Author: A.E. Siraki
Bram Stoker Award®-winning editor and writer Eric J. Guignard helms the newest addition to the Horror Library series of books from Cutting Block Books, Horror Library Volume 6. One of the things I appreciated most about his stewardship over the anthology was his decision to include little blurbs before each story to introduce them. I have enjoyed this technique in other anthologies he has edited, and thought it was a great idea to incorporate it here as well. Guignard wrote in one note of the anthology that he had a mandate to uphold whereby he tried to publish as many new and/or previously unheard of authors who are not as well known in the horror genre, so although you are not going to see such big names of the titans as Clive Barker or Stephen King, do not let that fool you because this anthology has an extremely high calibre of stories.
We start off with a disturbing ghost story entitled “I’ve Finally Found You” by Garrett Quinn. Con is a troubled young man who is still struggling with the death of his mother. He soon finds out that sometimes it’s best not to poke around where one shouldn’t, and in this particular case, it involves him messing with a CB radio that he believes may be able to help him communicate with his mother’s ghost. If you are chomping at the bit for the new season of Stranger Things to return as I am, this story will slake your thirst in the meantime.
Jackson Kuhl presents “Cartagena Hotel” about a small town in Texas called Ophir where construction workers are disappearing but the reason is unclear and the reader is not sure who is telling the truth or what is truly responsible for the disappearances. Although I felt that the pacing was a bit rushed toward the end of the story, I liked the disturbing implications of this tale.
Next up, “The Night Truck” by Stephanie Bedwell-Grime is the tale of a woman who must heed the consequences of what happens when she ignores her grandmother’s superstitious warnings about darkness in an old house. This is the perfect story to read around Halloween.
Connor De Bruler takes the reader all the way to a Tuscan village in Italy with”Il Mostro” (in Italian, this means “the monster”). Two friends, Earl and Ethan, are wandering around a village when they go to a restaurant where the only other people are the bartender and a man from France. The protagonists are struck by the oddity and unnaturalness of the place, particularly as it concerns a mural that seems like it could be from a Guillermo del Toro movie. Although I was initially a bit confused as to whether Earl and Ethan were tourists on vacation or if they were running away from something, the main theme this story emphasizes is that if something seems too good to be true, it likely is.
Bentley Little reminds us just how unnerving plumbers can be in “The Plumber” while Josh Rountree offers up a World War I tale of historical military horror in “Snowfather.” Next, veteran author Jeffrey Ford presents a semi-autobiographic tale called “Five Pointed Spell” about a protagonist who has traded his city life in New York for farmland in Ohio so he can support his current wife’s dream job. This story does a great job capturing the consequences of people who say they want to live off the grid and be in remote areas who then find that actually, they don’t like it very much and it was not how they imagined when they begin to settle in. Although the ending struck me as a tad anticlimactic, I think it also has a clever edge because it is one of those stories that leaves the reader to guess at the implications of what has actually happened.
For those looking to satisfy their airplane horror lust, John M. Floyd’s “The Red-Eye to Boston” will do the trick. This story is a testament to why it is probably a good idea to minimize speaking to other people on airplanes.
Raymond Little takes readers back to the glitz of 1930s Hollywood in “Elsa and I,” a story in which the ghosts of the past continue to haunt the present for the protagonist.
The first of my two favourite stories from this anthology is “Mother’s Mouth, Full of Dirt” by Rebecca J. Allred. This story deals with a little girl, Vilte, who believes her dead mother still lingers around the house she shares with her physician father. The reasons for the demise of Vilte’s mother are, although easily inferred from the backstory, also shrouded in secrecy. The creep factor is very strong in this tale, and although I was not expecting “tooth horror,” which is a kind of subgenre I have noticed in the past few years, this story takes an excellent and creative spin on that motif. Also notable was how well Vilte fills the role of unreliable narrator.
In “Predestination’s a Bitch,” Sean Eads presents the only humorous horror story in the anthology in this tale of a disgruntled IT worker, Clyde, who finds that his colleague, Roger, tells some off colour jokes that turn out to have very real consequences. I struggled with the offensiveness of some of the jokes at first, but toward the end, I felt that Eads did a good job building up suspense and tension and helping the reader realize the danger that is unfolding at the same moment as the protagonist.
My number one absolute favourite story of this anthology came from Marc E. Fitch, and it’s called “The Starry Crown.” The main character is a doctoral candidate working on his dissertation. He has left behind the comforts of campus life to do field work in the Deep South. More specifically, he is studying folk songs from the southern states “that had neither a time or place of origin not a known composer.” He is particularly interested in songs sung by slaves and slave owners, backwoods preachers, and so on. He is determined to find out the meaning of the lyric “starry crown” in a song that is shrouded in mystery. Fitch mentions a real book, G.H. Allan’s Slave Songs of the United States and explains some of the possibly fictionalized backstory of why this starry crown song confused Allan. He got it from someone called Cobb in South Carolina.
Rather than continuing to describe my ever-increasing interest in the plot, I will sum up by saying that this is another story that warns the reader that it is possible to uncover too many stones in the search for the truth and that even if we do manage to go to great pains to find it, sometimes the results will make us wish we had not. This is a disturbing, unsettling, and phenomenally well-written story. I hope to be able to read more work from this author in the future.
Vitor Abdala presents a short, but creepy tale of cyber stalking in “Instant Messaging” that is another cautionary tale while JG Faherty presents a criminal who gets summoned by the Devil to work for him on “The H Train” only to realize the true price too late.
Another of the memorable stories for me was “Kalu Kumaraya (My Dark Prince)” by Jayani C. Senanayake. This tale deals with the mythology of Sri Lanka, a kind of dark and morbid love story but in a good way. The protagonist invents an imaginary friend as a child, which seems innocent enough until this “friend” starts causing a lot of trouble in the real world. Kalu seems to function as a sort of dark genie. He makes life very difficult for the protagonist, particularly as it relates to her ability to form relationships with boys her age. Once the myth gets explained toward the end, ultimately it seems that some cycles are not that easy to break, which I found disturbing indeed.
Lucas Pederson’s “We Were Monsters” deals with an alternating timeline between the present and 1994 when the protagonist had an aunt (who wasn’t actually a blood relative) who was into vampirism. He and his group of friends soon dub themselves after all the Universal monsters and encounter a disturbing creature that would make all those movie beasts shriek in terror. This tale also ends on an ominous note.
Another favourie for me was “Waiting for Mrs. Hemley” by Thomas P. Balázs, a tale of psychological horror that has shades of The Silence of the Lambs. There is a particular quote from this story that I wish I could frame, which is when the protagonist, a psychiatrist, says: “The unconscious is a bottomless chasm of trauma and repression.” This tale turned out to be one of the most interesting and unconventional–definitely not at all typical–takes on zombie fiction that I have seen in years.
The ghosts of the past continue to haunt yet more protagonists in Jay Caselberg’s “The Ride,” this time concerning a guy, Jason, who lost his girlfriend four years ago when she went missing, but he has been suspicious of the authorities ever since because they never found a body. When a person goes missing, there is always the weight of the dread where their loved ones wonder if the person is dead or if there is still a possibility that they are alive. Will they ever see that person again? It is maddening and frightful to contemplate.
A person does not simply “get over” something as unsettling as this. At best, a person learns to live with it but to do that, one has to move through it, and that is definitely easier said than done. Jason decides to investigate in Scotland, because he knows he is not going to be able to let this go. This trip makes him feel productive–like he is taking action and like he is doing something, so he can give himself a semblance of control over the situation, or as much as it is possible to have control in a situation like this. In the end, he learns that sometimes it is best not to investigate too far because a person may not like what one discovers when going poking around for the truth and that some things are best left buried and unexplored.
Ahna Wayne Aposhian gives us the trope of the old woman who comes to people in nightmares and sits on their chests, preventing them from breathing, in “Old Hag.” The protagonist, Wendy, used to have a happy marriage but since her night terrors, her husband has become unsympathetic and brusque. If you like your body horror in hefty doses, this is the tale for you.
Another of my favourite writers, Edward M. Erdelac, gives us a memorable tale called “Hear the Eagle Scream.” Edward writes an interesting brand of historical horror that spans many different interesting locales and characters and this story is no exception. This time around, a man named Jim Thiemann is the owner of Longview Ranch in Scurry County. Although I initially placed this story as Wild West setting from the 1800s, it was probably closer to the early 20th century.
A man named Horace comes up to Jim telling him he’s the man for the job that is being advertised on a sign outside the ranch. Although skeptical at first, Jim gives Horace a chance and is very pleased with the results. This is one of those brilliant twist stories in which the reader spends most of the time convinced that the protagonist is in some kind of impending danger only to find out that the real source of trouble is far from what is expected.
Finally, to cap things off, Carole Johnstone presents “Better You Believe,” which is mountain horror at its finest. If you enjoyed The Abominable by Dan Simmons or The Ruins by Scott B. Smith, you will get a kick out of this story.
This anthology deserves 6 out of 5 stars. It is always difficult for any anthology series that continues to sustain momentum and to show that each new volume is even better than the last, but Guignard was the absolute perfect choice to be at the helm of the newest “Horror Library.” He has a spectacular ability to select stories that are all fantastically well-written and of such a high calibre that is rare to find in anthologies. Even the stories that did not interest me as much in Horror Library Volume 6 were impressive and I was stunned by the fact that there is not a single dud in here.
I think that Volume 6 deserves a lot more attention than it has been receiving as far as reviews and reader reactions go, because Guignard has done a masterful job. You are not going to find another horror fiction collection out there that tops this one except possibly Ellen Datlow’s Year’s Best Horror (now up to Volume 9), but I don’t think it is an exaggeration to say that this anthology is on par with hers in terms of quality. This is one of the best horror fiction anthologies of the year and I truly hope Guignard gets the recognition he deserves particularly with regard to awards.
When I first heard about the documentary I Am Not Your Negro that is narrated by Samuel L. Jackson and directed by Raoul Peck, centering around the work of James Baldwin, I knew I had to find a way to see it.
The documentary opens with a James Baldwin interview from 1968 that sets the stage. We then cut to footage from 2014 in Ferguson and the Black Lives Matter movement.
Samuel Jackson’s distinct timbre narrates Baldwin’s words–excerpts from unpublished as well as published works. The novelist was working on a non-fiction work about the lives of Malcolm X, Martin Luther King Jr., and Medgar Evars, all of whom were murdered. To say this documentary is brutally graphic would be an understatement, as would it be to refer to it as unflinching, but it is both of those things. A grisly image of a murdered Malcolm X’s corpse is just one of the examples of this.
Baldwin describes Bill Miller, a White woman who the local police and most townspeople reviled, because she taught underprivileged youth of colour such as Baldwin. Growing up, he looked to her as a more balanced voice of reason that taught him to consider a multiplicity of perspectives.
The documentary is filled with clips of the most problematic depictions of African-Americans in all kinds of media, from some of the most horrifyingly racist advertisements, including one in which an African-American man emerges from within a gigantic banana, reinforcing the monkey/sub-human framework as well as extending the disarming/non-threatening image tactic, which portrayed African-Americans as docile and meek.
Baldwin despised the novel Uncle Tom’s Cabin by Harriet Beecher Stowe (1852), which is now recognized as incredibly racist. However, in its era, the novel was hailed the same way that the works of Nathaniel Hawthorne and Charles Dickens were. One of the reasons Baldwin reviled Stowe’s novel is because instead of fighting back or exacting vengeance on the White characters who hurt him, Uncle Tom continuously turned the other cheek. By contrast, Baldwin struggled with the fact that almost every character John Wayne played in his films depicted him as taking vengeance as he saw fit and without batting an eyelash.
As his works gained more notoriety, Baldwin gave more lectures and participated in a number of interviews, most of which are peppered throughout the documentary at key points in the narrative. We see the evolution of how Malcolm X and Martin Luther King Jr. started out on polar ends of the spectrum as far as their views but eventually came to see eye to eye.
Two interesting stylistic choices I want to touch on include the use of typewriter key sound effects while typewritten documents are being shared on the screen, as well as the addition of audio to still photographs such as the sound of fire burning in the background or the horrifying sound of rope swaying back and forth after a lynching.
Secondly, I’m not sure if this was a strategic choice or had to do with the original format of the interviews and clips, but I found it to be an interesting tie-in with the discussions of colour in the film to show Baldwin in black and white almost exclusively until near the end of the documentary when he is shown in colour twice. It may be that this was not a stylistic choice but rather a consequence of the fact that the earlier Baldwin recordings and appearances were filmed in black and white and thus are only available in that format whereas his later clips were filmed in colour. Nonetheless, it added another dimension to the film for me.
Although Baldwin did not and could not have predicted Obama as the first African-American president of the United States (an emotional moment in the film from his inauguration was very difficult for me to watch given the current political climate), or to have predicted the events of Ferguson, his words have a very prophetic association which the film strategically highlights by juxtaposing Baldwin’s words with current events to show just how relevant the things are that he was writing about decades ago, and how even though we feel that advancements have been made, we realize how little has changed.
It is fascinating, but it is also incredibly grim and not for the faint of heart. It is unflinching. It is unwavering. It is fierce. It is unapologetic. And it should be mandatory viewing across schools everywhere for Black History Month, as well as on channels such as PBS or The History Channel. It is even more relevant today than it was when Baldwin first wrote it.
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*** Review copy received from the publisher in exchange for an honest review ***
Lisa Morton’s story “LaRue’s Dime Museum” kicks things off and starts in a very Cthulhu-meets-1940s pulp mood. The main character, Julie, starts off by finding some old photographs of a travelling circus and she finds out from the modern-day shop that the place, LaRue’s, closed sometime in the 1960s. Fans of Lovecraftian horror will enjoy this story. Julie has a bit of an obsession with film noir movies from the 1940s and the Humphrey Bogart type. Pretty soon, she starts to see some of these people from the old photographs and thinks she’s going mad. There is a definite plot twist towards the end and I found this story to be an enthralling introduction to the anthology overall.
Next up, “Wildflower, Cactus, Rose” by Brian Kirk starts with the point of view of the child of a woman who has had a botched surgery gone very bad. Both of them struck me as possibly turning out not to be human, particularly the child. The unreliable narrator trope is a running undercurrent throughout the piece, which adds interesting layers. The imagery is also very vivid and well-described in this tale of the perils of corporations and their effect on the environment in the name of profit.
Probably my favourite story in the anthology was by Hal Bodner, “The Baker of Millepoix.” It starts off with a man, Henri, who, after losing his husband, Marc, moves to the small French town that Marc was originally from. I enjoyed the foray into French culture and language, even if the dialogue and a few characters tended toward the over-the-top at times. Nonetheless, the incorporation of opera was a nice addition. Henri becomes a baker and beyond that I can’t say much without giving away the plot, so I will say that if you enjoyed the film Chocolat, you will appreciate this story, although this one has a decidedly more interesting twist.
Legend Clive Barker’s offering is called “Jacqueline Ess: Her Will and Testament” and begins with a (trigger warning) woman who is attempting to kill herself. It’s a story that reads like a hallucinogenic experience, a quality that some of the other tales in this anthology share, and again the theme of the unreliable narrator is executed here, pretty much to perfection.
The first of two poems from the sublimely talented Stephanie Wytovich, “An Exhibition of Mother and Monster,” was a fascinating composition and a good bridge to the next story, John Langan’s “Madame Painte: For Sale,” which makes what I’d have to say is one of the most interesting uses of garden gnomes that I’ve seen in fiction.
Next up, we have another living legend’s tale, that of Neil Gaiman, called “Chivalry.” Within the first third, I recognized the piece as a riff on Song of Roland, the epic poem that tells the story of Roland’s quest for the Holy Grail. Essentially what happens in the Gaiman piece is an old woman, Mrs. Whitaker, buys the Holy Grail (without knowing what it is, of course) at an antique or thrift shop of some kind. But instead of Roland coming to her house and asking for the relic, Sir Galahad does (spelled as Galaad in this story).
The story is, of course, intended to come across as comedic to a certain extent, but Gaiman, being the absolute master he is, juxtaposes the humour with the more serious elements of the tale very well. Continuing the train of living legends featured in this anthology is Ramsey Campbell, with his story, “Fully Boarded.”
Canadian Erinn Kemper follows with her story, “In Amelia‘s Wake,” a sort of supernatural Grapes of Wrath type story involving what really happened to Amelia Earhart set in Alberta, Canada, in 1937, right before World War 2.
Readers who have a penchant for historical mysteries, particularly those having to do with Ms. Earhart, with an Unsolved Mysteries vibe, will enjoy this tale.
One of my perennial favourites, John F. D. Taff, has a story of a Concentration camp survivor called “A Ware That Will Not Keep” that involves a supernatural element from Jewish mythology, and that’s all I’m going to say because I don’t want to spoil it. This is another case of a story where the protagonist’s grandfather, Lev, may not be telling the complete truth and reinforces the message that everything, but especially revenge, comes with a high price. Taff’s offering is one of the strongest the anthology has to offer because of how he utilizes story structure so well.
Patrick Freivald’s offering, “Earl Pruitt’s Smoker,” is an ominous tale set in the world of beekeeping, and has a very creative spin on hive hierarchy with a creepy, unsettling ending thrown in for good measure. Following this is the second of two amazing poems by Stephanie M. Wytovich, this one even more evocative than the first, and it’s called “As a Guest at the Telekinetic Tea Party.” The imagery was magnificent in this one, as well.
Lucy A. Snyder’s story, “Hazelnuts and Yummy Mummys,” reads like a cautionary tale for authors and takes place in a setting most are familiar with: at a writer’s convention or conference, albeit in this case a fictional one. Any author who has ever sold books at a convention in the dealer’s room will be familiar with the scenario that begins the story. The protagonist, Miss Bower, is trying to keep busy over Halloween weekend at this convention purposely so that she can preserve her sanity as much as possible owing to a tragic event that befell her a few years ago, but we don’t know what at first. The story also deals with themes of mental health issues and it reads like a hallucinogenic trip. Still, the story is full of surprises.
Other notable offerings include Kristi DeMeester’s “The Wakeful,” which was probably the most disturbing story for me in the anthology and involves a school teacher getting entangled in the creepy life of one of her young female students. If you want disturbing body horror, look no further than this tale. Furthermore, there is a reason why DeMeester has been one to watch for the past few years.
Also notable was “Through Gravel” by Sarah Read, which deals with an underground-ish people, the Kindred, and how they have struggled to reproduce for more than eight years so when they finally do, it is very momentous, but also fraught with much angst because there is a lot at stake here. This story is a wonderful example of the ‘beautiful horror’ theme that Murano started with Gutted, which I also reviewed.
Last, we have Richard Thomas’s story, “Hiraeth,” a memorable, post-apocalyptic tale with shades of Cormac McCarthy that I found to be thematically similar to the Sarah Read story, so if you enjoyed her story, Richard’s will also prove to be gratifying and was a perfect way to cap off this anthology.
Behold marks yet another stellar anthology of horror fiction from Crystal Lake Publishing. Editor Doug Murano has assembled an intricately quilted patchwork that collects a unique combination of well-written stories that continue the theme of beautiful horror established by his previous anthology, the underrated and remarkable Gutted. As with any anthology, some stories will resonate more with certain readers, and everyone will have a different list of favourites, but the pages of Behold contain memorable tales you won’t soon forget.
Spoiler disclaimer: This post will discuss some spoilers from Season 12 of Supernatural, so if you haven’t watched the season finale yet or aren’t caught up, skip this post and come back when you’re caught up.
After I watched the final episode of Season 11 of Supernatural, I did the equivalent of throwing a book across the room in reaction to the set-up for yet another season of the long-running (and I mean long) CW drama. But I recently got around to watching Season 12 to see if it would pique my interest in the show again, and I can honestly say that I was surprised at how interested I was in each episode. Some fans have lamented that the series has gone on for this long, and cite Season 5 as the true ending of the show for them, and that’s fine, while others have stuck around to see what else the show has to offer. Although I was ready to throw in the towel after the somewhat uninspiring and lacklustre Season 11, I’m glad I gave Season 12 a chance because it’s the most interesting that the show has been for years.
This is the first season in a long time where I found myself actually genuinely interested in each episode and I think it was because even in the episodes where there was a “Monster of the Week,” it somehow related to the current drama that was going on with the Winchesters and their involvement with the dastardly British Men of Letters or with the Lucifer subplot.
To be frank, I was surprised that the show had never done a “Lucifer is going to have a baby, we have to stop that thing from being born” narrative before, but I think the writers and/or showrunners considered it would be a good angle to pursue since so, so many others shows and films and books have explored that territory before. Although it remains to be seen in the upcoming “lucky” Season 13 what the consequences will be of such an event, it’s safe to say that Castiel’s visions of sugarplums and rainbows probably won’t be it. I will say that the mother of this child, Kelly, annoyed me to no end, I did prefer it when Lucifer chose the vessel of the fictitious former Hair Metal Glam superstar, ably played by Rick Springfield, which was a very cool addition this time around.
I’m not going to spoil the ending of the season finale, but I will say that I’ll be interested to see whether the two (wait, make that three) characters who we are convinced are dead actually are in fact dead, because as we know on this show, the concept of death and being gone can be fluid and not exactly absolute. Lucifer’s schtick is starting to wear thin on my patience, and I wanted to see a deeper, more personal subplot with Crowley where they really get into the meet of the feud as opposed to just skimming the surface. Still, it provided for a good looming threat in addition to the mostly stuffy British Men of Letters. Speaking of which, most of them did a good job getting on my nerves, especially Lady Bevel (I preferred the actress’s turn as Valerie on Season 7 of The Vampire Diaries), but I thought Mr. Ketch deserved more characterization and more exploration as to why he became the way he did. And of course, with Mik (sp?), at least there was an interesting layer of knowing that the British Men of Letters were definitely up to no good but that there was some grey characterization mixed in so it wasn’t all black and white.
With the return of the boys’ mother, Mary Winchester, nee Campbell, who used to be a hunter in her own right, I know there have been some mixed reactions with some fans being not too keen on her involvement, but for a show that has been on as long as this one has, and that keeps on chugging along, the writers constantly need to be doing something new, and I think this was definitely interesting territory to explore at times. I was expecting the whole time for something to go horrifically wrong–she would be yanked away from Sam and Dean as quickly as she had come back, that it would be a demon in disguise playing a cruel joke, that it would be like a clone or not really her, that she would turn against them at one point. I don’t think she answered enough about her involvement with Azazel, but nonetheless, it’ll be interesting to see what happens to her in the next season.
The episode in which Dean is hit by a memory spell and as a result starts to forget everything about himself, including his name, could have gone a very schlocky route but I thought it was a nice turn that allowed Jensen Ackles to show more of his acting chops, and although the cause was supernatural, it turned from comedic to very serious as the affliction mimicked the effects of watching a loved one go through dementia or Alzheimer’s, and it was very painful.
Two other things I really liked about this season were the plotlines involving hunters all across America becoming the hunted thanks to the British Men of Letters, and the introduction of more Princes of Hell, including Dagon and Remiel. I’m not gonna lie–I was totally panicking at first and thinking, “Wait…but they killed Azazel! How can this be?” for a moment or two. The introduction of the cool lance as a weapon which had very real consequences made me wish it would stick around. Speaking of weapons, although I did like seeing the Colt in action again, I thought that with the Alpha vampire episode, it served a very good purpose and the tension was real, but in the following episode with the God Pan, it felt like overkill and like the weapon was getting kind of overused by that point.
And of course, there’s the question of a certain beloved character who we saw again in the final episode when Castiel discovers that the impending birth of Lucifer’s son created a rift between earth and some sort of Bizarro world alternate dimension. It begs the question of how the two worlds will co-exist or function alongside one another, similarly to the sections we saw of Limbo when Dean was stuck there a few seasons ago.
This season’s big plot hole: So, since Castiel killed Billie, aka the Reaper, aka Death, who took her place as Death? Last time the Winchesters tangled with the first version of Death we saw on the show, there was a time when the dead weren’t going where they were supposed to go and it was creating huge problems. I expected the characters to address this plot hole in the following episode, but it wasn’t really mentioned in a big way since then. Theoretically, shouldn’t Castiel become the new Death? Or shouldn’t another Reaper pop up to take Billie’s place? I hope they’ll address that in Season 13, because it’s a pretty big plot hole.
For those who watched Season 12, what did you think? Overall thoughts? Ideas for what will happen in Season 13? What did you like or dislike the most about this season? Sound off below!