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Poppy Z. Brite ‘Wormwood’ Review


Written by: Matthew J. Barbour

Poppy Z. Brite is among the most well respected and renowned authors within the horror genre.  During the 1990s, Brite’s narratives served to define the subgenres of erotic horror, splatterpunk, and southern gothic.  The author’s bayou-centered tales fueled with explicit imagery of violence and sex are one of a kind. They represent a benchmark within the whole of speculative fiction.

Wormwood, originally published as Swamp Foetus, is a collection of previously printed short stories. These tales represent some of the author’s first forays into the genre of horror from the late 1980s and early 1990s. In many ways, the narratives are Brite in an unrefined state. There are tales here which contain New Orleans, ultra-violence, and are even overly sexualized. However, these stories are often presented in ways unexpected to the seasoned connoisseur of Brite’s literature.

04-7

The Stories of Wormwood include:

A Prolegomena to Any Future Metaphysics of Poppy (Introduction by Dan Simmons)

Optional Music for Voice and Piano

Missing

The Elder

A Georgia Story

Angels

Xenophobia

Footprints in the Water

His Mouth will Taste of Wormwood

The Ash of Memory, the Dust of Desire

Calcutta, Lord of Nerves

The Sixth Sentinel

How to Get Ahead in New York

 

While all of these tales have their merits, three deserve particular attention and praise. “The Elder,” first published in 1986, is set around Christmas time. A woman, dealing with post-partum depression, finds that there are much worse horrors to bear. The imagery of these horrors is as good as it gets. Yet, it lacks the explicitly southern context or depictions of sexual acts Brite is famous for.

Another “Calcutta, Lord of Nerves,” contains the violence and sex, but as the name would imply is set on the Indian Subcontinent. Moreover, it is not vampires or ghosts our protagonist is dealing with, but rather the zombie apocalypse. The mixture of the traditional shambling dead with Hindu mysticism is refreshing.

If any tale in the text lives up to the reader’s expectations, it is the “Sixth Sentinel.” Written in 1993, it is one of the few stories penned after the author’s first novel, Lost Souls. It is a tale of love, loss, and obsession. Misdirection is key to the piece. Who or what is the ghost which haunts Rosalie Smith and why?

Central to all of these works is the theme of the outsider. Brite’s characters are ostracized by society or feel a need for self-inflicted isolation. It is through this lens that the author explores both the wickedness of cultural norms, as well as, the depravities that conspire to consume us when the veil of social order is removed. Most, but not all of these outsiders, fit within the goth scene of the late 20th century.

Wormwood is a fascinating collection. Everything that Brite encompasses and will become is featured in the stories presented. Yet, these ideas are not fully realized. It is a worthwhile read for those who love the horror erotica, southern gothic, and the splatterpunk subgenres of horror, but is not the genre defining classics of Lost Souls or Exquisite Corpse.

Order it here.

Rating 4/5

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About The Overseer (1663 Articles)
Author of Say No to Drugs, writer for Blumhouse, Dread Central, Horror Novel Reviews and Addicted to Horror Movies.

2 Comments on Poppy Z. Brite ‘Wormwood’ Review

  1. I’m stoked to see Wormwood reviewed! It’s easily one of my favorite short story collections, one I keep going back and reading. I’m also really glad that you praised “The Sixth Sentinel,” my personal favorite of the bunch. The scene with the flood still sticks to me to this day, and Brite’s writing helped confirm an adoration for New Orleans that Anne Rice first sparked. It’s true that some of the stories are a little rough around the edges, but the bright moments (no pun intended, I swear!) make it well worth the read.

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  2. Matthew J. Barbour // July 30, 2014 at 12:09 am // Reply

    Thanks. The Sixth Sentinel I think is the strongest and it is a good short story if you are trying to sum up what brite is about in bite-sized way. It is hard to review collections. I feel like you could review the merits of each piece on its own. On another note entirely, I have reviewed two of brite’s works at this point and in both cases, I have refrained from using gender intentionally. I think sometimes brite’s own journey sometimes gets more attention than it needs. This is not to downplay the lgbt community (am I saying correctly?), but I think like any artist they should be discussed on the merits of their work. I am glad you liked the review.

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