Showing results by author "A.D. Lawrence" in All Categories

I Is for Internet is the ninth book in an epic series of 26 horror anthologies. In this book, you will find a collection of 13 unsettling tales from some of the most imaginative independent horror writers on the scene today. Each story takes a new look at the potential horrors of the online world, from stalkers to cyber-demons, artificial intelligence to predators. I Is for Internet will plug you straight into the mainframe and have you desperate to pull the plug.

Within this compilation, you will hear that Mac continues to bring cases to conclusions—while he continues to jump to conclusions. Mac Danger—the up-front, in-your-face gumshoe—confronts the electronic clutter of a modern world—filled with its video conference call users—mocha lattes at their side, with his common sense two-tin-cans-tied-together-with-a-string methods. And all of it is accomplished with the help of the never-empty-glass of his liquid forebear, Old Grand Dad.

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Mac Danger is a 1930s-style private eye in a modern world. He’s a tough-talking, no-nonsense kind of discount detective—solving mysteries to make rent, and sometimes having to restrain himself from getting physical with his clients who have—let’s call them, issues. Danger Is his middle name—and his last name, too. You can look it up on his birth certificate. Mac Danger Danger. Kids made fun of him in school because of it. During every PTO conference, he wanted to punch his parents in the face.

Heiress Stella Burke is plagued by insincere suitors and nonstop headaches. Exhausting all other medical aides for her migraines, Stella reads Fasting for the Cure of Disease by Linda Hazzard and determines to go to the spa the author runs. Stella’s chauffer and long-time friend, Henry Clayton, is reluctant to leave her at the spa. Something doesn’t feel right to him, still Stella submits herself into Linda Hazzard’s care. Stella soon learns the spa has a dark side and Linda a mean streak. But when Stella has had enough, all ways to leave are suddenly blocked. 

"In Love" handles a serious subject in a light, almost comic way. A couple are engaged but have no sexual feelings for each other. The tensions, as they try to do what is expected of them, explode until a compromise is reached. But will the marriage last?

Lawrence uses the story of a storm and the deaths it causes to revive the feelings for (if not an actual belief in) the old gods, in this case Mercury whose shrine is ignored by the tourists but who takes his revenge.

"None of That" concerns itself with the nature of desire. The man in the story is no more than an animal with base instincts but is attractive to women. The woman looks for something deeper with imagination, but in the end is brought down by the more instinctive man. Lawrence again seems to be saying that a woman cannot exist beyond the control of a man, however crude, and can only bring unhappiness on herself if she tries to live on her own terms.

Two Blue Birds tells the tale of the classic triangle of the man, the wife and the secretary, who struggle to work out what their relationships are with each other. Neither of the women seem to want the man sexually but the secretary offers devotion while the parasitic wife has more insight into the man and his work. All the relationships seem unhealthy, all three seem to want something different but are incapable of expressing what they desire.

"The Man Who Was Through With the World" picks up the same themes as in Lawrence's short story "The Man Who Loved Islands". He asks if we can ever withdraw from the world, no matter how much it disgusts us. The ironic part of this fragment is that the hermit vainly seeks to think holy thoughts while all around him is the natural world which could provide his life with meaning. The fragment is unfinished, leaving the listener to wonder if the hero would return to the world, if the world would come to him, or if nature would take its course and let him die in his hut.

"The Undying Man" is a slightly unfinished piece, drawing its inspiration from Shelley's Frankenstein about the creation of life and the fear of death. It is interesting to speculate where Lawrence would have gone with the story, but the sound of broken glass is the most likely ending.

"Mother and Daughter" can be understood as one of Lawrence's diatribes against women. Two women do their best to get along without men, but in the end, as Lawrence always proposed, a woman cannot be fulfilled without a dominant man, however unsuitable he may be.

"The Lovely Lady" is a fine observation of a life - the lovely lady of the title - that thrives by sucking the life out of others. The two victims escape by a somewhat melodramatic and comical means, but in the process destroy the lovely lady and form what will probably be a dull and passionless union.

"A Dream of Life" is unfinished, but there is enough extant to let us know where Lawrence was going in this story. He begins by looking back and bemoaning what has become of his generation, under the thumb of women and lacking the spark of his father's mining friends. Then, in a scene reminiscent of Pilgrim's Progress, he travels forward in time and sees his village in the distant future. The people are living in an idealized commune, but do they have the spark of life?

"The Blue Moccasins" has the charm of looking at some eternal human problems such as unequal marriage, the waning of sexual desire, and a woman who cannot give herself wholly to her husband in a thoroughly English and local setting: the stage of an amateur dramatic society where all the passions and delusions come to a head.

"Rawdon's Roof" is a slight comic piece, relying for its humor on the folly of a man throwing away his chance of happiness because of an unexplained and unlikely vow.

"Glad Ghosts" is another of Lawrence's supernatural stories, set in the archetypical country house. He doesn't attempt to explain the supernatural happenings which occur, but uses them to extol his own ideas of the power of the sex drive and the triumph of life over death.

"Things" takes a cutting look at two "idealistic" young Americans who travel around Europe in an attempt to give their spoiled lives some meaning, and in the end settle for suburban America, surrounded by their possessions, their "things".

"Smile" is one of Lawrence's shorter pieces, a thumbnail sketch of an idea. A man is relieved that his wife is dead and struggles to hide his relief when confronted with his wife's body. The relief breaks out into a smile, which he struggles to excuse. How much better it would have been, Lawrence seems to be saying, if he had just laughed out loud!

"Jimmy and the Desperate Woman" tells the improbable story of an intellectual editor persuading a working woman to live with him. We would say now "on the rebound" from a failed marriage, but Lawrence crosses the class divide and poses questions about what makes us attracted to other people. The intellectual twists and turns of the magazine editor contrast nicely with the stark honesty of the spurned miner husband.