be sure. I prefer the term independent press, though. Years ago, the independent press was a vital outlet for writers; a place where you could find literate, daring, and avant-garde fiction that bucked the mainstream, and eschewed commerciality. You can still find that, to be sure, but with the proliferation of DIY publishing, and the publication of four-hundred new eBooks every twelve seconds, it’s become increasingly difficult to find that fiction. It’s almost not worth looking for, but, like finding that needle in a haystack, the small amount of pain is worth the discovery. There’s good, bad, and terrible writing in both the traditional and self-publishing arenas. The independent press still plays a role, to be sure, and the savvy reader, whether by word-of-mouth, recommendations, or simple sleuthing, can usually find those innovative works. Hopefully, out of the morass of the DIY culture, we still have some savvy readers.
Spec Can: Could you tell readers a little bit about the anthology Shadows and Tall Trees that you edit? What are some of the key things that you hope the anthology will focus on?
Michael Kelly: I’ve just published issue 5 of Shadows & Tall Trees. It’s a journal of weird fiction, and strange stories. I’ve had the pleasure of publishing a number of distinguished authors in its pages, including Robert Shearman, Alison Moore, Steve Rasnic Tem, among many others, and Canadian writers Sandra Kasturi, Richard Gavin, Ian Rogers, and Simon Strantzas.
My focus is thoughtful, intelligent weird fiction. Fiction that gives you that genuine frisson. So far, I think I’ve accomplished that. It’s been very well received, with praise from Ellen Datlow, and Peter Straub. Five stories from the first four issues have been selected for reprint in six different “Best Of” anthologies.
Spec Can: You have written about and published stories about ghosts. Why do ghosts inspire our fascination as a society? What appeals to the human imagination about the idea of haunting?
Michael Kelly: Most of us have a good dose of empathy. Ghosts are mostly born from trauma or tragedy. When they return, when they haunt us, we still empathize with their circumstance, their condition, whether malevolent or not. It’s an interesting dichotomy — empathy for the dead. Ghosts, you see, aren’t about the dead, they’re about the living.
Spec Can: As a horror author, what frightens you? What inspires your fear?
Michael Kelly: I suspect the things that frighten me – loss and abandonment – are the same things that frighten many writers. My fears are less tangible, perhaps. It isn’t spiders or snakes or dolls or clowns. Those things are creepy, yes, but I am not afraid of them. I fear losing my children, my wife. I fear loneliness and aging. Death. Who doesn’t, on some primal level, fear death?
Spec Can: How does fear inspire your work?
Michael Kelly: It spurs me to write while I’m still among the living.
Spec Can: What mythologies inspire you? What mythical themes and ideas imbue your work?
Michael Kelly: I wouldn’t say any particular mythology inspires me. My fiction is often reality based, psychological in nature, with an emphasis on characters, mostly flawed.
Spec Can: What can horror do that realist fiction can’t?
Michael Kelly: Oh, gosh, that’s a good question. The short answer is ‘I don’t know.’ I think of my fiction as realist. If you say “horror,” a set of readers are going to have certain expectations. Mostly blood and viscera. That’s not me. My definition of horror is broad. “Alien” is a horror movie. “The Road” is a horror novel. Weird fiction that takes an ontological approach can open a new philosophy to some. But realist fiction can do the same. It’s all in the writing.
Spec Can: Why is so much of horror literature fascinated with the body? What can horror reveal about the body?
Michael Kelly: We’re made of blood and bone, skin and gristle, teeth and tissue. These are the fragile vessels that propel us around this fragile world. Bodies give us pleasure and pain in equal amounts. When the body is invaded and hurt, when it is mutilated or begins to erode, when disease attacks, it reminds us of our mortality. But there’s also, to some, something inherently deviant and taboo about seeing unnatural things happening to our bodies. Body horror brings a new level of intimacy to our lives.
Spec Can: In what ways do you hope your fiction will inspire readers? What do you hope readers will take away from reading your work?
Michael Kelly: Other than what I mentioned further above, I just hope readers enjoy the tales, and that the themes and ideas resonate. Hopefully the stories will linger a little with the reader.
Spec Can: Where do you see Canadian horror going from here? What does the future of Canadian horror look like?
Michael Kelly: Canadian horror fiction is having a renaissance. It’s definitely in a good place, thanks to publishers like ChiZine and EDGE, and authors like Craig Davidson, Gemma Files, Richard Gavin, Sandra Kasturi, Lisa L. Hannett, Helen Marshall, David Nickle, Ian Rogers, Michael Rowe, Simon Strantzas, Tia Travis, and Halli Villegas, to name a few. The future of Canadian dark fiction is bright.
Spec Can: Is there anything further that you would like to add to this interview or any other ideas that you would like to share?
Michael Kelly: Thanks, Derek. I’d just like to point readers to Shadows & Tall Trees, the journal I edit. As a one-person operation it is hard to get the word out. I think lovers of weird and strange fiction will enjoy the journal. As a very small independent press the only way to keep afloat is to sell copies. Issue 5 is now available at all the major online retailers. I do hope you’ll take a look. I guarantee it’ll be worth your time and money. You can find more info and order back copies at:
I want to thank Michael Kelly for this incredible conversation about Canadian Dark Fiction and being willing to share his passion for the dark and the thoughts and speculations that come out of pondering the dark.