NIGHTMARE MAGAZINE #100 (January 2021) Edited by John Joseph Adams


For its 100th issue, this Nightmare includes a large selection of stories beyond the four that normally an issue would contain. Some of the stories are available to read for free on the website, but it’s a particular bargain this month to purchase for the complete contents. I’ve subscribed since (near) the start of the magazine’s run, and as a fan of dark fantasy, I haven’t regretted it. The close of this issue has given me one of those moments where I wish the horror field could collectively decide to take a breather from mining the Lovecraft though.

“How to Break into a Hotel Room” by Stephen Graham Jones — A scam artist goes to steal some things from a hotel room to sell off to his friend and longtime partner. Though the job seems to proceed well, he enters into a bare hotel room to face ghosts from a tragic episode of their past crimes. What sets this story above the norm is the voice that Jones gives to Javi the scam artist. Solid display of horror short fiction here, though I’m uncertain why the past choses this particular moment to catch up on Javier.

“Rotten Little Town: An Oral History” by Adam-Troy Castro — Written as a series of interviews with the (surviving) creator/writer and cast of a successful cult TV show. It chronologically proceeds though the seasons of the show’s run, providing details of the on-screen and behind-the-scene elements of cast relationships and bringing the series to life. Between the lines, the reader realizes that there is something dark and sinister influencing things. I enjoyed the format of this story and the idea of the ‘dirty secrets’ of production that can occur only to be hushed up, but taking it in a really malevolent and controlling direction.

“I Let You Out” by Desirina Boskovich  — A woman is haunted through life by a monster that emerges from closets. An over-zealous religious family makes the terror worse, and casts judgement and doubt upon the victim. She recalls the monster’s first visit, and forces herself to look upon its face. The metaphoric themes of this are familiar in dark short fiction: feminism, overcoming trauma. Boskovich approaches them with some fine, tender writing that doesn’t go down the ‘revenge’ route that other stories in this vein often turn.

“Last Stop on Route Nine” by Tananarive Due — Driving in Florida from her grandmother’s funeral to a luncheon Charlotte and her younger cousin Kai get lost in the fog on Route 9. Stopping for directions at a house by an old boarded-up gas station, they are hexed by a crazed old racist woman and flee back into the fog before finding aid. The story involves a journey into another time in a way. The realization of the characters that they don’t want to go back also serves as a reminder that the racist, dark corners remain.

“Darkness, Metastatic” by Sam J. Miller — I read this right before going to sleep, and a story has not creeped me out as much as this one did in a long time. As usual, Miller writes exceptionally well, with characters and situations that can tug on emotions. In this a man named Aaron becomes concerned when his ex, and investigative documentary partner, begins leaving lots of dark messages on another ex’s phone. Digging deeper and trying to connect back with his ex, named Caleb, he learns more of Caleb’s investigation into seemingly unconnected murders, and discovers a creepy viral app called Met_A_Static that may have changed Caleb, and now has targeted Aaron. I haven’t found much interpretation to make of this story yet after one read, but it certainly works on the base horror level.

“Wolfsbane” by Maria Dahvana Headley — A feminist retelling of the Little Red Riding Hood story with witchcraft, mother, daughter, sister, grandmother, and wolves. Not the style of story I go for, but the themes of it are great and Headley’s writing, as usual, is exquisite.

“Thin Cold Hands” by Gemma Files — First published in LampLight in 2018, this story has popped up since reprinted The Dark Magazine and in one of Datlow’s Best Horror of the Year collections. This is a creepy changeling story about mothers, daughters, and home. Though others by Files have resonated more with me, this is a solid horror story that is worth a reread.

“The Things Eric Eats Before He Eats Himself” by Carmen Maria Machado — A short story whose title sums up the plot entirely. The list of foodstuffs is fascinating varied to read, written in a careful flow of musical words.

“Up From Slavery” by Victor Lavalle — This reprint of a short novella that originally appeared in Weird Tales starts with a scene of a train crash, a scene that shows how well Lavalle can write. Simon Dust grew up as a black boy in the foster care system, and never knew who his parents were. One day, while copy-editing a new edition of Booker T. Washington’s memoir (which gives this story its title) Dust receives a letter with his father’s name in it, informing him that his father has died and left his home in Syracuse to Dust. There, Dust further discovers this man who has claimed to be his father was a white man, and that his body was discovered under creepy circumstances. This sets up the Lovecraftian horror that follows, a story of gods and slaves that takes creatures from the iconic and inexplicably influential writer’s stories and reworks them into powerful themes of racism and identity. Those who are familiar with Lovecraft will probably get more from this story. I had to look up the references, and as much as I enjoyed the emotional and thematic core of the story, I just don’t get the fascination with Lovecraft tropes.

“Jaws of Saturn” by Laird Barron — Another Lovecraftian reprint taken from Barron’s collection The Beautiful Thing That Awaits Us All and Other Stories. A woman tells her hired gun boyfriend about the strange dreams that have been plaguing her, and the hypnotist she is seeing for treatment in quitting smoking. After a marathon sexual encounter together and further talk of her odd dreams, the guy decides to look into this hypnotist further. The weird horror that he discovers is beyond anything he could’ve expected. Barron writes amazingly, but here there is nothing underneath the cosmic horror angle for me to really grab onto and appreciate, and this genre of horror alone doesn’t suffice.

With “The H Word” horror column by Orrin Gray, author spotlights, a book review from Terence Taylor, and a roundtable interview with outgoing editor John Joseph Adams and incoming editor Wendy N. Wagner.


IT CAME FROM THE MULTIPLEX: 80s MIDNIGHT CHILLERS Edited by Joshua Viola

It Came from the Multiplex: 80s Midnight Chillers
Edited By Joshua Viola
Hex Publishers — September 2020
ISBN: 9781733917759
— Paperback — 316 pp.


Inherently as an anthology, It Came from the Multiplex embodies variety not just in its contributors, but in the style, tone, and depth of its stories. Even when looking at their shared genre of horror or theme of 80s movie nostalgia, the fourteen offerings vary considerably in their approach to those molds. Readers are likely to approach the collection through the lens of their expectations, perhaps based on the excellent B-horror-VHS-inspired cover art, or recognition of a handful of contributing authors. Readers might interpret the variation in stories they discover, and distances from their expectations, as indicative of differing ‘quality’.

I tend to enjoy a pretty wide-range of fiction and styles, but still of course have things I don’t care for. I found It Came from the Multiplex to be rather consistent in quality. The majority of stories are good, there are a handful of excellent ones that stood out to my preferences. And there were a few that I liked less. If you are a very particular reader, and are looking for one or two ‘kinds’ of horror stories (or only particular approaches to the thematic prompt), there might be a lot less for you here to enjoy. If you are a general fan of horror short fiction, you should be satisfied with a spectrum of enjoyable reads. If, like me, you are a sucker for cult horror movies and metafiction about them on top of that general interest, you should love the hell out of a good percentage of the offerings, well exceeding the price of admission.

Before I get to comments on each of the individual stories in the collection, two additional comments about the art. Not only does the cover fit well, but stories are also accompanied by illustrations. Growing up with a horror diet of Edward Gorey art in John Bellairs’ novels and Stephen Gammell drawings in Alvin Schwartz’s Scary Stories to Tell in the Dark series, spooktacular images are almost an essential element for me to really dig into a horror tale. Readers of an ebook edition of this might miss out on this, but a repeating cartoon of a creature appears in the header of each verso page. Subtle differences between them create animated tentacle waving as readers flip through the pages. While certainly not a huge deal, it is a whimsical little addition.

On to the stories!

“Alien Parasites from Outer Space” by Warren Hammond An enjoyable lead story that immediately brought to mind plots and spirit of SF/horror B-movies in the Body Snatchers vein. Set in a drive-in theater with a group of teenagers, the story didn’t really fit into the 1980’s theme so much as the 1970’s, though my memory only really goes back to the mid to latter 80’s for experience.

“Return of the Alien Parasites from Outer Space” by Angie Hodapp Consistent with the tendency of sequels to not be quite as good as their original offering. This directly continues the events from the first story, and the overall tone stays consistent. But, the story went into directions completely different from what I had in mind after finishing the first. The danger of a sequel, I liked my version better, even though this was technically good.

“Negative Creep” by Alvaro Zinos-Amaro After two relatively light-hearted, tongue-in-cheek entries things go more creepy with a story that we see from the start won’t go well. Through flashback we learn of a supernatural entity stalking a group of teen cinephiles. As some of them wind up dead, the survivors try to figure out what draws the force’s attraction. One of my favorite stories in the collection, this contains a host of 80s references from music to film, but also has depth beneath it all, themes on the growing culture of noise and distractions, and silence.

“Helluloid” by Dayton Ward & Kevin Dilmore Another story with a group of teenage characters, this time featuring a self-described necromancer who conducts a summoning ceremony in an old movie theater basement with her boyfriend and others. You can guess how things will go. Even if predictable it’s an enjoyable read.

“Rise, Ye Vermin!” by Betty Rocksteady A welcome addition of a female voice in a collection that like the 80s skews far too much toward the male point-of-view. The villain of the story, a theater owner, actually reminds me a lot of a John Bellairs villain, but here those standing against him are a pair of employees who have been trying to keep their lesbian relationship a secret from the close-minded town. Rocksteady does shock and gore well, and this story is no exception, another standout.

“The Cronenberg Concerto” by Keith Ferrell Another standout selection of the collection follows here, by an author who It Came from the Multiplex honors at its start with a dedication in memorial. The first of what I would characterize as disturbing horror stories in the collection, building from the previous. As the title indicates, the plot involves a fan of the body-horror films of David Cronenberg. The creepiness builds as the reader realizes what is happening here, and Ferrell accomplishes this through some of the most ‘literary’ crafting of sentences and voice in the collection.

“Creature Feature” by Gary Jonas Imagination reins in this entry, both from the author in crafting it and within the minds of the protagonist and the readers, as one tries to guess what horrific secrets lie behind a curtain. A man is tasked with making precisely timed deliveries to a theater that appears closed to the public, yet constantly showing footage to an unknown audience. His rules: Never be late. Don’t ask too many questions. His curiosity and friendliness with the young woman working there draw him into discoveries.

“Invisible” by Mario Acevedo As with Ferrell’s story, one that makes the reader squirm by seeing through the eyes of a disturbed character, a serial killer at a drive-in. There are several twists in this one, but despite them I could always tell where things were going. It still works in achieving its effect at bringing the horror to you.

“Screen Haunt” by Orrin Grey A young woman writes and directs a film inspired by a missing sister. Melancholy and disturbing, it reminded me a lot of the types of stories in another movie-themed collection I read, Lost Films from Perpetual Motion Machine Publishing. Most of the stories in the collection don’t fit into Halloween time when I actually read this collection, but this one sure does, with the creepiness of costumes at the fore.

“The Devil’s Reel” by Sean Eads & Joshua Viola Parents at a Baptist Church don’t want their children to be attending a lock-in movie night at the local theater where they might watch questionable material. But the new theater owner talks them into it with the wholesome movies he promises to show. Only he lies. Oppressive religion is a staple of horror, I’d even say a cliche. Here at least it is turned a bit in that they are proven right to suspect. I guess this is really a story that goes in the direction of: what if movies really are Satan trying to corrupt the youth?

“On the Rocks” by K. Nicole Davis Two couples settle in for an outdoor summer showing of The Howling in a natural amphitheater. The sun goes down and a full moon rises for the start of the show. Then mayhem. A shorter entry that doesn’t aspire to too much, but ends with a perfect final sentence.

“Coming Attractions” by Stephen Graham Jones Teenagers sneak into a supposedly haunted theater and end up investigating what lies behind panels in a men’s room that was remodeled when putting in urinals to replace the previous, more communal set-up. Creepy terror awaits. I usually love Jones’ work. This is good, but didn’t stand out to me compared to some of the others after one read.

“Late Sleepers” by Steve Rasnic Tem Another big name author in horror, I’ve liked much of the short fiction I’ve read by Tem, but the one novel I’ve read I found simply okay. This one is great. Home for Thanksgiving, a college student wakes at night after being at odds with his family, now feeling not quite right, with a hazy memory. Going out for air he finds himself at the local small theater, showing weird clip montages and an independent feature for those who can’t sleep – all the way until dawn. Tem perfectly captureslate night eerieness and the paradoxical relief and discomfort that the genre can offer.

“Special Makeup” by Kevin J. Anderson Probably the most widely recognized name among contributors to this collection, this story seemed to fit least into the overall theme – and decade. To boot, I couldn’t find anything particularly remarkable about it. An unfortunate end to the shows.

It Came from the Multiplex also features: Foreward by Bret & Jeanni Smith, Introduction by Paul Campion, Listing of Cast and Crew, and Acknowledgments. Cover by AJ Nazzaro. Story illustrations by Xander Smith and Header Art by Aaron Lovett


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).
 –
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

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.
 –
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.

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