The trope was already old, but Barker infuses new life into it, and he effortlessly turns the concept on its head with a totally different kind of body horror. Barbario, on the run from heavies, cancer-ridden and wounded, seeks a hiding place, and finds it behind the screen of a local movie theater. The good news is that Barker’s third volume of his series contained five more hellish tales, each succinctly different in execution and scope in a way rarely seen in single author collections.īeginning with ‘Son of Celluloid’, we see a strange hybrid of crime and horror. Later I discovered The Hellbound Heart, which allowed me another view of the labyrinth of hell Barker had created in the original form. Most horror fans relied on outlets such as Fangoria, or magazines like New Blood, for horror news, and even at that time, very little was known about the British sensation. This was pre-internet, a strange time when information was at a premium, especially when it came to horror. There was a glimmer of hope that nestled within the pages was a story that might shed some additional light on his first film.
It was sometime after seeing Hellraiser that I finally read Clive Barker’s third volume of his Books of Blood series.
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