“THE STORM CAME UP out of the southwest like a fiend, stalking its prey on legs of lightning. The wind it brought with it was as foul as the devil’s own breath and it stirred up the peaceful waters of the sea. By the time the little red boat that the three women had chosen for their perilous voyage had emerged from the shelter of the islands, and was out in the open waters, the waves were as steep as cliffs, twenty-five, thirty feet tall.”
Aye, that fits. This painting is one of my earliest. I hadn’t read any Clive Barker at the time, but when I did not long after painting this, (Weave World), it was like he had reported from some alternate space with which I was familiar.
I marvel at Ligotti’s ability to take such an alienating mode of consciousness and give it narrative form. His experience seems more like this space observed stripped of human cultural/cognitive patterns overlaid.
P. Emerson Williams 
Remembering Clive Barker’s Abarat Quartet:
“THE STORM CAME UP out of the southwest like a fiend, stalking its prey on legs of lightning. The wind it brought with it was as foul as the devil’s own breath and it stirred up the peaceful waters of the sea. By the time the little red boat that the three women had chosen for their perilous voyage had emerged from the shelter of the islands, and was out in the open waters, the waves were as steep as cliffs, twenty-five, thirty feet tall.”
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Aye, that fits. This painting is one of my earliest. I hadn’t read any Clive Barker at the time, but when I did not long after painting this, (Weave World), it was like he had reported from some alternate space with which I was familiar.
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Yea… Ligotti is another one that hits that “alternate space”. Probably because both authors have been there…
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I marvel at Ligotti’s ability to take such an alienating mode of consciousness and give it narrative form. His experience seems more like this space observed stripped of human cultural/cognitive patterns overlaid.
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