William J. Lambert, III – Demon’s Coronation (1971) + Interview

Review by Justin Tate

A survey of 1960’s and ’70s gay pulp fiction reveals that sequels were scarce. Many of these books had impressive print runs (over 100,000) but rarely did any one title warrant a narrative continuation. The plots and characters weren’t exactly designed for posterity. Instead, their pleasures were often of a disposable nature, to the level of being tossed out with garbage upon reaching aphrodisiacal fulfillment. The idea that people might read, collect and obsess over pulp fifty years later probably sounded laughable at the time.

Nevertheless, there were fan favorites and landmark publications among this ocean of cheap, sleazy paperbacks. Some titles generated multi-book series, spin-offs, parodies and, of course, sequels. Notable examples of the era include the 2069 trilogy (1969-1970) by Larry Townsend, The Man from C.A.M.P. series (1966-1968) by Don Holliday, and Richard Amory’s bestselling Song of the Loon trilogy (1966-1968). Amory’s books sold in the millions and even had a movie adaptation.

Demon’s Coronation (1971) by William J. Lambert, III, is another example, being the dramatic second half of Demon’s Stalk (1970). If you’ve read my review of the first book, you know I’m a fan and would consider it not only a fabulous example of queer pulp, but also the horror genre at large.

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Peter Middleton Darling – The Forest of Valancourt, or, The Haunt of the Banditti (1813)

Review by Justin Tate

Originally published in 1813, The Forest of Valancourt is noteworthy for being a particularly rare Gothic novel. Prior to this re-publication, only one copy remained in existence at the Bodleian Library in Oxford. Major kudos to Valancourt Books for bringing it back to life. Now they are a major publisher of the rare and obscure, but this appears to be one of their first re-print efforts. And quite a fitting title, I must say.

As for the novel itself, it’s pretty terrible. I’ve never read anything paced so furiously. Drama flies in all directions, with battles, breakups and blunders all happening simultaneously. No time to linger upon the conflict’s significance, we’re immediately set off to the next disaster. Nearly every paragraph begins with a “Three weeks later” or “later that day” or “suddenly” or “abruptly” to signify a vast transition. Further contributing to the cacophony of chaos is the large cast and shifting POV, which skips from person to person like a pebble in rapids.

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