Called “a writer of spectacularly unflinching gifts” by no less than Peter Straub, Brian Hodge is one of those people who always has to be making something. So far, he’s made thirteen novels, around 130 shorter works, five full-length collections, and, for Whom the Gods Would Destroy, a book soundtrack of cinematic ambient and space music. One recent novella of cosmic horror has been optioned for development as a TV series.
He lives in Colorado, where he also likes to make music and photographs; loves everything about organic gardening except the thieving squirrels; and trains in Krav Maga and kickboxing, which are of no use at all against the squirrels.
Find Brian Hodge on:
The Official Brian Hodge Website
“[The Immaculate Void], Hodge’s gripping new novel . . . is a fine display of Hodge’s skills as a writer, particularly his ability to combine the cosmic and the personal, the sublime and the intimate.”
“The Immaculate Void is a highly cinematic, fast-paced, gory, disturbing, yet in its heart of hearts, touchingly warm tale of horrors which may surpass humanity, but does not entirely diminish it, even in the face of apocalypse.”
“A writer of spectacularly unflinching gifts . . . leaves most contemporary horror writing in the dust.”
“One of the finest authors in the horror field . . . a literary equivalent of filmmaker David Cronenberg.”
“Not only does Brian Hodge get the ‘cosmic awe’ concept nailed down, but his characters, and the way he describes the relationships between them, are expertly drawn to a degree that [H.P.] Lovecraft himself could never have achieved.”
—The British Fantasy Society
“Emotional, thrilling, and dread-inducing . . . Brian Hodge is clearly a master craftsman of a writer.”
—This Is Horror UK
“Each book of his stands out as so ‘original,’ that I’d have a difficult time in saying which was my personal favorite. . . . It’s his writing style, combined with his incredible imagination, which makes his books so consistently good.”
—Horror After Dark
“Brian Hodge has long been a favorite of horror insiders, both for his audacious themes and his impressive facility with language. . . . You can hear the music in Hodge’s prose, a kind of euphony that, at its best, is reminiscent of Brite, Koja, Gaiman, or even Roger Zelazny, while remaining totally unique.”