The Shadow of the Succubus / The Eternal Thirst : Two Novels of Horror

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Seller Image. New Paperback or Softback Quantity Available: Baseball Poems, and some other stuff and Eternal Postcards , does leave the reader with an anticipation of the more centered and powerful verses to come. Some Came Lost , which was written just before a time of great turmoil for McDonald, reflects back to the 20s of a man crossing into his 30s, and emotionally bridges the initial offerings with books four and five.

Fugitive in your Face poetry in Exile and Out Here in Crazyland the fourth and fifth books in this collection, were driven out from March through September of , while the writer faced suspension and expulsion from work. I served as on-camera host a mistake I always believed and narrator. When the series was completed, it was shopped around, and sold well overseas, to Japan, the Middle East, France, Britain, etc, where each territory was able to substitute me with an on-camera host of their own speaking their own language.

The Shadow of the Succubus / The Eternal Thirst: Two Novels of Horror

About a year ago, I contacted the production company in Texas and made a deal with them to take over the show and re-do it on my own, cutting them in on any domestic distribution deal I might make. I retained myself as narrator, but eliminated myself as on-camera host so as not to have a host at all.

I think the filmmakers profiled in the series, people like Tod Browning, Terence Fisher, Jacques Tourneur, are artistically and culturally important, and their work should be remembered, which is the purpose of the series. Back in the early nineties I wrote a history of the gangster film called Hollywood Gangland.

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It came out and was remaindered in six months for lack of sales due to lack of exposure the publicist left just before the book came out , a total disaster for me. I had faith in that book, however, both as a book and potentially as a documentary as well.

It came out in , has sold reasonably well as film books go, and indeed was made into a documentary under the same title , produced by Hugh Hefner a great classic film fan for the Starz cable network, where it aired in So, you see what I mean about not letting go. What criteria did you follow in choosing the filmmakers profiled in your documentary?

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I wanted a good cross-section, from the early days of cinema to today, with the focus on the classic period, the thirties to the sixties. The show actually came together quite easily. Nobody that we asked for interviews turned us down, and as a result we pulled off some real coups, such as Robert Wise, William Alland, and Sam Arkoff, all of whom talked to us extensively not only about the people we profiled but about their own careers as well.

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