Review of Nick Ekkizogloy, “End of the World,” Flash Fiction Online 152 (July 2026): 29-31 — Purchase here. Reviewed by Sara L. Uckelman.
This story was this close to being a horror story, and yet somehow just fell short. Instead, it was merely a bad-break-up story, and not one that made me lean particularly sympathetically to the MC.
Review of E. M. Linden, “Fragments Recovered From the Wreck of the Seaglass,” Flash Fiction Online 152 (July 2026): 17-23 — Purchase here. Reviewed by Sara L. Uckelman.
Speculative historical botany! Who wouldn’t love a story about speculative historical botany — I definitely did. And this story nailed the ending: the final sentence was an absolute chiller.
Review of Laura Duerr, “A Perfect Light,” Flash Fiction Online 152 (July 2026): 12-15 — Purchase here. Reviewed by Sara L. Uckelman.
It’s amazing how claustrophobic the deep sea can seem — which is why it makes such a great setting for insidious, unsettling horror. I found that part of this story perfectly tuned, just right to send a shiver down my spine. The ending, I found, didn’t quite match up to the rest of the story, taking this from potentially excellent to merely “a good read”.
Review of Em Starr, “The Screaming Garden,” Flash Fiction Online 152 (May 2026): 20-22 — Purchase here. Reviewed by Sara L. Uckelman.
This was an absolutely delicious piece of horror. I don’t normally expect to enjoy horror pieces because of their humor, but I absolutely enjoyed this one because of that.
(First published in Flame Tree Fiction Newsletter 74, 2025.)
Review of Francesco Levato, “A Bone Deep Ache,” Flash Fiction Online 151 (April 2026): 24-27 — Purchase here. Reviewed by Sara L. Uckelman.
An apocalypse, monsters, religion gone wrong…all of these could have provided a foundation for a horror story on their own, but Levato combined them all into something truly gruesome.
Review of Jane Campbell, “Private Cabin, Ocean View,” Luna Station Quarterly 65 (January 2026): 55-76 — Purchase here. Reviewed by Sara L. Uckelman.
Content note: Infertility.
Stories often give off certain signs, usually signalling their genre, early on. Campbell’s story is long enough that she keeps her cards quite close to her chest for quite a while (comparatively, for a short story) — my first guess was that this was going to be a ghost story, then it took a turn that felt like it was heading towards horror. It took a further turn some time after that, while keeping the earlier elements, all woven together. It was intriguing and unsettling!
Review of Christopher St. Prince, “Second Film,” Flash Fiction Online 150 (March 2026): 33-36 — Purchase here. Reviewed by Sara L. Uckelman.
Content note: Drug and other substance use and abuse.
I’ve learned to become leery of the stories the FFO editors tag as “literary” as opposed to something more overtly speculative. These stories always end up feeling more sordid, less imaginative, more disappointing than the speculative stories they publish — which I’m sure is more a reflection on me and my tastes as a reader than it is on the stories themselves. Given all that, this was nevertheless a tight, well-put together story with just enough of an undertone of horror to make it feel like it fits the scope of this blog.
Review of Andrew Kozma, “The Sacrificials,” Flash Fiction Online 150 (March 2026): 7-10 — Purchase here. Reviewed by Sara L. Uckelman.
This is capital H Horror of the sort that I find really, really unsettling. It’s vivid and destructive and horrible merely for the sake of horrifying. Beautifully constructed, but deeply unpleasant to read!
And I don’t know if this was intended to be read as a metaphor for gun control (or the lack thereof) in the US, but read as such, it’s also a pretty powerful story.
Review of Bree Wernicke, “The Oil King,” Flash Fiction Online 150 (March 2026): 25-28 — Purchase here. Reviewed by Sara L. Uckelman.
Ellalee is a dried up, dried out little old woman in a dried up, dried out little old town, whose only business is waiting for her son Malcolm to return — nothing else, not even the horrors coming in from the desert, is anything she needs to worry about. The “horrors” in this story are easily readable as a metaphor for environmental pollution; but somehow, it is Ellalee herself who becomes the most horrifying thing in the entire story, because she has completely abrogated any responsibility for anything, content to let the horrors take over her town and do nothing.
Review of Abigail Koury, “The Piano Made of Fingers,” Flash Fiction Online 150 (March 2026): 16-19 — Purchase here. Reviewed by Sara L. Uckelman.
This was a curious and engaging read, but I spent the entire story thinking “Why fingers?” — there seemed little about the piano that was specific to the fact it was made of fingers. They could have been carrots, or snakes, or stones, or sticks.
SFF Reviews