DFL READING ALOUD: "However, know that you, too, will likely be trapped in the weirdmonger's nefarious wheel. Each recording is like one more spider marching into one's ear--a ticklish delight and a horror."

Link: Quotes harvested by others from DFL

** WEIRDMONGER (PRIME BOOKS 2003): HERE **

Summary of links for reading all DFL Fiction on-line: HERE

DFL's PHOTOS, BOOK COVERS Etc.: HERE (Please join as friend to view)

An independent vision by Slurp Spider of 'The Weirdmonger Wheel': HERE

=====================================================

DFL received the British Fantasy Society Karl Edward Wagner Award in 1998.
Now sixty one years old (18 Jan 2009), his literary aspirations threaded his family life and professional business career: fiction experiments in depersonalisation and seeking a unified morality from among the Synchronised Shards of Random Truth & Fiction: 'difficult' extrapolative empathy in the art of fiction writing: and creating/distributing the acclaimed but non-profit series of multi-authored anthologies entitled Nemonymous... Some people have even written stories as DFL.

SOME INTERVIEWS ETC.:

Rhys Hughes' review of BEST OF DFL (Tal 1993): HERE.

"PANTECHNICON" interview: HERE

"TLO" interview: HERE

"SEIN UND WERDEN" interview: HERE

'LOST PAGES' interview: HERE.

And older interviews here : Metastatic Whatnot and here: Fantastic Metropolis and here: Znine and here: Dusksite.

Ancient interviews by Brian Keene and Mike Philbin/Hertzan Chimera with DFL just re-discovered: HERE and HERE respectively.

Some favourite fiction writers: Charles Dickens, AS Byatt, May Sinclair, HP Lovecraft, Barbara Vine, Reggie Oliver, Anita Brookner, WG Sebald, Ian McEwan, Elizabeth Bowen, Stephen King, Oliver Onions, Marcel Proust, Salman Rushdie, Paul Auster, John Fowles, Edgar Allan Poe, John Cowper Powys, Lord Dunsany, Algernon Blackwood, Jack Vance, Philip K Dick, Samuel R Delany, Anthony Burgess, Susanna Clarke, Lawrence Durrell, MR James, Robert Aickman, Sarban, Ramsey Campbell, Thomas Ligotti, Tommaso Landolfi, Kazuo Ishiguro...

Some favourite music: Anton Webern, Goldfrapp, Brahms, Mahler, Sixties Pop, Penderecki, Ligeti, Schubert, Thomas Ades, Havergal Brian, Sorabji, Beethoven's chamber music, Eugene Goussens, Mozart's 'Requiem' and 'String Quintets', John Cage's 4' 33", Glass's 'Akhnaten', Wagner's 'Parsifal' ETC.

For purchasing 'Only Connect', an anthology of collaborative stories with DFL's father (1922-2007), please contact: bfitzworth@yahoo.co.uk === Rog Pile on this book: "These stories have a rather lovely timelocked feel, recalling an age when Boots had its own lending library and duffle coats were (almost) fashionable. A number of scenic descriptions have a dreamlike quality, like the postbox in A Trick of Dusk, especially when the narrator imagines it in his garden with plants growing out of it."

The original DFL was born in 1948 only a few miles from where he lives now, has been married for nearly 40 years & has a son and daughter. He attained a BA degree from Lancaster University (1966-69) and has been an office worker for most of his life. He loves reading fiction, writing fiction creatively beyond his own experience, constructively provoking people and listening to 'classical' music.

DFL has had approximately one thousand five hundred short fictions published in print from 1986 to 2000, some in hard-to-find outlets plus others in literary journals (eg: Stand, Iron, Orbis, Panurge etc.) and professional book anthologies. The latter include three volumes of 'Best New Horror' edited by Stephen Jones and five consecutive volumes of 'Year's Best Horror Stories' edited by Karl Edward Wagner. Other titles include 'Shadows Over Innsmouth' (Fedogan & Bremer), 'Horror Of The Next Millenium' (Darkside Press), 'Signals: London Magazine' (Constable), 'Cthulhu's Heirs' (Chaosium), 'Touch Wood' (Little, Brown), 'The Ex Files' (Quartet), 'The Ultimate Zombie' (Dell), 'Horror: Another 100 Best Books' (Carroll & Graf).

A literary writer as well as a genre one.
DFL is so Interstitial he falls between a million stools and never sits on any of them!
DFL has not submitted for publication since 1999 unless (in the unlikely event) he is solicited to do so or unless he can submit anonymously.

Further notes:

Nemonymity:
Anonymity as name-removal or name-changing in the form of an artistic statement or a new slant within Aesthetics theory.

Weirdonymity
Anonymity as name-removal or name-changing in the form of inexplicable or gratuitous or 'Absurd' acts.

Wordonymity
Anonymity as the disguising (changing the 'semantic name') of words so as to provide a meaning beyond themselves or to derive a poetic/plotic force from texture as well as text.

The above are distinct from the more usual meaning of Anonymity, i.e. for devious purposes.

Seven pointless claims:

(1) DFL wrote the world's most separate short fictions published in the most separate independent print publications (none of which fictions, incidentally, should be read out of context with the others but rather as an entire highly moral accretion of fiction or novel-in-continuous-progress),

(2) he produced, in 2001, 'Nemonymous': the world's very first self-contained multi-authored volume of anonymous fiction stories collected as such (the authors' by-lines being revealed in the subsequent published volume),

(3) he was the very first editor to start considering (and later only to consider) anonymous story submissions for publication until and beyond final acceptance or rejection,

(4) he is the only writer who has ever attempted to post the whole of his back catalogue of fiction to a megazanthine network of freely available websites - a sixties-type 'happening' showing the writing he has done over the years,

(5) he published, in 2002, the world's first blank short story in print (as far as it is known), and

(6) he coined these words and expressions: 'zeroism, egnisomicon, egnisism' in conjunction with PF Jeffery (1967), 'whofage' in conjunction with PF Jeffery (1973), 'agra aska' (1984), 'weirdmonger' (1988), use of 'brainwright' in modern times (1990), Salustrade (1992) use of 'yesterfang' in modern times (1997), 'wordhunger' (1999), 'nemonymous, 'nemonymity', late-labelling, veils-&-piques' (2001), 'denemonise' (2002), 'megazanthus', 'weirdonymous', 'chasing the noumenon' (2003), 'wordonymous', 'wordominous', 'the-ominous-imagination', revelling in vulnerability (2004), 'a woven fire-wall of words', 'nemoguity', 'vexed texture of text', 'fictipathy', 'nemotion', 'the hawler', 'the angel megazanthus', 'klaxon city', 'horrorism' when used as a word for the philosophy of horror fiction (2005), 'publication-on-reading', 'antipodal angst', 'the tenacity of feathers', 'a writer's mandala', 'wordy weird', 'nemophilia / nemophobia', 'magic fiction' as the obverse of the more common expression 'magic realism', 'weirdtongue' as the 'name' of a language, 'Glistenberry' as an alternative name for 'Glastonbury', 'tonguage' as a 'conscious' language, 'yester-eggs' as a term for Proustian 'selves', 'the parthenogenesis of reality from artifice', 'all is for the pest in the pest of all worlds', 'Baffles' as fables with muffled morals (2006), 'fanblade fable'*, 'abutting the if', 'word clones / word clowns', 'bumps for books', 'rite of review', 'cone zero', 'a basket of coinages' (2007), 'small press cover ark(ive), the baser pulps' 'orrorfaces', 'the wheel culture', 'netogenic', the first fiction about a 'drogulus', 'Innerskull', 'meganthus' (2008), 'CERN Zoo' in literature, 'Real-Time Reviewing', 'ligottum', 'the pit and the pessimum', 'ligottus', 'fubbcuckle', 'extraneity creep', 'pillowghost', 'intowards', 'powderghost', 'nightmare's moat' (2009).

IMPORTANT
Special thanks and love to the following people in alphabetical order (my childhood-to-adult 'family' and all of them know for themselves the comparative degree of their creative influence upon and/or help with the existence of and/or love for dfl over many many years):
amw, bil, djl, dsw/mw, gl, ial, igl, jh/ah, pfj, pw, ro'c, the wlgr family.
I only hope I made sufficient return.

==============================

"Wrzesmian wasn't too popular. The works of this strange man, saturated with rampant fantasy and imbued with strong individualism, gave a most unfavourable impression by inverting accepted aesthetic-literary theories and by mocking established pseudo-truths. His output was eventually acknowledged as the product of a sick imagination, the bizarre work of an eccentric, maybe even a madman. Wrzesmian was an inconvenience for a variety of reasons and he disturbed unnecessarily, stirring peaceful waters. Thus his premature eclipse was received with a secret sigh of relief."
from 'The Area' by Stefan Grabinski

"My pictures are visionary and symbolical, and, from first to last, have seemed to be painted by someone other than myself. [...] I am thus entirely self-taught, or taught by that other within me. I am aware that my pictures lack serious technique(if there is a technique that can be distinguished from inspiration and invention). I should have given up painting them some time ago, were it not that a certain number of people seemed to find something remarkable in them, and have thus identified me with them, and made me feel mildly important."
FROM "RAVISSANTE" BY ROBERT AICKMAN

"From the cosmic point of view, to have opinions or preferences at all is to be ill; for by harbouring them one dams up the flow of the ineluctable force which, like a river, bears us down to the ocean of everything's unknowing. Reality is a running noose, one is brought up short with a jerk by death. It would have been wiser to co-operate wih the inevitable and learn to profit by this unhappy state of things - by realising and accommodating death! But we don't, we allow the ego to foul its own nest. Therefore we have insecurity, stress, the midnight-fruit of insomnia, with a whole culture crying itself to sleep. How to repair this state of affairs except through art, through gifts which render to us language manumitted by emotion, poetry twisted into the service of direct insight?"
from 'The Avignon Quincunx' by Lawrence Durrell ('Constance' 1982)

"The nemo is an evolutionary force, as necessary as the ego. The ego is certainty, what I am; the nemo is potentiality, what I am not. But instead of utilizing the nemo as we would utilize any other force, we allow ourselves to be terrified by it, as primitive man was terrified by lightning. We run screaming from this mysterious shape in the middle of our town, even though the real terror is not in itself, but in our terror at it."
-- John Fowles 1964 (from 'The Necessity of Nemo' in 'The Aristos')

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* Old Fanblade Fable Six (2007)

A fable that has disappeared when it’s its time to be read and be absorbed and tested for truth or for life’s applicability is a fanblade fable. Yet when one can hear it sighing flickeringly in the background like Debussy injected straight into the vein, it becomes soon enough une jalousie sur le vent de la mer...

< Anything in French is a fable without even reading it! > thought Hiver Jawn, if he became a grown-up thinking back to when he was a child, and the sea was his real mother and his bedroom’s venetian blind a rattling that he never heard because it was always a rattling.

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