Author name: Daniel Haeusser

Daniel Haeusser (He/Him) is an Associate Professor of Biology who teaches microbiology and biochemistry. He researches bacterial cell shape & division, and phage (bacterial viruses) that alter either in their host during infection. His constant reading spans many genres, but SF, Fantasy, Horror, mystery, and world literature remain closest to his heart. His regular book reviews can be found at Reading 1000 Lives, and he also contributes reviews to Strange Horizons, Fantasy Book Critic, Speculative Fiction in Translation, and World Literature Today. You can connect with him on Goodreads or Bluesky.

Blog Posts

Movie Discussion: VOIDANCE (2026; dir. Marianna Dean)

DIRECTED BY: Marianna DeanCAST: James Cosmo (Game of Thrones, Braveheart), Zoe Cunningham (Breaking Infinity), Neil Bishop (Beautiful Disaster), Mim Shaikh (Queenie), Billy Price (Hollyoaks), Chris Charles (Hollyoaks).WRITTEN BY: Simon X. FrederickPRODUCED BY: Tom Taplin, Marianna Dean. Zoe Cunningham Try. Fail. Repeat. In order to become an ATIC agent, Alana Toro faces her final assessment. Inside a simulated space station bar, she must prevent a terrorist attack before it happens. Each failed attempt allows her to restart the scenario, but with limited chances to get it right. As Alana navigates a cast of guarded and unpredictable patrons, gaining trust proves as difficult as identifying the threat itself. With each attempt, new details emerge and assumptions shift, forcing her to rethink who she can rely on. As the pressure builds, Alana is pushed towards an unorthodox solution, one that may challenge everything ATIC expects of her. You can watch the trailer here.

In a building that looks like a church, with faint green light, a woman in a wimple or white cloak and dark dress looks from the side toward a stained glass window.
Blog Posts

Book Review: THE LAST CANTERBURY TALES by Jean Ray (Translated by Scott Nicolay)

Over the past years Wakefield Press has been doing a tremendous job releasing seminal works of Weird Fiction, chief among them the fiction of the “Belgian Poe” Jean Ray. One of several pseudonyms of Raymundus Joannes de Kremer, Jean Ray is a personality of enigmatic history, whose biography could double for that of a protagonist in one of his stories. Among the releases from Wakefield Press include multiple short story collections, starting with his alcohol and briny sailor-filled Whiskey Tales, and his best-known novel, the strange and exquisitely crafted 1943 gothic horror Malpertuis. Director Harry Kümel adapted the latter into a film featuring Orson Welles in 1972, which had a recent, gorgeous release from Radiance Films.   Translator and writer Scott Nicolay has brilliantly translated and annotated each volume of Jean Ray’s work released by Wakefield Press, and I’ve had the fortune of discovering Ray and reviewing several of those books through this. (I believe all the previous reviews I’ve done have been for Rachel Cordasco’s Speculative Fiction in Translation.) This year marks a new release of a Nicolay-translated Ray work, 1944’s Les derniers contes de Canterbury (The Last Canterbury Tales), the literary equivalent of a single-artist anthology film, a short story collection that contains both tremendous variety and precise construction to thematically and narratively tie individual stories together with wraparounds that themselves wrap (or warp) time and space. In introductions and postscripts Nicolay and others comment on the structural and thematic ties between Malpurtis and The Last Canterbury Tales, two forms of work that embody the core of Ray’s fiction and Weird creativity.

Covers of Hazardous Spirits by Anbara Salam (left: UK: 12 Oct. 2023, and right: USA: 12 Oct 2023). The UK cover at left features an hourglass at the top with what looks like blood at the top dripping into flames below. The USA cover at right features a woman's hand generating sparks or magical energy, with rays radiating out; a lacy sleeve is visible.
Blog Posts

Book Review: HAZARDOUS SPIRITS by Anbara Salam

Either her husband is crazy, or he is lying, or he is telling the truth and can really communicate with spirits of the deceased. Each possibility is more frightening to Evelyn than the prior, for she holds a dark secret that Robert or his Spiritualist medium companions might discover from a ghost and memory that still haunts her.

Movie poster for Touch Me (2025), directed by Addison Heimann, featuring a woman's tilted-down face, mouth open in ecstasy or pain, in pink-purple lighting.
Blog Posts

Movie Review: TOUCH ME (2025), directed by Addison Heimann

Joey (Olivia Taylor Dudley) and Craig (Jordan Gavaris) are two Millennial (Gen Y) friends/roommates who slip through life in a codependent relationship that avoids past trauma or current responsibility in shared coping mechanisms of alcohol, vaping, and dark humor. Until Joey meets the bizarre and entrancing Brian, a tracksuit-wearing self-professed extra-terrestrial who can calm Joey’s anxiety with a simple touch. Brian tells Joey that he is an orphan and refugee from a planet lost to climate change, but that he brought with him special trees that will help rescue Earth before it is too late. Joey rapidly falls under Brian’s seductive spell, until a moment of intense tentacle-filled cross-species sex drives her from him in fear. Joey relates this story in an engrossing, almost-ten minute monologue that opens Touch Me (2025) as the camera slowly zooms in on Joey’s face as she responds during a psychiatry session to her therapist’s suggesting of combating anxiety with absurdity. Then the film gets weirder.

Poster image for Exorcismo: The Transgressive Legacy of Clasificada "S" (2024), a documentary, featuring a revealingly clad blond woman holding a blooding blade above her head, with a huge, heavy cross/sword (?) in the background, and people (?) in masks or with leathery skull-faces.
Blog Posts

Movie Review: EXORCISMO: THE TRANSGRESSIVE LEGACY OF CLASIFICADA “S” (2024)

From 1939 until 1975 Spain existed under the fascist dictatorship of Francisco Franco, general of the Nationalist forces during the preceding Spanish Civil War. For close to four decades Spanish citizens lived under an oppressive, authoritarian regime that governed in cooperation with the National Catholic Church to promote and enforce a conservative Roman Catholic society and to censor or suppress anything deemed transgressive and deviant. Absolute state control extended into artistic endeavors such as film production and release. However, by the early 1970s an aging ruling system and Franco’s waning health emboldened voices and action of dissent and resistance, including filmmakers who were able to start pushing against the limitations of state censors, at least in cuts of films produced in Spain for release in foreign markets (national cuts for release in Spain remained heavily censored.) Upon Franco’s death in 1975 the floodgates of suppressed societal emotion opened, relaxing censorship more as the nation tried to find political footing in a post-Franco reality. Depictions of violence and sex in films increased, both for their own transgressive sake under new freedoms and to use for exploration/reckoning with atrocities going back to the Spanish Civil War and past, events that were all but ‘erased’ from mention under the fascist state. By 1977 in this Transition period, the political powers in control decide to create an “S” classification rating system to label films being released that might offend public sensibilities. After decades of suppression, most of the Spanish public seemed to crave all the “S” classified films they could get. A label meant to be stigma quickly became a badge of honor and guaranteed commercial success whether simple titillation or provocative artistic works. Eroticism and horror flourished in particular. Plots could now include criticism of Catholicism or the State, painful historical memories avoided could now be confronted. Characters outside ‘traditional’ family structure or heterosexuality could be included.

Cover of Eerie Whispers: Exploring Canada's Reluctant Relationship with Its Ghostly Lore, by Brian Baker, featuring an old turret of a house or church, seen through a gap in trees.
Blog Posts

Book Review: EERIE WHISPERS by Brian Baker

Eerie Whispers is a nonfiction title from last year with the subtitle: Exploring Canada’s Reluctant Relationship with Its Ghostly Lore. Despite my scientific profession and general skepticism, I’ve always been fascinated by and enjoyed ghost stories or any other paranormal or strange tale under the folklore umbrella. And people with that kind of interest are included among those for whom journalist Brian Baker (founder of The Supersitious Times) specifically wrote this book: “those who have an honest interest in Canadian ghost stories and feel at home with the spooky: historians, folkorists, archivists, anthropologists, investigators, mediums, parapsychologists, journalists, and enthusiasts.” The Canadian focus of Eerie Whispers drew my interest from among all the other similar books that get published each year, especially because of that word ‘reluctant’ in the subtitle. Canadians are reluctant to talk about their local ghost stories and experiences? The major focus of the start of Eerie Whispers is about this question, and the related question of why. Being in Buffalo, which at times feels like South Canada (and at times we might really wish it were), I hadn’t heard about or experienced this sentiment of paranormal discomfort from our Northern friends and neighbors. In fact, the only ghost tour I’ve ever gone on in my life was just across the border in Ontario. Now, the reluctance is of course a generality with certain exceptions, but apparently there is more of tight-lipped hesitance to delve into and dwell upon spooky ghostly claims with any remote suggestion that they may reflect a reality. Eerie Whispers is interesting to the ghost or general folklore enthusiast just in that regard alone.

Scroll to Top