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No matter the poem or character, there’s no sunshine after it rains, nor any healing for the mourner


Reading Thomas Langton’s, The Devil Gets Lonely Too, is like mentally watching a series of the grisly American horror anthology, Tales from the Crypt, combined with the shocking and repellant horror of American film maker, Rob Zombie.

With an extremely gruesome and mature adult content inappropriate for any youth, Realistic Poetry International must express that we do not recommend this book for a younger audience, or to anyone else that may find graphic obscenities, excessive profanity, and explicit content inappropriate or offensive.

While we enjoy the diverse world of art and words, Langton’s poetic interpretations convey and project a strong, abysmal gothic energy that is only intended for someone that specifically likes or is inclined to the realm of horror and gore; an inevitable dirty and destructive world of endless chaos and sin.

Poems such as, “Devil’s Village,” “Monsters At The Wheel,” and “Caged” strongly support this nefarious vision and provide intricate details by characterizing certain roles of conflicted people in our society such as officers of the law, or just plain ordinary men and women.

His poetry provides several examples of the multitude of evils plaguing our world; carnage, trickery, lies, infidelity, suicide, drugs, lust, vanity, and iniquity, inherently mirroring some of the most dominant characteristics/temptations associated with the devil, which is the focus of the central theme of the book.

A perfect match for the world of revolt and disorder, Langton’s writing can easily be interpreted as rebellious with an eccentric flair, enhancing the depth of his ideas and perspective of the underworld and its happenings. He is bold in the sense in which he isn’t shy of shining the light on the unorthodox and sinister, constructing twisted tales of immorality, indignity, and tragic misfortune as in the poem entitled, “Oh Dear, Oh Deer.” A twisted poem about hunting where rather than the actual deer becoming a target as intended, ironically the hunters spouse does instead.

As an Author, Langton defines his individuality and stance as a writer by defying what he calls a “dead writers creed.” This poem is important because it addresses a part of his reality as an artist of the dark, gritty and many times forbidden. He is confident and makes no apologies for being true to himself as an artist and poet. Moreover, he aggressively defends his artistic views while simultaneously undermining and mocking the hypothetical remarks of others to express his core feelings about both critique and critics. His unempathetic words can read as resentful, antagonistic and callous, often using foul, sharp language, adding to this collection’s ominous voice of opposition, gloom and rebellion.

The poems “Ink and blood,” “Wrap Me In Darkness,” and “Give Me Poison” stand out as they vividly describe and explain in detail an unrelenting desire and deep yearning to live and breathe the darkness. At one point, one of the character’s reveals that even the color of her soul has taken on the hue of darkness when she says, “My black soul undone, I hold a beating heart and breathe deep of the roses he brought.”

Through all the tragedy and turmoil, Langton never forgets about the power of “two.” In the poem entitled, “Puzzle,” the narrator expresses frustration and disappointment about rejection from someone he likes who does not feel the same way about him. This poem and a few others such as “Words Are All I Have” and “Misery” differ in tone, having a more mellow, relaxed quality.

His poetic illustrations of wounded and conflicted characters conformed to an abominable underworld where there are no rules, and anything goes aren’t always human. He injects elements of mythological fantasy into his writing to emphasize and depict a hellish world where there exist demonized monsters but isn’t limited to mortal beings either such as vagabonds or even a lovelorn.

No matter the poem or character, there’s no sunshine after it rains, nor any healing for the mourners in pain when it comes to the poems in this book. Most of the characters either surrender, or already have, to the hazardous and risky temptations the devil has to offer, like in the poems “California Rock Queen” and these “City Streets.”

To add to the uncanny eeriness of this collection, Langton’s introverted tone, which resonates in the poem, “Nowhere, Somewhere, & Everywhere,” efficiently portrays a hopeless earth and broken, neglected humanity. He uses both figurative and literal angles to draw out the pain reflected in the poems “The Suicide Drifter” and “Scars For You.” Traits of morbid cynicism and quirky satire help to make his style of writing effective.

In sum, although Author Langton’s work may not be suitable for everyone, as a writer of the dark realm of horror, he definitely knows his craft, from a technical and artistic standpoint. The book is well-organized and is ultimately able to define the title of the book proficiently as well as the central theme through the many layers of wickedness.

We present this book with a 2-star rating and would not recommend it to everyone but believe enthusiasts and fans of horror and unlimited turpitude will find Langton’s work to be interesting and entertaining.

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