Jonathan Kieran

Clive Barker’s name as a master of fiction on the terrifying side of the spectrum has diminished over the years, even though he has not stopped writing and producing projects ranging from books to comic adaptations to films. Once touted by no less a literary light than Steven King as “the future of horror,” Barker authored a number of bestsellers (The Thief of Always, Imajica, Weaveworld, the Great and Secret Show, etc.) over a four-decade period, and introduced horror fans to one of their most iconic nightmare-figures: PINHEAD, the underworld baddie from the Hellraiser films.

I read several of Barker’s books and short stories early on and found them entertaining and intriguing, to say the least. His specific brand of horror was not always my cup of tea; his brain walked on the exceedingly wild side, at times, and the horror genre itself attracted me only on occasion, typically depending upon any given idea or story pitch. Neil Gaiman was more my speed. The last Barker novel I read was Coldheart Canyon, which was imaginative and ambient, making a solid impression. Later works like Mister B. Gone I found impossible to finish, and I lost track of Barker’s work, except for his fine Abarat series of books, which were well-written and even more exquisitely illustrated by Barker himself. The guy can paint with genuine vision and, as frequent illustrator of my own works, I appreciated Barker’s efforts with unique insight.

Part of Barker’s slip from the upper tier of my own thoughts as a consumer of fiction may have been due to a near-death crisis Barker experienced in the Aughts after a septic dental procedure and a long period of ensuing convalescence that seems to have interfered greatly with his momentum. I never knew about these troubles until long after they occurred. The three final Abarat books, for example, have been postponed (or whatever) by a period of almost 15 years, which must have surely taken all the wind out of that brand’s sails in the marketplace. It’s a shame; I wonder how such elaborate and expensive-to-produce books will get published by a major house now, when the industry has been turned on its head. Perhaps Barker and his estate plan an independent approach for these and other works. That idea bodes well for fans.

That being said, Barker revealed not long ago that his appearances at conventions are coming to an end as of 2024. At age 71 he wants to focus exclusively upon writing and has thirty-one works in various stages of completion (a daunting proposition), an untold amount of unpublished artwork, and filmed adaptations of his works still in negotiations, etc. Questions about his health have abounded on internet forums, but Barker seems intent upon sewing things up on his own terms, with the most unwavering focus he can summon. Let us wish him well—his legendary career has taken some difficult turns and the sheer amount of work he still has to offer portends a Barker renaissance at some point in the future. Even casual admirers of his work will be hard-pressed to forego excitement at that possibility.

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