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Dissonant Intervals
Drawing inspiration from sources including the work of M. R. James, fin de siècle French literature and other authors of decadent vision, Marvick’s work has appeared in volumes from Ex Occidente Press, Sarob Press, Supernatural Tales and Shadows and Tall Trees. This, his first collection, comprises a number of previously available tales and adds four new works, one of which is a novella.
320 pages, Hardcover
First published April 28, 2016
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Displaying 1 - 8 of 8 reviews
June 8, 2024
what sets weird fiction apart from other subgenres within horror is its focus on awe, on emotional and metaphysical content, on the transcendent and the tension between the spiritual and the earthly, on making the mysteries of life and death even more ambiguous, unknowable, even arcane. straightforward horror will often be considered a failure by its readers - or at least a very frustrating experience - if their horrors aren't explained, made understandable, by end of the tale. the opposite is often true of weird fiction: a too-pat, too-gotcha ending is cause for critique. achieving absolute clarity is not its goal; creating layers of meaning and possibility that inspire contemplation is its hallmark.
there are two perfectly accomplished and perfectly disturbing tales within this collection: the short story "The Madman of Tosterglope" and the novella "Of Interactive Surveillance and the Circular Firing Squad" - both are wonderfully rich experiences. both have music in their (cold, cold) hearts. both gave me so much to think on.
"Madman" has its protagonist traveling to northern Germany to research a controversial composer known for his disturbing compositions, music that seems designed to mock both the listener and the concept of good in the world. the town itself is disturbing in its obsession with creating a veneer of calm, dispassionate order, despite the presence of a hideous madman, capering behind its residents, miming and mocking the darkness of their inner lives. (I was reminded of the appalling Zrcadlo from Gustav Meyrink's Walpurgisnacht.) as our non-hero studies the life of his subject, we learn about his own life and a terrible decision he once made: a choice to prioritize happiness over truth and to memory-hole rather than to allow reality to impact comfort. it all ends in tears, death, and madness.
"Surveillance" is even more ambiguous and ambitious. the two tales have ideas in common: music as metaphor and vehicle; the human tendency to memory-hole anything that has no tidy resolution, that disturbs on a deep level; the inability of contrition to truly make up for past actions. in this story, students travel to a music academy within a mountaintop castle - a setting that was once a Nazi concentration camp. the academy's director has a multi-part plan: he will install compassion in his young charges by pairing them with a mentally or physically disabled child; the students' goal will be to teach their younger partner a line of song, which will then be debuted at a concert, as a part of a larger piece. the story has so much happening at once: the reactions of a handful of the students to their creepy surroundings are examined; the idea of imperfection in art being more honest and human than perfect symmetry is explored. it all ends in a horrific public display that manages to revolt and disturb audience, players, and reader alike - without spilling a single drop of blood.
the remaining stories paled in comparison to these two brilliant compositions. most were too pat, too gotcha, for me to love. a couple were a bit embarrassing in their attempts to bring a modern sheen to their narratives. but all were interestingly written and certainly successful in establishing various moods. despite my tepid response to the majority of the collection, the strength of the two stories I went on about made me give this uneven collection 4 stars. I look forward to reading each of them again. they were both as compelling as my favorite by the author, The Star Ushak.
♭ ♬ ♮
"Pockets of Emptiness" - a most unusual haunting: a narrator sees the losses inside, within the holes created after loved ones have left this mortal coil. Mood: melancholy
"The Devil's Music" - an organ-tuner - a kind of whistle? - is found; the devil's music can now be played. alas, the devil don't play. Mood: ecclesiastical
"The Mirror of Don Ferrante" - a spurned academic finds just the right wedding gift; the pursuit of physical perfection always degrades. Mood: vengeful
"A Connoisseur of Grief" - a lonely man haunts a Paris cemetery, and there he finds a grief-parasite; perhaps the two have certain traits in common? Mood: contemplative
"Red Seed" - both Manicheans and Gnostics posit that Light and Dark coevolved; shall a seed of darkness cure an affliction born from light? Mood: speculative
"Is for Ilinx" - Texan nouveau riche buy a French chateau, once owned by a victim of la Terreur; French lass yearns for Robespierre and la guillotine. Mood: contemptuous
"Maculate Vision" - a painting forces charity or death; but what does true 'charity' entail? Mood: paranoid
"The Purloined bibelot" - an item has been stolen... or has it? Mood: petty
there are two perfectly accomplished and perfectly disturbing tales within this collection: the short story "The Madman of Tosterglope" and the novella "Of Interactive Surveillance and the Circular Firing Squad" - both are wonderfully rich experiences. both have music in their (cold, cold) hearts. both gave me so much to think on.
"Madman" has its protagonist traveling to northern Germany to research a controversial composer known for his disturbing compositions, music that seems designed to mock both the listener and the concept of good in the world. the town itself is disturbing in its obsession with creating a veneer of calm, dispassionate order, despite the presence of a hideous madman, capering behind its residents, miming and mocking the darkness of their inner lives. (I was reminded of the appalling Zrcadlo from Gustav Meyrink's Walpurgisnacht.) as our non-hero studies the life of his subject, we learn about his own life and a terrible decision he once made: a choice to prioritize happiness over truth and to memory-hole rather than to allow reality to impact comfort. it all ends in tears, death, and madness.
"Surveillance" is even more ambiguous and ambitious. the two tales have ideas in common: music as metaphor and vehicle; the human tendency to memory-hole anything that has no tidy resolution, that disturbs on a deep level; the inability of contrition to truly make up for past actions. in this story, students travel to a music academy within a mountaintop castle - a setting that was once a Nazi concentration camp. the academy's director has a multi-part plan: he will install compassion in his young charges by pairing them with a mentally or physically disabled child; the students' goal will be to teach their younger partner a line of song, which will then be debuted at a concert, as a part of a larger piece. the story has so much happening at once: the reactions of a handful of the students to their creepy surroundings are examined; the idea of imperfection in art being more honest and human than perfect symmetry is explored. it all ends in a horrific public display that manages to revolt and disturb audience, players, and reader alike - without spilling a single drop of blood.
the remaining stories paled in comparison to these two brilliant compositions. most were too pat, too gotcha, for me to love. a couple were a bit embarrassing in their attempts to bring a modern sheen to their narratives. but all were interestingly written and certainly successful in establishing various moods. despite my tepid response to the majority of the collection, the strength of the two stories I went on about made me give this uneven collection 4 stars. I look forward to reading each of them again. they were both as compelling as my favorite by the author, The Star Ushak.
♭ ♬ ♮
"Pockets of Emptiness" - a most unusual haunting: a narrator sees the losses inside, within the holes created after loved ones have left this mortal coil. Mood: melancholy
"The Devil's Music" - an organ-tuner - a kind of whistle? - is found; the devil's music can now be played. alas, the devil don't play. Mood: ecclesiastical
"The Mirror of Don Ferrante" - a spurned academic finds just the right wedding gift; the pursuit of physical perfection always degrades. Mood: vengeful
"A Connoisseur of Grief" - a lonely man haunts a Paris cemetery, and there he finds a grief-parasite; perhaps the two have certain traits in common? Mood: contemplative
"Red Seed" - both Manicheans and Gnostics posit that Light and Dark coevolved; shall a seed of darkness cure an affliction born from light? Mood: speculative
"Is for Ilinx" - Texan nouveau riche buy a French chateau, once owned by a victim of la Terreur; French lass yearns for Robespierre and la guillotine. Mood: contemptuous
"Maculate Vision" - a painting forces charity or death; but what does true 'charity' entail? Mood: paranoid
"The Purloined bibelot" - an item has been stolen... or has it? Mood: petty
May 30, 2020
I had seen the numbers: high ratings on Marvick’s fiction by my highest-tier of respected reader friends. I had heard rumors, but only in the genericized “he’s an amazing writer” and, of course, the inevitable “you’ll love his work!” Like anything of great worth, though, I had to experience it myself, to know for myself. Call me a readerly hedonist – it’s true! I took a chance, visiting the (very excellent) Sidereal Press website (through which I had ordered Hanns-Heinz Ewers’ The Hearts of Kings), owned by the exceedingly interesting and erudite John Hirschhorn-Smith. Given Sidereal’s reputation, I expected and received a beautiful book-as-artifact. With a nearly-clear dust jacket (save for the title and author’s name) that let the beautiful cover (the painting for which was created by the author’s brother, I believe) breathe its colorful miasma. As I read, I came to understand that this breath was infused throughout the stories in the book.
Straight from the beginning, I was struck by the writing. The first two sentences of the first story are perfect, from a writerly perspective. Perfect.
The first story, "Pockets of Emptiness" may be one of the most effective ghost stories I have read because it explicitly ignores any attempt at scaring the reader but instead slowly scoops hope out of the reader and fills the gap with a grey, drizzling depression. It is not scary, but absolutely dreadful. The writing is exquisite, carefully-crafted to draw the reader into a hazy mist of hopelessness. It powerfully robs the reader of power, pickpocketing essence.
"Devil's Music" is the work of a literary craftsman who has done his (horrific) homework. I love a well-researched story and here Marvick shows that he has a firm grasp of musicology and liturgy (or at least he convinced me of such), as well as a touch of early modern history. Combine this with a good sense of moral repulsion for things that ought not to be, and this makes for a powerful, yet carefully restrained tale that disturbs deeply.
Forgive an author for his ever-so-slight over-reach. "The Mirror of Don Ferrante" strains just a tick too hard to be horrific, but does not stumble into ludicrous territory. The understated ending reins in earlier hints of melodrama and saves the story, keeping it disturbing, but not gratuitous. You will be wary of your reflection, going forward. Note the changes.
Marvick gets into territory that touches on some very personal experiences of my own, feelings I am deeply familiar with, musings that I've had myself, in "The Madman of Tosterglope". It's inspiring to me as a writer, causing me to dig deeper into my own sometimes painful experiences for inspiration. It has been a while since a work of fiction has pushed me in this way. Terrifying and refreshing, "The Madman of Tosterglope" is a drab revelation, the uncovering of an occulted soul, the scrying of a haunting brought on by heartache and brought to light (or darkness) through further heartbreak. It is a stunning piece of not-quite-doppelganger-horror. The balance is set and, within it, an imbalance is created, setting up the final resonance that restores balance, but in a malformed sense, full of remorse.
I admit it: halfway through "A Connoisseur of Grief," I thought "this is one of those stories that the author or editor plugged in here because it wasn't good enough to be published elsewhere. Then, things took a turn. The abrupt switch from flowing narrative to journal entries snapped the story into place. Into a very grim place. But a place that satisfied my grim sense of humor and scratched my dark itch. I found that many of Marvick’s stories in this collection start slowly, sometimes so slowly that one begins to lose interest. Then, at a certain point, the author turns on the lights, and one realizes that this entire long, slow-burn was a fuse leading to a powderkeg. It’s a difficult way to write, but powerful when it’s handled right, and Marvick knows how to handle it right.
How to classify "The Red Seed"? It's a historical mystery (by "historical," I mean having to deal with history - the story itself is a-historical), complete with a pulpish feel, but of a highbrow nature. Combine Thomas Ligotti, Clark Ashton Smith, and M.R. James, and you start to get an inkling of the idea, but just an inkling, the merest hint of a segue. This story is very much Marvick’s own. The adventure lies in uncovering secret connections and bringing to light mistaken interpretations. But at its heart it is an adventure, of sorts. An academic adventure of discovery and, ultimately, horror.
"Is for Ilinx" is a precarious story, set on the edge of a blade, both structurally and thematically. Thankfully, like so many of the stories in Dissonant Intervals, it balances there just so (as Nick Cave might say), where such a tale could lose balance and falter, with fatal results for everyone involved.
"Maculate Vision" is a weird tale where the denouement comes before the climax, a difficult and brilliant literary trick for such a strange tale. Supporting characters come to the forefront and the plot of the arc is not what the reader would expect at all. It is a lesson in the art of deception and the deceptin of art. Of course, the writing is beautiful, which sustains interest through the meanderings of the plot, especially as one approaches the striking end.
Marvick tricks us with a little sleight-of-hand by entitling the next story "Of Interactive Surveillance and the Circular Firing Squad" when this story of music, suffering, summoning, an innocence has nothing obvious to do with the title. But there are hidden symbols in the title, which I will not reveal. The story feels "loose" and "rambly," until the final scene, where it ties off in a spectacular frisson.
"The Purloined bibelot" is, well, a bibelot. At three and a quarter pages, it is a wisp, compared to the other work herein, but carries a powerful, if predictable punch, about the human need to damn another based on no evidence at all. This story punctuates the collection with another glimpse into the just plain rotten. I might also add that this last story is contradictory to all the other stories in being so succinct. Most of these tales are long, slow burns with a wicked twist at the end. This one gets to the point and drives it home like a nail to humanity's forehead. The contrast is stunning.
Throughout this collection, Marvick proves that he is a writer’s writer. Not a showman, but an artist, a crafter, with a high degree of skill – so high, in fact, that you won’t even notice what’s happening until you look back on the story you just consumed and dissect it in order to understand its full anatomy, the sinews and systems that give it literary life. It’s a fascinating study. One of the most compelling I’ve taken recently. Enroll yourself, but keep in mind: slots are limited. Mine is 175 of 300 numbered editions. It’s worth the tuition and worth giving your fullest attention.
Straight from the beginning, I was struck by the writing. The first two sentences of the first story are perfect, from a writerly perspective. Perfect.
The first story, "Pockets of Emptiness" may be one of the most effective ghost stories I have read because it explicitly ignores any attempt at scaring the reader but instead slowly scoops hope out of the reader and fills the gap with a grey, drizzling depression. It is not scary, but absolutely dreadful. The writing is exquisite, carefully-crafted to draw the reader into a hazy mist of hopelessness. It powerfully robs the reader of power, pickpocketing essence.
"Devil's Music" is the work of a literary craftsman who has done his (horrific) homework. I love a well-researched story and here Marvick shows that he has a firm grasp of musicology and liturgy (or at least he convinced me of such), as well as a touch of early modern history. Combine this with a good sense of moral repulsion for things that ought not to be, and this makes for a powerful, yet carefully restrained tale that disturbs deeply.
Forgive an author for his ever-so-slight over-reach. "The Mirror of Don Ferrante" strains just a tick too hard to be horrific, but does not stumble into ludicrous territory. The understated ending reins in earlier hints of melodrama and saves the story, keeping it disturbing, but not gratuitous. You will be wary of your reflection, going forward. Note the changes.
Marvick gets into territory that touches on some very personal experiences of my own, feelings I am deeply familiar with, musings that I've had myself, in "The Madman of Tosterglope". It's inspiring to me as a writer, causing me to dig deeper into my own sometimes painful experiences for inspiration. It has been a while since a work of fiction has pushed me in this way. Terrifying and refreshing, "The Madman of Tosterglope" is a drab revelation, the uncovering of an occulted soul, the scrying of a haunting brought on by heartache and brought to light (or darkness) through further heartbreak. It is a stunning piece of not-quite-doppelganger-horror. The balance is set and, within it, an imbalance is created, setting up the final resonance that restores balance, but in a malformed sense, full of remorse.
I admit it: halfway through "A Connoisseur of Grief," I thought "this is one of those stories that the author or editor plugged in here because it wasn't good enough to be published elsewhere. Then, things took a turn. The abrupt switch from flowing narrative to journal entries snapped the story into place. Into a very grim place. But a place that satisfied my grim sense of humor and scratched my dark itch. I found that many of Marvick’s stories in this collection start slowly, sometimes so slowly that one begins to lose interest. Then, at a certain point, the author turns on the lights, and one realizes that this entire long, slow-burn was a fuse leading to a powderkeg. It’s a difficult way to write, but powerful when it’s handled right, and Marvick knows how to handle it right.
How to classify "The Red Seed"? It's a historical mystery (by "historical," I mean having to deal with history - the story itself is a-historical), complete with a pulpish feel, but of a highbrow nature. Combine Thomas Ligotti, Clark Ashton Smith, and M.R. James, and you start to get an inkling of the idea, but just an inkling, the merest hint of a segue. This story is very much Marvick’s own. The adventure lies in uncovering secret connections and bringing to light mistaken interpretations. But at its heart it is an adventure, of sorts. An academic adventure of discovery and, ultimately, horror.
"Is for Ilinx" is a precarious story, set on the edge of a blade, both structurally and thematically. Thankfully, like so many of the stories in Dissonant Intervals, it balances there just so (as Nick Cave might say), where such a tale could lose balance and falter, with fatal results for everyone involved.
"Maculate Vision" is a weird tale where the denouement comes before the climax, a difficult and brilliant literary trick for such a strange tale. Supporting characters come to the forefront and the plot of the arc is not what the reader would expect at all. It is a lesson in the art of deception and the deceptin of art. Of course, the writing is beautiful, which sustains interest through the meanderings of the plot, especially as one approaches the striking end.
Marvick tricks us with a little sleight-of-hand by entitling the next story "Of Interactive Surveillance and the Circular Firing Squad" when this story of music, suffering, summoning, an innocence has nothing obvious to do with the title. But there are hidden symbols in the title, which I will not reveal. The story feels "loose" and "rambly," until the final scene, where it ties off in a spectacular frisson.
"The Purloined bibelot" is, well, a bibelot. At three and a quarter pages, it is a wisp, compared to the other work herein, but carries a powerful, if predictable punch, about the human need to damn another based on no evidence at all. This story punctuates the collection with another glimpse into the just plain rotten. I might also add that this last story is contradictory to all the other stories in being so succinct. Most of these tales are long, slow burns with a wicked twist at the end. This one gets to the point and drives it home like a nail to humanity's forehead. The contrast is stunning.
Throughout this collection, Marvick proves that he is a writer’s writer. Not a showman, but an artist, a crafter, with a high degree of skill – so high, in fact, that you won’t even notice what’s happening until you look back on the story you just consumed and dissect it in order to understand its full anatomy, the sinews and systems that give it literary life. It’s a fascinating study. One of the most compelling I’ve taken recently. Enroll yourself, but keep in mind: slots are limited. Mine is 175 of 300 numbered editions. It’s worth the tuition and worth giving your fullest attention.
August 14, 2020
I'm not home at the moment and won't be until tomorrow afternoon, so I'll be posting hopefully before the weekend is out.
For now: if you are a regular reader of dark/weird fiction, this is a must-read collection. I knew it was special while reading the first story and it remained so to the end. It's not just the stories although they're dark and edgy; the high quality of Mr. Marvick's writing is also to be admired.
More to come. The book may seem a bit pricy but it paid for itself over and over again.
For now: if you are a regular reader of dark/weird fiction, this is a must-read collection. I knew it was special while reading the first story and it remained so to the end. It's not just the stories although they're dark and edgy; the high quality of Mr. Marvick's writing is also to be admired.
More to come. The book may seem a bit pricy but it paid for itself over and over again.
September 3, 2016
I keep stumbling upon messages claiming "Oh, oh, you should see the books put out by this small press in U.K., they are the most beautiful things ever. No other small press in Europe publishes books THAT nice". They were not speaking about Side Real Press or Tartarus Press. And certainly not about Ex Occidente Press either. So I've bought a couple of books by this amazing small press in U.K. The minute I have opened the package I was hit in the face by some of the most gothickery, bordering kitsch books I have ever seen. So what, people are loving over flowery, gimmicky books, no big deal. In my opinion, however, the most beautiful genre books coming from U.K. are the books published by John Smith of Side Real Press. Not much to say about Dissonant Intervals. A gorgeous book in every aspect. I have debuted Louis Marvick back in the day; always loved his work and I will always do. One of the genre's most underrated authors by very far. For me, Dissonant Intervals is among the best books of 2016. Keep the secret.
Want to read
July 14, 2016This book is copy number 111 of 300 copies produced.
A beautifully produced book.
A beautifully produced book.
August 5, 2019
A beautifully produced volume from Side Real Press. The mood is set from the first tale onward - a dreamlike eeriness - beauty and dread emanating from every paragraph. Most of these stories revolve around academics, or protagonists engaged in some form of arcane research which gradually unearths some unsettling event. Personal favourites include 'Devil's Music', an exploration of the Tritone and the concept of 'diabolus in musica' and 'The Mirror of Don Ferrante', a sequel (of sorts) to MR James classic 'The casting of the runes'. 'The Madman of Tosterglope' is another highlight, sustaining a genuinely chilling atmosphere throughout. 'Maculate Vision' was slightly less satisfying than the other tales on offer, but overall this is an fantastic collection which will reward repeat readings.
July 3, 2024
Marvick, Louis - Dissonant Intervals
Generous collection of stories unsettling, disturbing, puzzling.
A cyclist, traveling through the flattened terrain of the Netherlands, finds himself looking into souls in “Pockets Of Emptiness.” One scene, the road teeming with gray life, is stuck in my mind.
Several works bear musical allusions. “Devil’s Music,” “The Madman Of Tosterglope,” and “Of Interactive Surveillance And The Circular Firing Squad.”
Discord predominates over melody. Left handed composers and obsessed scholars.
One story concerned a bombastic American turista. Yes, the breed exists, and I have witnessed examples from numerous countries. The yee-haw Texan displayed is a 50’s caricature, and I couldn’t buy him.
This is more than offset by “The Red Seed.” Marvick manages to spin Machen and James, yet weave his own diabolical thread into the proceedings.
Again, this is a large, and sturdy, book from Side Real Press, with several stories and novellas.
A lot to enjoy here.
Generous collection of stories unsettling, disturbing, puzzling.
A cyclist, traveling through the flattened terrain of the Netherlands, finds himself looking into souls in “Pockets Of Emptiness.” One scene, the road teeming with gray life, is stuck in my mind.
Several works bear musical allusions. “Devil’s Music,” “The Madman Of Tosterglope,” and “Of Interactive Surveillance And The Circular Firing Squad.”
Discord predominates over melody. Left handed composers and obsessed scholars.
One story concerned a bombastic American turista. Yes, the breed exists, and I have witnessed examples from numerous countries. The yee-haw Texan displayed is a 50’s caricature, and I couldn’t buy him.
This is more than offset by “The Red Seed.” Marvick manages to spin Machen and James, yet weave his own diabolical thread into the proceedings.
Again, this is a large, and sturdy, book from Side Real Press, with several stories and novellas.
A lot to enjoy here.
January 15, 2021
A neat coda to this remarkable collection in the form of a succinct character study of someone disliked — or whom you feel SHOULD be disliked, except later for the dissonant interval in hindsight.
(I happened to be listening to Ravel’s Violin Sonata as I read this last piece.)
The detailed review of this book posted elsewhere under my name is too long or impractical to post here.
Above is one of its observations at the time of the review.
(I happened to be listening to Ravel’s Violin Sonata as I read this last piece.)
The detailed review of this book posted elsewhere under my name is too long or impractical to post here.
Above is one of its observations at the time of the review.
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