Splatterpunks

Splatterpunks: Extreme Horror, a 1990 anthology edited by Paul M Sammon, is filled with some potent writing. Like any collection of stories, this anthology was uneven; I suppose that will always be the case as the tastes of a reader will cause them to like some stories more than others. I can't think of a single anthology I've ever read wherein I've enjoyed every story equally. But while the stories in Splatterpunks weren't always to my liking, I've got to admit that all of them were strong: each one contained strong writing, strong language, strong images, strong themes, or all of the above. The "Extreme" in the subtitle is earned. This volume is not for the faint of heart or the delicate of stomach, what with its intimate detailed depictions of violence, gore, deformity, cannibalism, necrophilia, and other horrors. Some of the stories, such as Joe R Lansdale's "The Night They Missed the Horror Show," even contain a moral, and there's some dark (and in the case of JS Russell's "City of Angels," pitch black) humor. There are 16 stories in the anthology, a short essay on splat cinema, and a long essay by the editor about the evolution and nature and purposes of splatterpunk. This essay is particularly well done and would be a valuable resource to readers seeking out more material in the field. For me, the standout story was George RR Martin's "Meathouse Man," which contains elements of sci-fi amid the splat. I think that overall this is a worthwhile book that chronicles and explains an often maligned horror subgenre. Again, however, I advise that this book is most assuredly not for everyone. I've spent a lot of time over the years watching gore films and indulging in other forms of outlaw art. Despite that, Splatterpunks contained some material that made me wince, particularly in the included, censored chapter 18 of Ray Garton's Crucifax Autumn. You have been warned: you may proceed into the intense, sometimes depraved, pages of this volume, but proceed cautiously and at your own risk. And watch your step lest you cut yourself on the broken taboos.