© 2014 – DF Lewis – writer, editor, reviewer and publisher.

The DFL novel: NEMONYMOUS NIGHT (Chômu Press) 


The DFL Collection: THE LAST BALCONY (The InkerMen Press)

DF Lewis Bio
DFL’s Elizabeth Bowen Website
 Link: Quotes harvested by others from DFL
An independent vision by Slurp Spider of the now dismantled ‘Weirdmonger Wheel’: HERE

DFL received the British Fantasy Society Karl Edward Wagner Award in 1998. DFL did not submit his own work for publication from 1999 to 2010 unless (in the unlikely event) he was solicited to do so.

Rhys Hughes’ review of BEST OF DFL (Tal 1993): HERE.
“TLO” interview: HERE Second “TLO” interview HERE
‘LOST PAGES’ interview: HERE.
And older interviews here : Metastatic Whatnot and here: Fantastic Metropolis and here: Znine and interviewed by Lavie Tidhar here: Dusksite. Ancient interviews by Brian Keene and Mike Philbin/Hertzan Chimera with DFL just re-discovered: HERE and HERE respectively. .

My reading-lifetime’s Hall of Fame in no particular order (E. & O.E.): Charles Dickens, Christopher Priest, AS Byatt, Enid Blyton, May Sinclair, HP Lovecraft, Barbara Vine, Reggie Oliver, Anita Brookner, WG Sebald, Jeremy Reed, Ian McEwan, Elizabeth Bowen, Stephen King, Oliver Onions, Marcel Proust, Salman Rushdie, Glen Hirshberg, Paul Auster, Mark Valentine, John Fowles, Edgar Allan Poe, John Cowper Powys, Lord Dunsany, Algernon Blackwood, Jack Vance, Philip K Dick, Jeff VanderMeer, Samuel R Delany, Anthony Burgess, Susanna Clarke, Rhys Hughes, Lawrence Durrell, MR James, Robert Aickman, Sarban, Ramsey Campbell, Thomas Ligotti, Tommaso Landolfi, Kazuo Ishiguro, Colin Insole, Christopher Harman, Quentin S. Crisp, Michael Wyndham Thomas. (This is a list including writers I once considered in my Hall of Fame but now rarely read, and new writers whose works I read quite a lot and have included in my Hall of Fame fairly recently and variations upon that, but all have been major reading experiences some time in my life.) Later Edit: (Others either initially forgotten from or bubbling at the the edge of the above list: in no particular order): John Updike, John Howard, Ron Weighell, Gary McMahon, Gary Fry, Jason A. Wyckoff, Frances Oliver, Charles Schneider, Nick Jackson, PF Jeffery, DP Watt, Mark Samuels, Elizabeth Taylor, Steve Duffy, William Hope Hodgson, Peter Ackroyd, Patrick Hamilton, Eleanor Farjeon, Joel Lane, Clark Ashton Smith, AJ Kirby, Charles Wilkinson.
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: === 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.”
AGRA ASKA – novella (1983 / 1998)
The Weirmonger’s Tales (Wyrd Press 1994)
The Best of DFL (Tal 1993)
WEIRDTONGUE (The Inkermen Press 2010): HERE

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!
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’s devious purposes.

Six 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’ (1983), ‘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’, ‘the synchronised shards of random truth and fiction’, ‘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), ‘THE TENSES’, ‘scream munch’ as another word for ‘captcha’, ‘skight’ – threepenny bit, ‘invitations from within’, ‘novellatory’, ’Ress’, ‘Venn Dreams’, ‘Tearsheet Doll’, scanbuncle, A Götterdämmerung of Guts , Holistic Horror (2010), SFtopia, Salustraders / Overspacers, Novellarette, Inquel, Gaddafery, Jungian autonymity, sudracide, an impesto novel, trendbaffler, our planet as reliquary, fictionatronics, Lovecraftianisation, “To know the worst is also to know the best“, vignellarette, “Nothing is controlled by logic other than logic itself.”, nightgators, Horror Genreators, dicksplay, roman littoral, ghostalt, poltergeistalt, horrasy, Horrasy: The Horrastic and the Heuristic, srednibution, srednidipity, Lovecraftian indescriptivities, bememorise, alephantiasis, reva-menders, metapomorphic, rarifiction, neoloquism, Was the God Particle born instable? (2011), angelivalent, literal-meaning dreaming, the ‘Higgs boson’ of Horror, The Weirdonomicon, Aickmania, shortcomings harnessed are stronger than strengths unused, privacy-trawler, disarming strangeness in connection with Robert Aickman, Fiction is like currency: belief is everything, oblique concomitant / oblique contaminant, age at the edge, A writer should make clouds shine even if the world’s sun has gone, The Call of the Silly, pastilential, eschairtology, e-born, read-tangler, ghorror, the authorial cloud, grosmance, quixotiose, most placating is playacting, ‘friendly fire’ fiction, dilemmachination, absurface, aeontonomous, HobbYiSt / Hobbit, aeontonomy, Horror Without Victims, fuckerlode, Earkth, Pronoun Horror, The Ives of November, PreMonday-ition, NoV – No Victims, an amid-life crisis, God created Ground in His own image by adding ‘run’ to His name, Old boots are always better than no boots, truth is never brash, End tring, Tendring is Trending, HorNET Nest, The empty future expects our arrival soon, if you fit, wear yourself, The Worldwide Cliff (2012), quantitative kamikaze, The Ohm Resistor of Literature, Only real books can be left anonymously on chairs, The Sibling Thing (as monster), lachrymonics, Cold Sororist, Gangster Gongsters, Cathrian, Cathrianity, Cathrechism, the optimum delusion, dogstone as a form of ‘found sculpture’, iDEATH as a form of internet implosion of self, Judge me on my works, not on my request thus to judge me, dyschronous recurrence, Belarhombus, the Palimp’s Zest, abseil-surdity, paradoxilogically, Devolved Fiction, fratrinity, bock-hide, the Ligottian lurch, denouement or deligottiment, Does a Seraph suffer from Harpes?, AickMANN, RTRcausal, irrealoscopic, a Myth Pitch, Versionary SF, pallianthology, Historation Comedy, Holy Grailtrack, Born Ancient, Bringing the Dead to Book, urbographical, genius tempus, sabbaticess, the life-insider, the God in the Goblet, tsunami of humani (2013), broodband, jamjoyance, miracle-politicle, paradoxidant, a role moral, the preterite of the preinternet, the four mutualities, eventernal slumber, femfeist, dreamcatching-up, fencing off the tides, reincarnivorate, historomancy, Shadowy Encounters of the Third Kind (2014), a whodunnit-really, Machiavellian Peripheral-Vision, Mistiaeval, abruchnid, tontinnabulation, sicnificant (sic) (2015).

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, bit/at, 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

An amusing and provocative description by the narrator of meeting, when playing chess, the eponymous ‘hero’ of RAMEAU’S NEPHEW by Denis Diderot, an eponymous ‘hero’ who is also “the nephew of that famous musician […] who wrote such reams of incomprehensible visions and apocalyptic verities on the theory of the music, of which neither he nor anyone else ever understood a word, and who left us with a number of operas where we can enjoy various harmonies, unfinished songs, unrelated ideas, uproars, flights, triumphal fanfares, spears, ennoblements, seditious whisperings, endless victories; he also left us dance tunes that will live forever;…” This somewhat stirs me to recall the passage above from a more modern author about Wrzesmian. But Diderot’s narrator (Diderot himself?) conjures up the obverse side of the ‘eccentric’ coin: “If one of them [an eccentric] appears in a group, he’s like a grain of yeast that ferments, and restores to each of us his natural individuality. He shocks us, he stirs us up; he forces us to praise or blame; he brings out the truth;…”

“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’)

“She was the part of you which you had never been able to untie and set free, the part that wanted to dance and run and sing, taking strong draughts of wind and sunlight; and was, instead, done up in intricate knots and overcast with shadows; the part that longed to look outward and laugh, accepting life as an easy exciting thing; and yet was checked by a voice that said doubtfully that there were dark ideas behind it all, tangling the web; and turned you inward to grope among the roots of thought and feeling for the threads.” from ‘Dusty Answer’ (1927) by Rosamond Lehmann

“So do we pass the ghosts that haunt us later in our lives; they sit undramatically by the roadside like poor beggars, and we see them only from the corners of our eyes, if we see them at all. The idea that they have been waiting there for us rarely if ever crosses our minds. Yet they do wait, and when we have passed, they gather up their bundles of memory and fall in behind, treading in our footsteps and catching up, little by little.”

from ‘Wizard and Glass’ by Stephen King

”There are faces made for moonlight. There are faces created to respond to the wind. There are faces for sandy deserts, for lonely seashores, for solitary headlands, for misty dawns, for frosty midnights. Cordelia’s face was made for rain. It had nothing in it that was normally beautiful; and yet it became at this moment the living incarnation of all those long hours when rain had mingled with her secretest hopes. Her face was charged with the rain that had streamed down the window-panes at Cardiff Villa, twilight after twilight, while her thoughts had been flying far away; far over dripping forests, far over swollen rivers to green-black castle walls of which she fancied herself the mistress or the captive.”

— from ‘A Glastonbury Romance’ by John Cowper Powys.

“Unseen or at least unremarked, I orbit the camp. That’s what I want: a place in which I have no part. I want to ride through space like wind in wind and sleep on the void, and be a go-between with nothing but between. I only know useless knowledge. The camp spins there to one side of me like so many floating candles collecting in a weak eddy. What I feel inside myself is fierce and calm; it’s a ruthless desire for an immortality of perfect weakness where I can be a tirelessly efficient functionary turning things over from one end of the message circuit to the other and back again, so that I never stop going back. As long as I’m going back, logically speaking, I yet won’t be back, only now am I getting under way. No one sees you while you’re in transit and the moment you arrive is the moment you have to turn around and leave again, provided there is some return correspondence, and even if there isn’t, it doesn’t matter, because there’s nothing to do but wait for some other message which will sooner or later have to go out and take you along with it.” — From MEMBER by Michael Cisco

“To your mind, there was no greater injustice than to be doubted when you had told the truth, to be called a liar when you hadn’t lied, for there was no recourse then, no way to defend your integrity in the face of your accuser, and the frustration caused by such a moral injury would burn deep into you, continue to burn into you, becoming a fire that could never be extinguished.” — from ‘Report from the Interior’ by Paul Auster

“’Tis well we know you were loth to leave us, winding your hobbledehorn, right royal post, but, aruah sure, pulse of our slumber, dreambookpage, by the grace of Votre Dame, when the natural morning of your nocturne blankmerges into the national morning of golden sunup…” – Finnegans Wake ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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