April Short Speculative Fiction in Translation

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Each month, I will be reviewing new translated short works of SF, fantasy, and horror that appear either online or in print for Speculative Fiction in Translation, a site run by the wonderful Rachel Cordasco (@Rcordas). A podcast recording of her updates is now also appearing as part of Skiffy & Fanty. Each month I’ll post a link to my reviews here as well.
In the April debut edition I review:
  • “Deep Sea Fish” by Chi Hui, translated from the Chinese by Brian Bies (The Magazine of Fantasy & Science Fiction)
  • “Fifth: You Shall Not Waste” by Piero Schiavo Campo, translated from the Italian by Sarah Jane Webb (AkashicBooks.com)
  • “The Wings of Earth” by Jiang Bo, translated from the Chinese by Andy Dudak (Clarkesworld)
  • “Taklamakan Misdelivery” by Bae Myung-hoon, translated from the Korean by Sung Ryu (Asymptote Journal)
  • “Aspirin” by Park Min-gyu, translated from the Korean by Agnel Joseph (Asymptote Journal)

Cover reveal: NIGHTLY OWL, FATAL RAVEN by Jessica McHugh

Coming in June 2018, a dystopian fantasy novel from talented and prolific author Jessica McHugh and published by Raw Dog Screaming Press. Yesterday was the grand cover reveal for this novel, which I’m very excited about. McHugh and RDSP are a match made in the most twisted and best of dreams.

“Nightly Owl, Fatal Raven combines speculative world-building and a deep appreciation of the works of Shakespeare. This is a Fantasy novel with a fully-realized world of brutal struggles but it is also crafted with lyricism.

While the female protagonist who fights to change a heartless and cruel world will be familiar to readers of Dystopian fiction, the brutality and bitter battles echo the Grimdark movement in Fantasy and add an epic feel to this gritty adventure.

McHugh does not shrink from portraying the ugly realties of war but there is a kernal of hope amid all the darkness. Betrayal, revenge, memory and transformation through knowledge are themes explored in the novel. Readers who enjoyed Suzanne Collins’ The Hunger Games and Lois McMaster Bujold’s Paldin of Souls will be particularly interested in Nightly Owl, Fatal Raven.” — [Promotional Material]

The cover was designed by Jennifer Barnes, a co-founder of RDSP. Along with her husband, Jennifer does a huge amount of work to help make their publishing enterprise a success, and her contributions don’t always get the press or recognition they deserve. She’s done a great job on this cover, using a mixture of a dusk-like lightness with shadowy darkness to create just the right design/mood for capturing interest in the creepy and beautifully demented patterns of McHugh’s writing and vivid characters.

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Debuting 14th June 2018 • PRE-ORDER

Funerals are usually the end of the story, not the beginning.

Since the rise of The Council, an oligarchy of despots and deviants, the legendary Capesman undertakes daily soul collections from Cartesia’s wasteland cities and battlefields. He also frequents Malay Prison, where a vigilante named Shal plots her escape. Armed with a thirst for vengeance and a sharp Shakespearean tongue, Shal must navigate a maze of trauma to save Cartesia and protect her sister from the brutal machinations of Chancellor Doa.

It will require all of Shal’s strength and cunning to resurrect her former army, battle the betrayals of the past, and avenge her father’s death. Will she survive long enough to see the Council fall, or is the Capesman coming for her next?

 

About the Author: Jessica McHugh

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Jessica McHugh is a novelist and internationally produced playwright running amok in the fields of horror, sci-fi, young adult, and wherever else her peculiar mind leads. She’s had twenty-two books published in ten years, including her bizarro romp, The Green Kangaroos, her Post Mortem Press bestseller, Rabbits in the Garden, and her YA series, “The Darla Decker Diaries.”

Visit the Hook of a Book Facebook Event page for Nightly Owl, Fatal Raven to view videos by McHugh and enter a contest to win a copy of her new novel.

Debuting 14th June 2018 • PRE-ORDER

 

THE BEST HORROR OF THE YEAR, VOLUME SEVEN, Edited by Ellen Datlow

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The Best Horror of the Year, Volume Seven

Edited by Ellen Datlow
Night Shade Books – August 2015
ISBN 9781597805759 – 400 Pages – eBook
Source: Edelweiss


Contents:
“The Atlas of Hell” by Nathan Ballingrud
“Winter Children” by Angela Slater
“A Dweller in Amenty” by Genevieve Valentine
“Outside Heavenly” by Rio Youers
“Shay Corsham Worsted” by Garth Nix
“Allochton” by Livia Llewellyn
“Chapter Six” by Stephen Graham Jones
“This is Not For You” by Gemma Files
“Interstate Love Song (Murder Ballad No. 8)” by Caitlín R. Kiernan
“The Culvert” by Dale Bailey
“Past Reno” by Brian Evenson
“The Coat off His Back” by Keris McDonald
“The Worms Crawl” by Laird Barron
“The Dogs Home” by Alison Littlewood
“Persistence of Vision” by Orrin Grey
“It Flows from the Mouth” by Robert Shearman
“Wingless Beasts” by Lucy Taylor
“Departures” by Carole Johnstone
“Ymir” by John Langan
“Plink” by Kurt Dinan
“Nigredo” by Cody Goodfellow

A week of short story collection reviews, and the second of a horror anthology edited by the hardworking Ellen Datlow. This seventh volume of the Best Horror of the Year series came out last summer; Volume Eight is now available as well, though I haven’t gotten to read it yet. For fans or the curious,  you can currently enter to win a copy of the new volume in a Goodreads’ giveaway courtesy of Night Shade Books (entry deadline of 12th August 2016).
 –
In the sea of short story anthologies Volume Seven  is excellent, and it represents the variety of horror short fiction well. How you define horror and your expectations of the genre may cloud your appreciation of this. But if you are a regular reader there shouldn’t be any big surprises in the kinds of stories here or the authors included: genre leaders who frequently appear in horror anthologies, certainly those edited by Datlow. Horror is not always synonymous with scary or supernatural, so there is a range of tales in the collection which brush against other labels within the continuum of genre – such as crime, or ‘mainstream lit’.
As always with such variety most readers won’t love everything here, because reading has that personal component and none of us are clones of Datlow. (Or are some of you out there? Hmmm, that would explain her prolific output of quality…) For me there were several stories in Volume Seven that I just didn’t care for. It also features a relatively high number of entries I had read previously, most notably three from the Datlow-edited Fearful Symmetries (reviewed by me here). Those three in question are all excellent, but I know readers may have an issue with such recycling. I didn’t mind too much as I read them far enough apart, but even to me it seemed a bit too high in overlap. Then again if you aren’t a regular reader of this stuff, you won’t mind a bit!
 –
This volume begins with Nathan Ballingrud’s “The Atlas of Hell” one of those Fearful Symmetries stories. Mixing the occult, black-market antiques, and a criminal underworld the story is dark and entertaining, in a manner that reminds me, with its bayou setting, of Albert E. Cowdrey’s fantasy/horror often found in The Magazine of Fantasy and Science Fiction. Ballingrud’s story is just as entertaining and the prose is even more magical. The aforementioned magazine is the source of another of my favorite stories in this volume, Dale Bailey’s “The Culvert”, which deals with the creepy, dangerous explorations of childhood and the connection between twins. Robert Shearman’s stories are always inventive and creepy (I previously reviewed his collection They Do the Same Things Differently There), and his offering here of “It Flows from the Mouth” is no different. Highly recommended. Langan has a story here, “Ymir” that fits in mythological fantasy more than horror. I didn’t really care though, as it is an entertaining tale.
One thing I was happy to note in this anthology was the inclusion of two stories from John Joseph Adams’ Nightmare magazine, a relatively young sister to the SFF Lightspeed. Each month this outlet puts out a small selection of quality horror fiction, along with some nonfiction such as essays on what ‘horror’ means to various individuals. The two stories included here may not have been my favorite from that year from its electronic pages, but they are quite good. “This is Not for You” by Gemma Files is from their Women Destroy Horror! special issue that I still haven’t managed to read, and I hope the rest of it is as interesting and well done as Files’ story. Valentine’s story “A Dweller in Amenty” is a poignant and powerful one on the concept of ‘Sin-eating’.
The biggest, and most surprising, disappointment in the collection is “Interstate Love Song (Murder Ballad No. 8)” by Caitlín R. Kiernan. I had high expectations as I like Kiernan’s dark fiction, and lots of other readers were calling this a favorite. Its language is utterly melodic and beautiful, but I found it ultimately un-engaging beyond that, the story predictable and flat. On the other end of the spectrum “Plink” by Kurt Dinan impressed me greatly. Psychological horror that touches the sometimes difficult relationship between teacher and student, it perhaps connected with me even more because of my academic profession. Dinan is utterly new to me though he’s appeared in other collections before, such as Paula Guran’s 2010 Year’s Best Dark Fantasy & Horror. He recently had his debut novel for young adults released (Don’t Get Caught), and that’s now on my  to-read list.
This wasn’t my favorite collection edited by Datlow, but it was still very enjoyable overall and it reinforced some favorite authors in my memory for future reading decisions. Most fans of horror fiction or interested newbies should certainly give it a look, but if you extensively read the genre there will be better anthology options out there of original material of course.

Disclaimer: I received a free advanced electronic reading copy of this from the publisher via Edelweiss in exchange for an honest review.

THE MONSTROUS, Edited by Ellen Datlow

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The Monstrous
Edited by Ellen Datlow
Tachyon Publications – October 2015
ASIN B010MCWEI6 – 384 Pages – eBook
Source: NetGalley


Contents:
“A Natural History of Autumn” by Jeffrey Ford
“Ashputtle” by Peter Straub
“Giants in the Earth” by Dale Bailey
“The Beginning of the Year without Summer” by Caitlín R. Kiernan
“A Wish from a Bone” by Gemma Files
“The Last, Clean, Bright Summer” by Livia Llewellyn
“The Totals” by Adam-Troy Castro
“The Chill Clutch of the Unseen” by Kim Newman
“Down Among the Dead Men” by Jack Dann and Gardner Dozois
“Catching Flies” by Carole Johnstone
“Our Turn Too Will One Day Come” by Brian Hodge
“Grindstone” by Stephen Graham Jones
“Doll Hands” by Adam L.G. Nevill
“How I Met the Ghoul” by Sofia Samatar
“Jenny Come to Play” by Terry Dowling
“Miss Ill-Kept Runt” by Glen Hirshberg
“Chasing Sunset” by A.C. Wise
“The Monster Makers” by Steve Rasnic Tem
“Piano Man” by Christopher Fowler
“Corpsemouth” by John Langan

For anyone familiar with editor Datlow the short review for her recent horror anthology The Monstrous would be that it is everything you’ve come to expect from her superb taste and expert experience. If you’ve liked previous anthologies from her, you’ll love this. If you’re a decided non-fan, I wouldn’t expect this anthology to change your mind, tastes in horror just don’t match.
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For anyone wanting to give modern horror a try who hasn’t read a Datlow anthology, this is a fine place to start, if not her previous curated volumes. Awhile back I reviewed another Datlow anthology, Fearful Symmetries. Several of the authors featured in that collection reappear here offering new works, and a small number of stories are actually duplicated. In the case of Gemma File’s “A Wish from a Bone” I particularly didn’t mind the rerun. Her story, featuring a TV documentary crew entering an ancient Middle Eastern tomb, is just as entertaining the second time though. A few of the authors I had hoped would also pop up in this anthology were absent, such as Helen Marshall, but this at least gave me the chance for some new discoveries.
The selections in The Monstrous run the gamut of the horror genre, from the subtle to the creepy, the graphic, and the weird. The anthology’s theme also fits a broad interpretation of ‘monstrous’. The monsters are human and beastly, earthly and supernatural, literal and figurative. In many cases the monstrous is unexpected, as are the directions and tones the stories may take. “The Last, Clean, Bright Summer” by Livia Llewellyn is perhaps the best example of the latter. The title of this story and its start suggest family-friendly positivity, pleasant days and warmth. But Llewellyn quickly turns behind the façade of tradition and happiness toward the darkness at the heart of a family gathering. This story is Lovecraftian in inspiration, but not so heavily as to ruin my appreciation of its  well-played contrasts.
 –
Peter Straub, a name that should be recognized by anyone familiar with horror, includes “Ashputtle” here, a creepy and subtle story about a kindergarten teacher who appears increasingly a bit ‘off’. Other authors in the collection should be known from short fiction markets, such as Dale Bailey (“Giants in the Earth”) whose work is often in The Magazine of Fantasy and Science Fiction, or Sofia Samatar (“How I Met the Ghoul”) whose work has appeared throughout the major ezines, such as Lightspeed, Clarkesworld, and Uncanny magazines. Bailey’s story of coal miners encountering something abnormal does a great job handling settling and the inherent uneasiness of dangerous professions. Samatar, a Somali American, offers an uncommon (in the West) version of the ghoul, which in  Middle Eastern myth is something more like a desert-based mermaid, a beautiful spirit luring men to their demise.
There were only a couple of stories that I didn’t particularly enjoy in this collection, and most fall into a range I would call ‘very good’. A couple really grabbed me though. “Down Among the Dead Men” is a collaboration between a name unknown to me (Jack Dann) and a well-known science fiction editor (Gardner Dozois). Featuring a vampire in a concentration camp this is the kind of story that obviously has huge symbolic and emotional weight. The combination would be very easy to botch up, but Dann and Dozois pull it off amazingly, creating riveting drama that combines the monstrous and the human. Some may think that the Holocaust has enough horror in it without needing a supernatural addition. Yet, this element of a fantastic monster alongside human atrocity allows development and clarity of profound themes.
The collection ends with “Corpsemouth” by John Langan, a stellar example of an ‘epic’ short story. Including emotional complexity with strong characters and plot this story merges the modern with the ancient. In part its style reminds me of classic gothic horror tales of Britain, but with modern language and present-day context. This marks one of multiple stories in this collection that feature horrors that reveal themselves in relation to family. Perhaps this frequency is because of their power, monstrous realities we are innocently born into and cannot easily escape. Ones we have a responsibility of blood to face and overcome. “Corpsemouth” is a top take on this theme, bringing The Monstrous to a satisfying conclusion that makes me greedily await Datlow’s next project.

Disclaimer: I received a free advanced electronic reading copy of this from the publisher via NetGalley in exchange for an honest review.

THE FIFTH HOUSE OF THE HEART by Ben Tripp

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The Fifth House of the Heart
By Ben Tripp
Gallery Books – July 2015
ISBN 9781476782645 – 400 Pages – eBook
Source: NetGalley


For fans of atmosphere and adventure stories with a paranormal twist, The Fifth House of the Heart is a marvelously fun summer read. This is one of those book equivalents to the summer blockbuster, and I could easily see it adapted as such for the screen. There is nothing particular intellectual to it, no grand social commentary, no character studies that pull at the heartstrings in explorations of the human psyche. What it does have is a well-told story that mixes horror with an international heist, using delightful characters and a dash of humor and gothic thrills.
Imagine that vampires have existed among us, for generations of human lives. Sure, it’s been done countless times before from Dracula to The Southern Vampire Mysteries. But what I haven’t seen is combining the immortality of vampires with inspiration from PBS’s Antiques Roadshow. If one could live for centuries, amass global fortunes, and horde goods like a dragon in your lair, just think what priceless antiques one could then collect through the ages to enjoy beside the coffin where you rest, decorating the castle where you lurk.
 –
Admired antiques dealer Asmodeus “Sax” Saxon-Tang has gained fortune and glory traveling all over the world acquiring some of the finest artifacts known, including items long lost to history. Sax’s ego and success have been built through a secret edge: he knows that vampires exist and he has hunted and killed them to steal their ancient treasures. Now, late in his life, Sax’s arrogance and greed has caught up to him. A powerful vampire from his past has set sights on Sax, putting his loved ones at risk. Together with a misfit team of thieves,  vampire hunters, and a secret order of the Catholic church, Sax journeys to destroy the monster and gain one last score, into what may be a deadly trap for all.
Part of what makes The Fifth House of the Heart work well is the point-of-view of Sax: one part crotchety old man, one part big softie. He has a great sense of humor, even within the deathly serious situations that face him. Filled with guilt over the luck of his past despite cowardice, he finds moments of bravery, bearing acceptance of his faults and pride for his strengths.
I found Tripp’s take on the vampire myth particularly fascinating though. The vampires of The Fifth House of the Heart only superficially resemble the ‘classic’ European creature. Ancient and strong, but not undead or easily killed by special weapons, they are monsters that begin to take on the characteristics of that which they consume. Those that feed on humans will appear human, according to the gender they favor as prey. Those that feed on other animals will take on that form. In a blend of vampire and shape-shifting myths, Tripp writes the vampires as something truly terrifying, creatures that shine in the horror and gore of some action scenes of the novel.
There are many best-selling novels out there that are written primarily for their entertaining story and likable characters. Those in series tend to quickly become formulaic. Others remain popular despite unintentionally poor writing or scenarios that I think may actually lower a reader’s intelligence. (cough, Dan Brown, cough) For all its fun, The Fifth House of the Heart remains smart. Like most of the books from another horror writer – a guy from Maine who everyone knows – Tripp’s novel doesn’t abandon the essential cores to the art of good writing, even though art is not its purpose at all.
Aside from the plot, (anti?)-hero, and monsters at the novel’s forefront, Tripp also nails so many of the background elements. The secondary characters, historical details, sensory descriptions, and general gothic atmosphere all combine contextually as a foundation for the entertaining story that towers above. This is a book that I look forward to rereading again soon.

Disclaimer: I received a free advanced electronic reading copy of this from the publisher via NetGalley in exchange for an honest review.

ALICE by Christina Henry

Starting today my goal is to put three new reviews up here each week, Tue – Thurs, to achieve some consistency in posting. For today rather than one, I have a pair of links to reviews recently published elsewhere.

In case you missed it, my latest review for Skiffy & Fanty was up recently, on Christina Henry’s Alice, the first book in a series whose sequel The Red Queen was just published by Ace Books.

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“I haven’t read Lewis Carroll before. I’ve never even watched any of the Alice in Wonderland adaptations that have been animated or filmed. But the continual presence of Alice’s Adventures in Wonderland and Through the Looking Glassin the popular zeitgeist is sufficient familiarity for anyone to pick up Alice, an arresting novel by Christina Henry published last summer. More inspired by Carroll’s twisted characters and their world as opposed to being a point-by-point ‘retelling’, Christina Henry tweaks Carroll’s work into her own distinct plot and themes, with a marked shift to darkness…” Read the entire review on Skiffy & Fanty here.

Disclaimer: I received a free advanced reading copy of this novel from the publisher through the Ace Roc Stars group in exchange for an honest review.

TRUTH OR DARE?, Edited by Max Booth III

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Truth or Dare?
Edited By Max Booth III
Perpetual Motion Machine Publishing – 31st October 2015
ISBN 9780986059452  – 234 Pages – Paperback
Source: NetGalley


CONTENTS:
“Shackled to the Shadows”, by Richard Thomas
“An Unpleasant Truth about Death”, by Eric J. Guignard
“Mantid”, by Kenneth W. Cain
“A Ribbon, a Rover”, by Jessica McHugh
“Iz”, by Eli Wilde
“Laal Andhi”, by Usman T. Malik
“The Bone Witch”, by Chantal Noordeloos
“The Pole”, by William Meikle
“Lucy’s Arrow”, by Jay Wilburn
“Change”, by Peter & Shannon Giglio
“Marco Polo”, by James Chambers
“The Dog Metaphor”, by Vincenzo Bilof
“The Whited Sepulchre”, by Nik Korpon
“Rattlebone Express”, by Sanford Allen
“The Shadow Life of Suburbia”, by T. Fox Dunham
“The Other Bonfire”, by Jeremy C. Shipp
“Oh Fuck, it’s the Cops”, by Joe McKinney

        –

I wish I would’ve had copy of this back around the time it was initially released, because it would be the perfect thing to read through the nights around Halloween. The short stories of this themed horror collection Truth or Dare of course share a framework around the party game. But they also share a common universe in setting and characters, the high school students of Greene Point High in Ohio who gather around a bonfire on Halloween night to reveal untold tales or meet the twisted challenges of peers.
While the shared aspect works fine as a setup, the collection doesn’t really hold up to many strong linkages between stories, and it is hard to envision how the events of all the stories could possibly all have occurred during this one supposed night. Yet, this aspect is something that can just be basically ignored, and each of the stories work fine with separate consideration as part of a shared theme collection rather than a shared universe narrative as well.
The stories reminded me of the quality and breadth that readers could expect from typical horror short fiction markets, including Nightmare Magazine, which I’m most familiar with, and the collection includes well-established authors and new-comers alike. A few of the stories didn’t impress me much, but on the whole the collection kept me entertained and provided the slight chills that scary stories and horror provide.
Truth or Dare opens with Thomas’ “Shackled to the Shadows”, which does a good job at setting the overall tone, first person narration, and a general structure shared by many of the loosely connected stories. With this story one already gets a sense that there are many levels of horror surrounding this high school game: the pains of being an outsider within the harsh realms of teenage existence, the monstrosity that people can manifest and the hatred it can in turn engender from victims. Beyond the internal viciousness of the characters there is also the impression of external malevolence, supernatural and ancient. In this opening story and beyond the reader sees that there is the horror of the story itself, but like all good campfire tales they conclude with hints of an even greater horror awakened, to come.
After the opening story heavy on tone, Guignard’s “An Unpleasant Truth about Death” relates an interesting plot about a near (or perhaps actual) death experience that highlights the dangers of intense curiosity and touches upon the power that games like Truth or Dare have, a superstitious hold of rules that one doesn’t take seriously on the level of rationality, but breeds deep fear in the soul upon transgression.
Though entertaining, Guignard’s story (or the one related by the character at least) has the feeling of being contrived – to have that creepy effect on the reader (or the fictional audience in the story). This isn’t a bad thing, I think it’s partially something integral to these kinds of stories, and it reminded me somewhat of the way classic creepy folklore goes, having an emotional effect but then triggering questions about how some plot detail could really happen – or why. This kind of effect casts doubt on whether the scary story is true, giving the audience a rational out to discount danger and allay fear. But what if it did happen?
Perhaps you can recall Schwartz’s classic Scary Stories to Tell in the Dark collections? Many of the stories in Truth or Dare reminded me of that style, tone, and plotting, but for an adult audience. Jessica McHugh’s “A Ribbon, Rover” is a great example of that, with a compelling plot that seems inventive yet also something born of ageless tales, mirroring the character of the story itself. I’ve read one novel of McHugh’s prior, but this is closer to actual classic horror and I look forward to reading more in that vein from her lovely mind. “The Bone Witch” and “Rattlebone Express” are two others that recalled those feelings of fairy tale and folklore in excellent modern fashion.
“The Bone Witch” also had slight tones of humor in it, despite a rather horrific situation and outcome. “Change” later in the collection from the Giglios also has this certain lightness, which provides some nice variety amid the more darkly emotional stories or the creature horrors of stories like “Mantid” and McKinney’s closing piece.
A few stories also delve into deeper waters of real horror, or in the case of “Iz” tackle the general issue of what makes a monster, what they do both to threaten society or perhaps provide for society. “The Pole” almost literally brings up Nazi skeletons in the closet and “Marco Polo” tackles the very real horrors of abuse. Malik provides a story (Laal Andhi, or Crimson Storm) of horrors from Pakistan, linking uncanny events with the real violence of terrorism, where macabre events from childhood end up imprinting damage on a young boy leading him to senseless and hopeless conflagration in the future.
A satisfying collection that would particularly fit reading in situations (beyond Halloween time) like a summer camping trip, Truth or Dare features a really good idea with the game as a theme for the horror genre. Even if Booth’s collection fails to make a cohesive narrative taken all together, it succeeds well in providing a range of tales that horror fans would enjoy and perhaps some new authors to discover.

Disclaimer: I received a free copy of this from Perpetual Motion Machine Publishing via NetGalley in exchange for an honest review.