REVIEW: “Economy These Days” by Mike Thorn

Review of Mike Thorn, “Economy These Days”, Darkest Hours (Unnerving, 2017): 164-179 — Purchase here. Reviewed by Sara L. Uckelman. (Read the review of the anthology).

Content warning: Domestic violence against children

This story seemed somewhat out of place in the anthology, as it lacked anything that struck me as typical of the horror genre.

I did have to laugh when I read this:

He’d submitted résumés and cover letters to no less than two hundred openings. A total of three potential employers requested interviews. No call-backs (p. 165).

Not because it was funny, but because of all the tropes in the book, it is this one that is the most scary, because the most true. They say “write what you know”, and it is clear from this — and from other hints in other stories — that Thorn knows the academic trajectory quite well.

But otherwise this story of a struggling academic seeking to find an alternative means of financial support is violent without being either psychologically or physically scary.

Sara L. Uckelman1 Comment

REVIEW: “Words in an Unfinished Poem” by A. C. Wise

Review of A. C. Wise, “Words in an Unfinished Poem”, in Aidan Doyle, Rachael K. Jones, and E. Catherine Tobler, Sword and Sonnet (Ate Bit Bear, 2018) — 1-21. Reviewed by Sara L. Uckelman. (Read the review of the anthology.)

The gunslinger waits in the saloon for the one person who can help them find the final word that will finish their poem. Sewn into their coat are the shell casings of every person they’ve ever killed, each inscribed with a single word, a poem ever changeable and rearrangeable.

We never learn the gunslinger’s name in this story, but we learn so much more about them…the curse that haunts them, the grandmother that raised them, the memories that they cannot escape. This is not a “pen is mightier than the sword” story but rather a “the pen is the sword” story, as for the gunslinger their words and their bullets are one and the same, each as deadly as the other.

This was a beautiful and sad story, told with glittering words.

Sara L. Uckelman1 Comment

REVIEW: “Fail-Safe” by Philip Fracassi

Review of Philip Fracassi, “Fail-Safe”, The Best Horror of the Year Volume Ten, edited by Ellen Datlow (Night Shade Books, 2018): 327—343. Purchase Here. Originally published in Behold the Void (JournalStone). Purchase Here. Reviewed by Rob Francis

This was great. A twelve-year-old boy has a mother with an infectious Jekyll-and-Hyde situation going on requiring her to be (willingly) restrained in a sort of reverse panic room when the change is upon her. The boy’s father instructs him in the protocol of how she is restrained and handled. But he’s only twelve and going through some changes himself, and one bedtime, just when Mother senses an upcoming episode, he starts to sulk to cause a delay. When he wakes up, Mother is in the panic room as usual, but Father is acting strangely….

There’s a great tension within the story and the mention of Schrödinger’s cat is telling, because towards the end, when the boy must make some important, grownup decisions, several possibilities exist simultaneously – what state(s) are his parents in, and how will he decide what to do? Only by opening the door can he find out. Or he can wait for the final (fatal) fail-safe to kick in.

Lots of fun. The only thing I wasn’t too sure about was the switch that allows time to be added to the fail-safe. Couldn’t the boy have just added more time, and then allowed help (which is on the way) to finally come? Either way, another excellent contribution to the anthology.

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REVIEW: “The Granfalloon” by Orrin Grey

Review of Orrin Grey, “The Granfalloon”, The Best Horror of the Year Volume Ten, edited by Ellen Datlow (Night Shade Books, 2018): 315—326. Purchase Here. Originally published in Darker Companions: Celebrating 50 Years of Ramsey Campbell, edited by Scott David Aniolowski and Joseph S. Pulver Sr. (PS Publishing). Purchase Here. Reviewed by Rob Francis

Nice, simple story that is interesting and satisfying, even if it does peter out a bit at the end. Madeline (Mads) is an expert in occult spaces (and places) who has been invited to contribute a lecture to her old colleague Constance’s college classes. Mads had an affair with Constance when they were both young(er) and has since developed a drinking problem, complicating the situation. When Constance takes some of her students (and an erotically-charged Mads) on an extra-curricular fieldtrip to an old movie theatre (The Granfalloon), whose oddball owner disappeared years before, things get weird.

The story is thought-provoking and atmospheric, and I wish it were a bit longer — the exploration of the theatre is great and although the story effectively reflects on how we may be corrupted by the (various) media around us and our constant need for meaning and answers (and hence become part of granfalloons I suppose), I felt the story would have been served by a more visceral and less reflective end.

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REVIEW: “Harvest Song, Gathering Song” by A.C. Wise

Review of A.C. Wise, “Harvest Song, Gathering Song”, The Best Horror of the Year Volume Ten, edited by Ellen Datlow (Night Shade Books, 2018): 295—313. Purchase Here. Originally published in For Mortal Things Unsung, edited by Alex Hofelich (Escape Artists, Inc.). Purchase Here. Reviewed by Rob Francis

Nice bit of cosmic horror that tied me in knots. Seven veteran (and damaged) grunts and their captain go looking for some special ‘honey’ in a cave that used to be in the desert but is now in the Arctic (bloody caves, always moving around), as the military want to get hold of it. Turns out whoever has a sip of the honey can go days without feeling pain or resting, so it’s useful stuff in a conflict-riddled world. But the captain has sampled the honey before and wants it for her own reasons….

It’s a really interesting story, involving elements of addiction, PTSD, fabulism, hallucination and the bonds forged under pressure. And how you can lose yourself, and each other. There are some great moments and I really enjoyed the beginning, though I did lose the thread a bit towards the end as the honey got thicker. I like the central idea — that a species/intelligence/civilisation could build a memory, or a map, of itself using other life forms as recording devices, sacrificing them in the process (sort of, I may have missed something), but I find confusion can detract too much from the story and the horror, which is what happens here. A stimulating read overall, and probably the closest to ‘horror sci-fi’ that I’ve come across in the volume so far.

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REVIEW: “You Can Stay All Day” by Mira Grant

Review of Mira Grant, “You Can Stay All Day”, The Best Horror of the Year Volume Ten, edited by Ellen Datlow (Night Shade Books, 2018): 279—294. Purchase Here. Originally published in Nights of the Living Dead, edited by Jonathan Maberry and George A. Romero (St. Martin’s Griffin). Purchase Here. Reviewed by Rob Francis

I should say up front that despite being something of a horror fan, I’ve never liked zombie stories or films. Ditchwater, dull as. Having said that, this is a good story and if zombies are your thing, you’ll love it. Cassandra is a zoo worker with responsibility for the big cat enclosure. The cats know something is wrong before she does, but when she finds a dead groundskeeper shuffling around the enclosure moat she quickly twigs. After that things pretty much unfold as expected. I liked the naturalistic morality lesson at the heart of the story, about humans messing ourselves up badly but nature ultimately reverting back to the ‘wild’; eventually, things will be back to normal (even if we’re not).

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REVIEW: “Shepherds’ Business” by Stephen Gallagher

Review of Stephen Gallagher, “Shepherds’ Business”, The Best Horror of the Year Volume Ten, edited by Ellen Datlow (Night Shade Books, 2018): 261—277. Purchase Here. Originally published in New Fears, edited by Mark Morris (Titan Books). Purchase Here. Reviewed by Rob Francis

A lovely story set post-WW2. A locum arrives on a Scottish island to replace the dying GP and faces a few challenges from his initial cases, including a mother grieving a stillborn daughter, her desperate husband, and an old shepherd about to give up the ghost. It’s a little quaint and cosily written; reading it was like taking a warm bath, and I enjoyed it immensely. The horror element is mild but disturbing and I found myself reflecting on the story quite a bit. I wish it was a bit longer, as I would have been keen to linger with Dr Spence. I’ll have to check out Gallagher’s books.

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REVIEW: “There and Back Again” by Carmen Maria Machado

Review of Carmen Maria Machado, “There and Back Again”, The Best Horror of the Year Volume Ten, edited by Ellen Datlow (Night Shade Books, 2018): 257—260. Purchase Here. Originally published in Mixed Up: Cocktail Recipes (and Flash Fiction) For the Discerning Drinker (and Reader) edited by Nick Mamatas and Molly Tanzer (Skyhorse Publishing). Purchase Here. Reviewed by Rob Francis

I find it hard to get flash fiction to work for horror. This story is (I think) 1500 words, so perhaps on the long side for flash, but similar challenges exist — the need to develop the character, build the plot with limited space. This is a good story but didn’t make a lasting impression. The (vampiric? monstrous?) protagonist is fed people by her mother, who gets them paralytic with killer cocktails first. When the mother dies, the daughter is forced to fend for herself. There is much to admire here, though I was unconvinced by the ending. At heart it’s a redemption story, an illustration that we don’t have to be the monsters we are made into, but I felt there wasn’t enough space in the tale to justify the decisions made.

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REVIEW: “Rethinking Risk” by Andrew D. Maynard

Review of Andrew D. Maynard, “Rethinking Risk”, in Visions, Ventures, Escape Velocities: A Collection of Space Futures, edited by Ed Finn and Joey Eschrich, (Center for Science and Imagination, Arizona State University, 2017): 193-201 — Download here. Reviewed by Sara L. Uckelman. (Read the review of the anthology).

In this nonfiction companion piece to “The Use of Things” (read the review) and “Death on Mars” (read the review), Maynard advocates a new approach to conceptualising risk that focuses not on behavior that can be characterised by so-called “risk-aversion” but rather on “the things that people find too important to risk losing” (p. 193). The goal is to

open up a deeper conversation around risk that explores the trade-offs that are often necessary to create the future we desire (p. 193).

I found this an interesting piece to read not only for what it has to say concerning the risks we do and must take in near-earth space travel but also how this can be applied to other facets of “the future we desire”. In the context of SFF fiction (as opposed to fact), one facet of that future that we desire is the increasing representation of marginalized voices, taking their stories seriously both in reading and responding to them, and for less marginalized voices to ensure that their characters and worlds are suitably representative (we don’t really need any more cis-het-white-male “#ownvoices” stories…) What are the risks we take in moving towards that future? And what are the things that are too important for us to risk losing?

The only way these questions can be answered is individually; the answers that I came to are not the answers anyone else will come to. As Maynard points out, “what we consider to be important…is not always obvious” (p. 196). So I recommend reading this piece not because of the answers I got out of contemplating these questions, but because of the value others can find in answering the questions themselves.

Sara L. Uckelman1 Comment

REVIEW: Sword and Sonnet, edited by Aidan Doyle, Rachael K. Jones, and E. Catherine Tobler

Review of Aidan Doyle, Rachael K. Jones, and E. Catherine Tobler, Sword and Sonnet (Ate Bit Bear, 2018) — Purchase here. Reviewed by Sara L. Uckelman.

It is said that the pen is mightier than the sword, but in this collection of twenty-three stories, pen and sword come together in a glorious celebration of female and non-binary battle poets. Some of the poets eulogise — or problematise — battles after they happen; others fight battles through their poetry, with the very fact that they write a weapon in a greater war. Not all of the poets are in fact writers; some only need the spoken or thought word. Some fight for revolution. Some fight for peace. Some fight for a sense of self; some, to protect others. The diversity of topics and plots is both broad and deep.

In the editor’s introduction, they note that one of the editors “once received a rejection for a story featuring a battle poet with the comment that ‘unsympathetic protagonists were a difficult sell'”. Maybe that’s true: But I couldn’t tell you because there were no unsympathetic protagonists in these stories. Even the protagonists who have, whether rightly or wrongly, ended up on the wrong side of history are still poets that one can feel something for.

Each story is accompanied with an author’s note of how the story came to be, or what the author hoped to do via the story. These little “biographies” of the story I really enjoyed, particularly how many of them went along the lines of “I intended to write an entirely different story altogether, but ended up writing this one instead.”

As is usual, we’ll review each story individually and link the posts back here as they are published:

These stories reward both reading and rereading, both to oneself and to others.

Sara L. Uckelman23 Comments