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

23399070
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).
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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!
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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

24998915

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.
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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.

BLACK SWAN, WHITE RAVEN, Edited by Ellen Datlow & Terri Windling

22910783Black Swan, White Raven
The Snow White, Blood Red Anthology Volume IV
Edited by Ellen Datlow and Terri Windling
Published by Open Road Media, 30th September 2014
(Originally Published June 1997)
ISBN: 1497668603 – 368 Pages – eBook
Source: NetGalley

Contents:
“The Flounder’s Kiss”, by Michael Cadnum
“The Black Fairy’s Curse”, by Karen Joy Fowler
“Snow in Dirt”, by Michael Blumlein
“Riding the Red”, by Nalo Hopkinson
“No Bigger Than My Thumb”, by Esther M. Friesner
“In the Insomniac Night”, by Joyce Carol Oates
“The Little Match Girl”, by Steve Rasnic Tem (Poetry)
“The Trial of Hansel and Gretel”, by Garry Kilworth
“Rapunzel”, by Anne Bishop
“Sparks”, by Gregory Frost
“The Dog Rose”, by Sten Westgard
“The Reverend’s Wife”, by Midori Snyder
“The Orphan the Moth and the Magic”, by Harvey Jacobs
“Three Dwarves and 2000 Maniacs”, by Don Webb
“True Thomas”, by Bruce Glassco
“The True Story”, by Pat Murphy
“Lost and Abandoned”, by John Crowley
“The Breadcrumb Trail”, by Nina Kiriki Hoffman (Poetry)
“On Lickerish Hill”, by Susanna Clarke
“Steadfast”, by Nancy Kress
“Godmother Death”, by Jane Yolen


While I adore fantasy, retellings of myths or fairy tales aren’t the flavor that I’d first go for. Other than a handful of really well known classics, I’m not generally familiar with the source material, leaving at least one level of a retelling inaccessible for my appreciation. But, I wasn’t about to pass up a chance to try something a bit different from my favored norm, particularly when Ellen Datlow’s name is attached as editor. Terri Windling is just as respected, but I am far less familiar with her work. Probably because of this branch of fantasy in which she specializes.
And I was just enraptured from the moment starting this classic collection. Though I hadn’t heard of it before, Datlow made a comment on Twitter regarding how she was glad it was available again and in eBook form for those (like me) whose radar didn’t pick it up in the late 90s. After reading this I’ve since picked up all the other volumes from the series during an Open Road Media sale and look forward to enjoying them all.
The stories in this volume at least vary nicely in style and tone from the more serious to the light-hearted, and mix up the genres from an expected fantasy to something closer to science fiction or mystery. Beyond even the stories, there are also a couple of poems. Try as I might, I still can’t manage to get much appreciation out of poetry. I have gotten better, but still a long way off. So I didn’t read the poems in this. Nonetheless I’m glad they are there because I think the art form would give great opportunities for briefly retelling the cores of fairy tales. And these fairy tales, already existing ‘classically’ in myriad form, really are about some general ‘core’ elements rather than any given specific details of the plot.
While some of the stories stick to classic messages, perhaps in a new setting or from a new point of view, a large number serve to invert or recast elements that in this era would be considered problematic due to things like race or gender, or use the existing shell of a classic tale to create something wholly new that empowers and speaks to a group of the population that the tales of old rarely did.
For me personally on the two ends of the spectrum I cared least for “The Trial of Hansel and Gretel” and “On Lickerish Hill”. I found the former, casting the eponymous characters into a courtroom drama, to simply drag, and for the Clarke they style of the language was too much (though I managed her Strange & Norrell novel just fine).  My most beloved readings here were “Godmother Death”, “The True Story”, “The Dog Rose”, “No Bigger Than My Thumb”, and “The Black Fairy’s Curse”. Many of those I enjoyed most fall into that category where a basic assumption from the original tale is taken and inverted to show a novel perspective or truth previously hidden or, within the confines of the story, ‘suppressed’.
Honestly I could list even more of the contents that I enjoyed, but the simplest thing is to let you find this and discover them all for yourself, if you haven’t already. Or perhaps to discover them all again. Whether this volume or (it is probably safe for me to speculate) any of the volumes of the Snow White, Blood Red series, you’re sure to find a good deal thought-provoking and entertaining.

Disclaimer: I received a free electronic reading copy of this from Open Road Media via NetGalley in exchange for an honest review.

“Cyber Monday” eBook deals from Open Road Media

You’ll likely hear about lots of book deals today, but this is one that may not make it across your radar, so I thought I would share the info:

Open Road Media has provided me with many great Mystery, SciFi/Fantasy, and Literary fiction eBooks (and physical copies) for review in the past, but these just brush the surface of the large catalog of quality works they have available, particularly many wonderful reissues.

Their normal prices are quite fair, but if Cyber Monday splurging is your thing and you are looking to discover/rediscover some books at a REALLY cheap price, today is the day, with more than 2,000 Open Road ebooks on sale. Today only, readers can get amazing deals of up to 80% off regular price.

You can find my reviews on the books that I’ve gotten from them under the Open Road Media tag category. One addition, My review of Black Swan, White Raven is still coming, but it and most of the other volumes in Ellen Datlow’s and Terri Windling’s collections of fairytale-inspired fantasy stories is included in this big sale. I really loved the first of these, and will be taking advantage of this sale to pick up the rest.

I also just noticed several of Sherman Alexie’s works in the literary fiction section. If you haven’t ever read him, please get one of these and remedy the deficiency. Now.

To start browsing, you can find their editorial selections of best picks here.

Finally you can also browse selections at your retailer of choice, such as on Apple, Barnes & Noble, or Kobo.

Women Destroy Science Fiction!, Edited by Christie Yant

Women Destroy Science Fiction!
Lightspeed Magazine #49 (June 2014)
Edited by Christie Yant
Publisher: John Joseph Adams
ISBN: 1499508344
488 pages, paperback (special ed.)
Published 1st June 2014
Source: Personal purchase

Fiction Contents:

“Each to Each”, by Seanan McGuire
“A Word Shaped Like Bones”, by Kris Millering
“Cuts Both Ways”, by Heather Clitheroe
“Walking Awake”, by N.K. Jemison
“The Case of the Passionless Bees”, by Rhonda Eikamp
“In the Image of Man”, by Gabriella Stalker
“The Unfathomable Sisterhood of Ick”, by Charlie Jane Anders
“Dim Sun”, by Maria Dahvana Headley
“The Lonely Sea in the Sky”, by Amal El-Mohtar
“A Burglary, Addressed By a Young Lady”, by Elizabeth Porter Birdsall
“Canth”, by K.C. Norton
“Like Daughter”, by Tananarive Due
“The Greatest Loneliness”, by Maria Romasco Moore
“Love is the Plan the Plan is Death”, by James Tiptree, Jr.
“Knapsack Poems”, by Eleanore Arnason
“The Cost to Be Wise”, by Maureen F. McHugh
“Salvage”, by Carrie Vaughn
“A Guide to Grief”, by Emily Fox
“See DANGEROUS EARTH-POSSIBLES!”, by Tina Connolly
“A Debt Repaid”, by Marina J. Lostetter
“The Sewell Home for the Temporally Displaced”, by Sarah Pinsker
“#TrainFightTuesday”, by Vanessa Torline
“The Hymn of Ordeal, No. 23”, by Rhiannon Rasmussen
“Emoticon”, by Anaid Perez
“The Mouths”, by Ellen Denham
“MIA”, by Kim Winternheimer
“Standard Deviant”, by Holly Schofield
“Getting on in Years”, by Cathy Humble
“Ro-Sham-Bot”, by Effie Seiberg
“Everything That Has Already Been Said”, by Samantha Murray
“The Lies We Tell Our Children”, by Katherine Crighton
“They Tell Me There Will Be No Pain”, by Rachael Acks

Also including a novel excerpt, nonfiction, personal essays, artist gallery,  and author spotlights

 ‘Women don’t write real science fiction.’ ‘That isn’t what a story written by a woman should be like.’ ‘If women try to write science fiction they will just destroy it.’
Many things out there seem to be an all-male’s club (or predominantly so). It kinda boggles my mind that statements like those above were ever tossed around in the field – or that they even are still today. Compared to the past there are a lot of women science fiction writers out there, as this collection testifies. Part of any issues I feel come down to the matter of the definition of science fiction. What is ‘real’ science fiction? There is no single answer, and to some the answer is a sub genre that may be called hard science fiction which ultimately will come down to facts related to physics.
As there appears to be fewer women in the ‘hard’ sciences (a separate problem in itself) it comes as not too big a surprise then that there aren’t many female science fiction writers that could be put in that category of ‘hard SF’. Yet, even when they could, it seems like their inherent gender make people consider them something else.
Take Margaret Atwood – a writer whose stories feature reasonable futures based on present-day scientific reality (a relatively narrow, but common definition of hard SF as put forth recently for example by Norman Spinrad in Asimov’s). Her work is easily classified as hard science fiction. But she herself eschews the label, preferring to call her work speculative fiction to avoid the negative associations of ‘science fiction’ with a particular kind of space story and an interest in scientific details over a more human or literary picture.
Whatever the definitions and whatever the reasons why some have an issue with women writing science fiction, the stories here prove that one should be overjoyed if they continue to find voice in ‘destroying’ science fiction.
The stories included here make this easily a year’s best of collection in itself. They are varied in tone from the humorous to the serious, and in genre from hard and futuristic to the more fantastic (alternate) historical. As such, unless you enjoy a wide range of types of stories, there may be some stories in here that just don’t interest you despite each truly being top-notch. I personally had my favorites within each section of new fiction, reprints, and flash fiction. And there were some I just didn’t enjoy though I recognized their merits as intended. However, even if you only like a particular kind of story in the SF landscape, the collection is well-worth the cheap admission price.
I particularly liked the opening story by Seanan McGuire. Out of all the stories in this collection I feel this one significant to discuss due to its embodiment of what the entire collection represents.
There are conflicting expectations in a collection with the theme this Lightspeed issue has. On the one hand one has the expectation that the stories will relate the female-specific condition within the confines of the genre. They ‘should’ feature female characters that aren’t stereotypes, they ‘should’ deal with feminist issues, they ‘should’ focus on matters unique to female biology and social practices built around that.
Yet, on the other hand the point is that women writing science fiction should be no different, no less worthy or capable, than men writing it. And the point is that there is no single thing that women writing science fiction ‘should’ write about. If a female author writes a story with no female characters that says nothing about her gender, does that matter? Does it by virtue of her gender automatically become a feminist work even though the story itself is so devoid?
Seanan McGuire’s “Each to Each” is brilliant in its playing with expectations of what females are, the roles they ‘should’ serve, and how they are viewed both by others and by themselves. These sorts of themes echo throughout the remainder of the collection, whether explored implicitly or explicitly. The stories (and the nofiction in the issue) don’t offer any kind of clear answers to the matters of dealing with gender disparities, or of dealing with the general Other. Instead they offer a celebration of what all is possible with women writing science fiction. That celebration shows that women writing science fiction is just simply humans writing science fiction – a world of disparate experiences and possibilities, with aspects that no one really has a premium on beyond the fact that each is a personal story, unique and meaningful each to each.
They are women, but they are not just women. They are Charlie Jane Anders. They are Rachel Swirsky. They are Marissa Lingen. They are Nisi Shawl. They are. And listening to their voices is the closest we can come to understanding them, and for that their talented and competent voices deserve to be heard, however they choose to raise them.
One of the things I really enjoy with Lightspeed Magazine are the author interviews that accompany each story, that highlight the individual and personal nature of each story. These give insight into the author’s inspirations, writing process, and at times show interpretations which may coincide or be different from the reader’s. The other nonfiction here includes a host of personal essays. I found these okay by and large, though I do wish there were one or two longer and more in-depth essays or analyses rather than the more brief or superficial feel that some of these had.
If you haven’t picked up this issue yet, I really encourage you to do so, and to look for the two upcoming Women Destroy… issues featuring a Fantasy and a Horror focus, and the Queers Destroy… issue that will follow.
Decades ago a large part of science fiction was not just about technological or scientific speculation but also social speculation, a means to explore the disenfranchised and the Other. It is nice to see something returning in full force to this purpose.
Five Stars out of Five

Fearful Symmetries, Edited by Ellen Datlow

Fearful Symmetries
Edited by Ellen Datlow
Publisher: ChiZine
ASIN: B00EXOT73U
400 pages, Kindle Edition
Published May 2014
Source: NetGalley

Contents:

“A Wish From a Bone” by Gemma Files
“The Atlas of Hell” by Nathan Ballingrud
“The Witch Moth” by Bruce McAllister
“Kaiju” by Gary McMahon
“Will The Real Psycho In This Story Please Stand Up?” by Pat Cadigan
“In the Year of Omens” by Helen Marshall
“The Four Darks” by Terry Dowling
“The Spindly Man” by Stephen Graham Jones
“The Window” by Brian Evenson
“Mount Chary Galore” by Jeffrey Ford
“Ballad of an Echo Whisperer” by Caitlín R. Kiernan
“Suffer Little Children” by Robert Shearman
“Power” by Michael Marshall Smith
“Bridge of Sighs” by Kaaron Warren
“The Worms Crawl In,” by Laird Barron
“The Attic” by Catherine MacLeod
“Wendigo Nights” by Siobhan Carroll
“Episode Three: On the Great Plains, in the Snow” by John Langan
“Catching Flies” by Carole Johnstone
“Shay Corsham Worsted” by Garth Nix

Ellen Datlow’s name to me is synonymous with horror anthology. I see the two together so often, and usually with accolades, that I decided I really did need to just read one of her collections. This one really impressed me in its variety and its quality. I typically enjoy reading horror stories like these around Halloween time, and this collection would be suited well for that kind of celebration. The hard decision will be whether to reread this one or try out another one of her collections.

A review of each single story seems excessive, and there isn’t a single story that failed here. There are no common themes uniting this collection other than the very general fitting into the category of horror or dark tales. They range from very realistic to paranormal, from gruesome gore-filled feasts to nuanced, atmospheric tales, from pulp to literary. Fairly well-ranged in background and style, this is an ideal volume to discover new authors or names that you may merely recognize.

Frankly, it is hard to even pick out favorites from this. For someone like me who has a wide range of tastes across the genre, each of these represents top contributions to their respective category of story type. If you are discriminating regarding the type of horror you like then this may not be the best collection. There will certainly be some or several stories here that you like, but others may hold no interest, in which case you might search elsewhere for a themed collection or just read certain selections here. But for those wanting an intro or return to the range that the horror genre has available, “Fearful Symmetries” is absolutely perfect.

Five Stars out of Five