BY KAILEY TEDESCO
Kailey Tedesco: Thank you so much for chatting with me! I’m a huge fan of Blood Bath Zine. Can you start by telling us how this project began?
Katy Lennon: No worries at all, thank you so much for reaching out to chat horror, my favourite topic! I’m a huge fan of Luna Luna and yourself as well so this is very exciting for me!
Blood Bath officially began in April of 2018, when I opened submissions for our very first issue BODIES. It had been a dream of mine for a few years previously to start a Scottish horror publishing house, as, weirdly, Edinburgh is a bit lacking in that department. It’s known around the world as a sort of Gothic Mecca, so I always thought it was a bit strange that I could never find horror publications to send my work to that were local. It had always been a dream of mine but I didn’t ever have the means to make it happen how I wanted it to.
I lost my Dad in 2017; he had been ill for many years and sadly passed away in January of that year. I was devastated to lose a parent when he was still so young, and his loss showed me in no uncertain terms that life can be horribly short, and that we have to pursue what we love while we can. He left some money for me and my brother, and I decided to use some of mine to start BB. He was also a horror fan and a huge supporter of my interest in books and writing; I like to think that a large part of him went into creating it, not only the money he left me. While he was alive he really encouraged my interest in all things weird and dark, so I think he would be pleased to know that was what I decided to pursue. Our second issue, DEMONS was launched on his birthday in May, and I really feel like each issue is dedicated to him.
Since then BB has only grown in terms of scope, and I’m so proud of the incredible collection of creators I’ve gotten to showcase, as well as the incredible artists, designers and performers that have helped make BB what it is now.
KT: What films, music, literature, art etc. inspired you most while creating Blood Bath Zine? Do your inspirations vary for each issue?
KL: It’s hard to directly list films or music that inspired the issues; I think the biggest inspiration is honestly the work that I’m sent when we open for submissions. I try and keep the actual issue itself a little bit more generalized, so it can serve better as a platform for the work inside.
But if I can talk more generally, inspirations definitely vary for each issue. For BODIES I was very inspired by medieval woodcut prints, tarot cards and witchcraft, I asked local illustrator Jo Ruessman (@jo_el_ru) to come up with sigils for each piece of writing, which reveal a little more of the story in themselves. The cover was also heavily influenced by tarot, I like to think of it as an imagined tarot card, symbolizing creation from deconstruction, or the beauty in horror.
The DEMONS cover was inspired by black metal bands, and that resulted in the custom logo that Warriors Studio designed, which I’ve sort of adopted as our official logo. Baphomet obviously had to make an appearance as well, and I love having him all in black on the black cover, staring out at the reader from the darkness. The back has a quote from Dante’s Divine Comedy, “Abandon hope all ye who enter here” which is inscribed over the entrance to Hell. We were also inspired by the more physical aspects of Hell, which also appear a lot in a church; smoke, fire and smudged ash. All of the effects used on the filler pages were made by myself and Mitchell @ Warriors. We used ink, matches and bleach to achieve the effects you see on the page.
HAUNTINGS had a bit more of a direct source for inspiration; the biggest one being the Winchester mystery house in San José, California, not far from San Francisco. I was fascinated by its story, although I’m sure the truth is probably less exciting, the myths surrounding it, and the possibilities for weirdness are just amazing. I can explain it quickly just in case some of your readers are unfamiliar; the Winchesters became famous for the manufacturing of rifles of the same name. The story goes that when William Winchester passed away, his widow Sarah was told by a medium in Boston that she needed to escape the ghosts of all the people killed by Winchester rifles, who sought revenge on her. She moved West and began construction on the seven-story mansion, using her inherited millions to create a labyrinthine maze of a house, with added features like a staircase that leads to nowhere, a door that opens to a drop from a fatal height. The house’s plans make no sense, and she insisted on construction carrying on day and night for almost 40 years. All of this was supposedly to protect Sarah from the malevolent spirits that haunted her. I have always loved this story and it seemed like a perfect place to draw inspiration for our HAUNTINGS issue.
I worked with the designers at Warriors to create the concept of a kind of tangled web of house plans, creating the motif that flows throughout the zine, becoming more and more confusing as the reader’s grip on reality begins to wear thin. For the cover we decided to go all-black, featuring the title in the centre in spot gloss UV. We were inspired by gravestones, funerary documents and memorials, as well as grimoires, which always seem to have striking and simple covers, and have an otherworldly ability to draw readers towards them. I really wanted to make a book that would create that impression; that people would have to pick it up, whether they wanted to or not.
For our now traditional quote on the back, I decided to use one of the most confusing parts about the Winchester mansion, an inscription of two Shakespeare quotes found on some stained-glass windows in the Grand Ballroom; “Wide unclasp the tables of their thoughts” “These same thoughts people this little world”. To this day, nobody knows the true significance of these quotes, or why Sarah chose to put them there. I loved the chaotic element there, and of the house in general, and I wanted to include an extra little Easter egg for fans of the story of the Mystery House. I also feel like it embodies some of the ethos of BB; let your wildest thoughts run rampant, and let me make room for them to people the world of horror. I don’t know how accurate an interpretation that is, but I think that’s the beauty of a mystery; you can draw your own conclusions on them.
KT: Can you remember a specific instance that sparked your interest in the horror genre? Was this a genre that you’ve always engaged with?
KL: I think I’ve always had a fascination with horror. I used to be so terrified of it, but would always come back to it no matter how much it scared me. I used to have the most terrible screaming night terrors as a child; I couldn’t even look at the horror movie covers in the video rental shop (yes, I remember the time of those ancient artefacts!) without being up all night. And every time I worked up the courage to watch one, I would pay for it with sleepless nights. Early films I can remember really scarring me were The Descent, Creep (2004) and Sleepy Hollow, all watched through my fingers at sleepovers. But even though they scared me, I would keep coming back for more. I would beg my older cousins to describe to me in detail, every scene of all the horror movies they’d seen. I’d also read Anthony Horowitz’ short story collections, Stephen King novels and of course, the ultimate 90’s horror essential, Goosebumps.
When I started actually realizing I was into this, and was brave enough to start watching on my own, I would go back and watch old horror films from the 50’s and 60’s, they didn’t scare me as much as the newer ones. Through a childhood filled with Tim Burton films, (Beetlejuice, Edward Scissorhands, The Nightmare before Christmas; all films I could practically recite in full) I became obsessed with Vincent Price, and just made my way through his back catalogue. I started with House on Haunted Hill, and just fell in love with the campy melodramatics, I was starting to learn that horror could be fun. My Dad introduced me to The Wickerman, Alien, The Shining. Aside from that I’d just Google “Best classic horror movies” and make my way through the list. The good thing about being a child of the internet was how easy a lot of these movies were to access. I grew up watching Rosemary’s Baby, Carrie and The Omen, and watching them online meant no-one was checking to see whether I was old enough to see them yet! Film was definitely my portal into horror, as it is for a lot of people.
KT: How would you personally define modern horror?
KL: Oof that is a hard question! I think what’s really striking me about horror now is how much it’s being used as a vehicle for discussions on social issues. We have people like Ari Aster and Jordan Peele making huge impressions on the genre, using horror to antagonize issues like systematic racism, toxic relationships, grief, family, etc. This is not a new concept; you only have to look back at films like Night of the Living Dead and The Texas Chainsaw Massacre to see that horror has always been socially aware and socially engaged, as well as showing us ourselves, and the kind of society we create. But I think for a while in more recent years, people had kind of written horror off as nothing more than an excuse for gore and shock, which (even though I have so much time for films like these!) I think is starting to change with this new wave of filmmaking.
Horror is fun, horror is nasty and it shows us all the horrors of life and beyond in a safe space, but it can also be poignant and insightful and thoughtful at the same time. It can make a political statement. It can say things that more mainstream storytellers might be afraid to, in a more direct and violent way. It is valuable, I think the most valuable type of storytelling that we have. Which, again, has always been the case, but I think part of being into horror is constantly feeling like you have to defend it, as so many people have lots of preconceived notions about it. I think contemporary horror is challenging those expectations. They say yeah this is nasty and this is horrific, but this is life. And it’s not going to go away just because you don’t want to talk about it. In fact, that’s what gives it its power. So, let’s pull it all out and look at it, and make it beautiful and terrible, and make it keep you up at night, not only because you’re scared, but because you saw something you’re not usually exposed to.
It’s also great to see more people than just white cis men creating horror, (even though they still dominate the genre) because it has historically been a bit of a boy’s club. But people of all genders and races have been creating incredibly valuable, artistic and terrifying horror since the genre began. They’re just getting a little more recognition for it now. But we can always do better.
KT: I recently watched clips from your BBC Scotland interview (which is fantastic!) where you discuss female-led horror. What role do you think horror plays in today’s overall cultural and/or political climate?
KL: Thank you! I was so nervous! I think I’ve already started a rant on this in the answer to your previous question, so I’ll just keep going!
I think we’re returning to horror now because we are living in horrific times. Or, to say it more accurately, the white liberal majority are being woken up to the horrors that non-white, non-cis, non-male people have lived through their entire lives. I think there is a certain power in horror that no other genre quite manages to tap into, and I think we are grasping for that power, because right now it feels like we don’t have any. You keep waking up and checking the news and seeing more and more unimaginable things happening, people being systematically destroyed, lies and greed winning at every turn. White supremacy, capitalism, systematic racism, transphobia, the astounding rise in cases of depression and anxiety, the erasure of entire groups like disabled people, poor people, asexual and gender non-conforming people. I think there’s a lot of frustration, anger and fear in the world. And I would never lie and say that horror is the place to fix all of these problems. Horror is an art form, and art can help change lives, however. I have heard many people say that horror saved their lives. It has certainly saved mine on more than one occasion. When you look outside and feel so helpless, you can look to horror to gain some of that power back. I think also the reason why so many people outside the “norm” of the cis white hetero male (queer folks, POC, women) come to horror is because at a certain point of being treated as “other” your entire life, it can feel amazing to turn around and be like okay, you know what? I am a monster, I am a freak! And take power in that.
Horror is the place where you can get gruesome revenge on those who hurt you; you can make a deal with the devil and embrace the darkness of witchcraft instead of living in a world that will never appreciate the power you truly have, where you can eat the people that stand in your way, where you can wrap your shitty boyfriend up in a dead bear skin and light him on fire. When horrible things happen in life we mostly just cry for a while, then we have to just carry on with it. But horror says no… take your revenge. Take what’s yours. Turn it into something beautiful and terrifying.
KT: What made you decide to create Blood Bath as a zine/print publication as opposed to a digital literary magazine?
KL: I personally just love printed matter in all its forms. As much as I love reading digital magazines too, especially ones made far away that could be expensive to ship, I think there’s something so special about the printed word. I write fiction too, and though I love being featured online or in digital publications, getting to hold something in your hands and know that your words that came from your brain are in this book, it’s just an incredible feeling. So, I wanted to give that experience to my contributors, as well as furthering the idea of the zine as an art object. As great as digital media is for accessibility, and I have digital and print versions of all our issues available, there’s just something special about print.
KT: Can you walk us through your editing process for Blood Bath? What do you ultimately look for in submissions?
KL: I look for a few things. I look for an interesting and unique voice from the writer, someone who is forging their own path rather than following the ones already put down. Obviously, the work needs to be polished and well written to a certain degree, though for me, originality will always win out over a well-crafted piece I’ve read a million times before. I look for a piece that’s making the reader work, that’s trying to do something purposeful with its form, its subject matter, its style. I look for nastiness and fear and the depths of human degradation. I look for black comedy and tongue in cheek self-awareness. I look for something ambitious and innovative and exciting. If the story or poem has me screaming at my laptop by the end then it’s definitely going in.
I also think it’s important for BB to be showcasing the voices of lots of different people and perspectives; horror is still overwhelmingly white, male and cis. Lots of people who are not those things think that maybe horror is not a place for them, so I think it’s the responsibility of gatekeepers to invite them in, and to try and undo this overwhelming homogeny. I try my best to do that. So, if the work is by an author whose perspective we don’t usually get to see, I will put it to the forefront. I’m not saying that I’m just tokenizing people; the work has to be good too. But I do think it’s ironic that people who think they have no place in horror are some of the best creators of it. We all have fear in common.
KT: Issues of Blood Bath Zine each have a unique theme. Past themes have included BODIES, DEMONS, and HAUNTINGS. What is your process for choosing the theme for each issue?
KL: I guess I choose the theme based off what I feel has fertile ground for exploration. I like to keep things vague, so that we can get a more varied response in submissions, but specific enough that we can have a strong thematic link in the actual issue. It’s also just based off the type of horror I would want to read. I think body horror, demons and hauntings are strong touchstones of the horror genre; with BB I’m mainly trying to readdress these well-trodden themes through a new lens. I already know the theme of the next issue and it’s very exciting to think of all the possibilities! That’s the beauty of horror in my opinion, that we have these tropes and archetypes that are older than water, but can constantly be reinvented and reinterpreted as something new.
KT: If you had to recommend one horror film, book, and piece of art, what would they be and why?
KL: Oooooh okay this was hard to narrow down to just one of each. I think throughout the interview I’ve snuck in some recommendations for horror movies (Hereditary, Midsommar, The VVitch Get Out, the Suspiria remake... Okay, I’m cheating this is not just one!) but one that I don’t see appreciated as much as I’d like would be Prevenge, which is a blackly comedic film about a woman who believes her unborn child is telling her to kill people. It was one of my favourites of the last few years but I rarely see it mentioned.
A book I’m going to recommend is Sealed by Naomi Booth. Set in Australia during a sweltering heatwave, it details the unfurling of society after an outbreak of a plague that causes people’s skin to grow over their orifices. And of course, the protagonist is heavily pregnant. The novel goes everywhere you hope it will and more; the author really nails that claustrophobic feeling of being trapped in your own skin. It’s about so many other things too, the futility of bringing a child into a world that’s dying, feeling trapped in traditional roles that society has set out for us, and the effect that has on our relationships. I recommend reading it in the bath to achieve maximum disgust for your flesh prison!
As for art, this has maybe been the hardest question you’ve asked! It’s actually too hard to pick just one, and I’m going to cheat again and say to follow Blood Bath on Instagram to see all the artists I’m obsessed with! There are truly so many hard-working artists out there, and I try and share as much as I can. Sorry to not give one specific shout out, but there’s just too much to choose from! And of course, my most favourite pieces of art are featured in BB itself; you can discover so many different artists by picking up one of our issues! ;)
KT: Thank you again for taking the time to tell us more about you & your incredible publication!
Thank you so much for having me!
You can purchase past issues of Blood Bath Zine, check out details for future launches, and find guidelines for future reading periods at bloodbathlitzine.com. You can (and should!) also follow Blood Bath Zine on Instagram & Twitter: @bloodbathzine.
Kailey Tedesco's books These Ghosts of Mine, Siamese (Dancing Girl Press) and She Used to be on a Milk Carton (April Gloaming Publications) are both forthcoming. She is the editor-in-chief of Rag Queen Periodical and a performing member of the Poetry Brothel. Her work has been nominated for the Pushcart. You can find her work in Bellevue Literary Review, Hello Giggles, UltraCulture, Poetry Quarterly, and more. For more, please visit kaileytedesco.com.