8114, a podcasting horror novel

8114
JOSHUA HULL
CLASH Books (non-affiliate Bookshop.org link)
$5.99 ebook, available now

Rating: 3.75* of five

The Publisher Says: After returning to his hometown, Paul, the beleaguered host of a small-time podcast, discovers a longtime friend committed suicide in the dilapidated ruins of Paul’s childhood home. Desperate to find answers, Paul interviews friends and locals hoping to find closure. He finds himself in a chilling downward spiral of his memories and the land he grew up on. Has his past caught up with him or is there something far more sinister at play?

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My Review: Podcasting as horror...that scans. It's a modern medium that's neither rare nor well-done most of the time. Particularly troubling is the true-crime podcasting that can get so destructively out of hand in the information age. Mobs have lots more data to use in tracking down and harassing their targets, so the innocent feel the wrath of the ignorant and ill-informed much as Adam Benny, Paul's childhood pal and podcast subject did.

Does this teach Podcaster Boy some circumspection? Of course not. There wouldn't be a story!

A different childhood friend, Matt, tells Paul about a mutual called Kyle's suicide...Kyle even painted Paul's old house address onto the walls of the room in that very house that he diced himself up in, using his own blood. A new podcast is born! Plus, adding to the foolishness of this dude, he's got some awful botanical...thing...growing in his arm.

Not on. Not under. IN.

I myownself would be on the way out of that place, and I'd swear off the very sight of a lavalier to propitiate whatever the hell supernatural thing it was that had it in for me! The moldy walls and stuff like that make me shudder more than any ghosty/demony/Lovecraftian horror. Really, in 2025 reality is way more horrible and scary than any made-up thing could ever be. In this story, the horror that scares me witless is the podcast that's already done such damage.

Author Hull's made some very good craft decisions, like setting the story in rural Indiana...not a spooky gothic place, but one where the horror can really bloom without competition. The structure of "found audio, in effect, is achieved by the inclusion of podcast transcripts between chapters. It serves to make a point: the place, the medium, the man, are all being consumed by a guilt, a rot, a creeping nastiness inside hollow forms.

Had the author trimmed this a thousand words or bloated it five thousand in exactly this style, I'd be warbling my fool head off with praise. As it is, we're just short of a novel, just too much for a novella. There's a lot to be said for compactness in horror stories. I don't think this one benefited quite as much from it because the creeping rot was never really woven into the characters' motivations, or even awareness. Just a wee bit more, please, Author Hull.

It's too creepy and good an idea to leave just shy of its best!

THE MIDNIGHT KNOCK, does several #Deathtober-y things, none well

THE MIDNIGHT KNOCK
JOHN FRAM
Atria Books (non-affiliate Bookshop.org link)
$14.99 ebook, available now

Rating: 3.5* of five

The Publisher Says: A locked-room mystery meets white-knuckle horror in this mind-bending thriller, where strangers must survive a deadly night in a remote Texas motel.

In the frigid west Texas desert, weary travelers converge at a lonely roadside motel nestled at the foot of a massive mountain. Ethan and Hunter have left behind a corpse, a fire, and a horrific act of violence. Kyla and Fernanda are fleeing for the border. Stanley and his granddaughter are returning from Mexico with a mysterious man in hot pursuit. All of them are on the run from something. All of them are hiding something.

And somehow, they’re all connected to the motel’s other guest, an enigmatic woman named Sarah Powers.

Within hours, Sarah is dead. The strange twins who run the Brake Inn Motel inform the surviving guests that her murder demands justice. The guests are given an ultimatum: uncover the killer by midnight—or die when the protective lights around the motel go out.

Because something very old and very dangerous lurks in this corner of the desert. And it’s hungry.

But nothing at the Brake Inn Motel is quite as it seems. As time ticks away, alliances fracture, secrets unravel, and the guests will not only have to confront the violence of the past—they will need to face the darkness within themselves.

A masterful blend of psychological tension, supernatural horror, and layered storytelling, The Midnight Knock pushes the boundaries of what a mystery can be. And with its unforgettable climax, this novel cements John Fram as a contemporary master of the genre.

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My Review: Gore for the sake of being gory isn't my usual fare; I'm no fan of "supernatural" stuff because I don't believe it's real; but a locked-room mystery, now...with those fripperies added on, let's see how this plays out.

Okay.

Why the people just...accept...that there's a deadline against which they're required to work Or Else puzzled me. So that one woman died...why should that mean anyone else will? Why not just shove past those overbearing twins and start walking til you have cell service?

I'm not the platonic ideal of a reader for this story, as you see. I'm pretty much off this storytelling beam for good from when Groundhog Day-type time loops start happening. The Ship-of-Fools trope was really powerfully evoked by everything from the setup to the ragging on gabardine as a suiting-material choice. I'm sure someone not prone to laughing at Saw movies because they're so deeply dumb will get much more out of the read than I did.

That said, I thought the rural West Texas setting was effective, for me anyway. It's a dry, unnervingly empty place, and the place being at the foot of a mountain is unsettling amid so much nothing-much. It wasn't enough to overcome my reality fetish but it was a solid choice.

When I'm told a story is a locked-room mystery, I expect there to be a serious, logical, undeniable reason the cast can not...not do not, not choose not to...leave. I also expect the mystery to make daytime-world, no spookieghouliewoo-woo reasonable sense. Not delivered. Plus I did not care about the affront to Ma'at that was this victim's murder. I was glad she was dead.

So on balance, I'll say you know your spooky-season reading needs so are best equipped to determine the fit between you and this story. I don't regret reading it, but I still wish I'd got the promised mystery at the least.

THE WAX CHILD, chilling and brutal example of misogyny

THE WAX CHILD
OLGA RAVN (tr. Martin Aitken)
New Directions (non-affiliate Bookshop.org link)
$17.48 ebook, available now

One of Ancillary Review of Books' 2025 Notable Books!

Rating: 4.75* of five

The Publisher Says: Based on a real-life seventeenth century Danish witch trial, The Wax Child tells in vivid prose the story of Christenze Kruckow, a noblewoman long pursued by a scandal of sorcery. People whisper that in her wake one finds illness, death, and unsettling behaviour by pigs and cats. Some even say she once fashioned out of wax a child, an instrument of the most sinister magic. Christenze will flee the rumours to Aalborg, that great city of seawater and mist. But even there suspicion and fear rule, and once a rumour of witchcraft has taken hold, it can prove hard to shake…

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My Review: Beginning at about the time this book does, the Lutheran Reformation of Denmark was a bolt from the blue regarding social roles. Women, never favored as a class of beings in christian social organization, had carved out a side-hustles as "cunning folk" or "wise women" whom we would learn to call witches quite soon. Funny, that's part of what the cunning folk were helping their clients protect against..."witch curses lifted one laying hen" or similar verbiage would've been on the cunning folk's roadside signs had they had roadside signs. Or roads.

Author Ravn did a whole huge heap of research on folk magic and its practitioners, relying on court cases and church sources as they are the only extant words about the (mostly) women who worked in this field. This specific story is from court records of Danish women tried and executed for witchcraft.

The creation of a poppet, the European precursor to the voodoo doll (that terrible calumniating lie of a thing), was...faithless to the pop-culture b.s. written and shown for generations now...a bridge created to the intended recipient of health and healing and good fortune.

Once anything gets entangled in the filthy web of christianity it gets perverted and misused.

At all events, Author Ravn used her research heavily in making this story deeply unnerving and spooky. She's created on Christenze's factual bones a story of a woman who simply said "no" to patriarchal control systems, to compulsory heterosexuality, to life spent bearing baby after baby many, even most, of whom will die. Becoming, then, a beacon of sense and independence while attracting to herself a group of like-minded women who resonate to the lures of freedom from "femininity" and its subjugations and humiliations; well, that couldn't be tolerated in the brave new Lutheran world that demanded conformity to its rules and submission to its precepts (as all freshly installed orthodoxies must or face destruction by dissent). Christenze must be stopped, foiled, negated.

Our wax child narrator is created by Christenze prior to her final (dis)solution. The wax child, the poppet, is buried...and survives Christenze. Somehow, not ever vouchsafed us an explanation as to how, we meet the wax child and begin to learn Christenze's story, the story of the communities she inhabited, the story of her downfall...all from the poppet's "mouth" and memory. "How do I know this? The dead fly in the window-sill told me, the grass-pollen as it puffed into the air told me, a brass candlestick told me, a speck of grit. Everything remembers and speaks to those who will listen," we're told.

What elevates this read to all-but five stars is the sharpness of the wax child's awareness of the horrible price we exact, all unthinking, on the whole of creation for our simple continuation of existence as we want, selfishly, it to look. We demand and demand and demand but do not stop to reckon up the cumulation of effects that demanding exacts. "The reason is behind us. All reasons are behind us. The fire has its own reason. The future is already visible. It is over there by the exits. I want you to look directly into the fire—You will hear me in the night under the breath—You will hear me when spring turns to summer, and there in the light an opening occurs...will you come with us to the Lucia fest...? Magic is possible. Laughter is possible. There is a way out...there is a way out…" In this incantatory language, this cadence of a summoning, I want to believe the wax child knows and will vouchsafe.

Way out there might well have been. Might even, for all I know, be. It will not be easy, and it will demand reckoning with the fire. "It is in the depths of her vessels, in that which we call horn and hair. In the smallest sequences it resides there still. I don't need to tell so much, I am merely a reminder, a down that settles upon your brow, and I am with you."

I do not see it coming to pass.

SALT BONES, Demeter & Persephone on the Mexicali border

SALT BONES
JENNIFER GIVHAN
Mulholland Books (non-affiliate Bookshop.org link)
$14.99 ebook, available now

Rating: 4.25* of five

The Publisher Says: For fans of Silvia Moreno-Garcia’s Mexican Gothic and Ramona Emerson’s Shutter: a gripping retelling of Persephone and Demeter in the Mexicali borderlands

At the edge of the Salton Sea, in the blistering borderlands, something is out hunting. . .

Malamar Veracruz has never left the dust-choked town of El Valle. Here, Mal has done her best to build a good life. She’s raised two children, worked hard, and tried to forget the painful, unexplained disappearance of her sister, Elena. When another local girl goes missing, Mal plunges into a fresh yet familiar nightmare. As a desperate Mal hunts for answers, her search becomes increasingly tangled with inscrutable visions of a horse-headed woman, a local legend who Mal feels compelled to follow. Mal’s perspective is joined by the voices of her two daughters, all three of whom must work to uncover the truth about the missing girls in their community before it's too late.

Combining elements of Latina and Indigenous culture, family drama, mystery, horror, and magical realism in a spellbinding mix, Salt Bones lays bare the realities of environmental catastrophe, family secrets, and the unrelenting bond between mothers and daughters.

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My Review: There's Spanish in here.

Everybody still here, this is a retelling of Demeter and Persephone, probably the original mother-myth in Western culture. It is also notable that Demeter's the oldest sister of baby Zeus...that energy surrounding maleness surrounds this entire story.

Are the whiny man-babys gone yet? Good.

The gynergy is strong in this one, folks. All the horror, and there's a lot of it, stems from problems and issues around femaleness in our highly misogynistic culture. Women are, for a wonder, presented as misogynistic as hell in here, and all the monstrous, horrifying behavior is portrayed as affecting women. (Why the fathers aren't ever fussed I'll leave to your imagination.)

Invest in the first quarter to third of the read as your acclimatization, get used to Mal and her pueblo's speech patterns, and (ebook users only) try out the built-in translation feature to get the hang of Spanglish, then cruise through the story that fills in the lines of the old myth in a really fun...not the right word, but "interesting" is so juiceless and "involving so cerebral...unexpected way.

It's a dark reality that Mal's fears and worries are rooted in the ugliness that is femicide, a too-easily-dismissed issue plaguing la frontera. Stories like this one are ways to increase awareness of the precarity of simply existing as a female, or in a female body, in so many parts of the world. And like the real world, some people have privilege, even when bad things happen to and around them. Seeing the author present this as a reality, well...brava for doing it at all, and do it more, please.

The Salton Sea is important enough to the read that I recommend you acquire basic knowledge of it, its existence and origin, before embarking on this fascinating thriller. I found the pace fast. I don't think everyone will. I hope you'll try, though.

LESSER KNOWN MONSTERS OF THE 21ST CENTURY, what an amazing story collection!

LESSER KNOWN MONSTERS OF THE 21ST CENTURY
KIM FU
Tin House
$16.95 trade paper, available now

Rating: 4.5* of five

The Publisher Says: In the twelve unforgettable tales of Lesser Known Monsters of the 21st Century, the strange is made familiar and the familiar strange, such that a girl growing wings on her legs feels like an ordinary rite of passage, while a bug-infested house becomes an impossible, Kafkaesque nightmare. Each story builds a new world all its own: a group of children steal a haunted doll; a runaway bride encounters a sea monster; a vendor sells toy boxes that seemingly control the passage of time; an insomniac is seduced by the Sandman. These visions of modern life wrestle with themes of death and technological consequence, guilt and sexuality, and unmask the contradictions that exist within all of us.

Mesmerizing, electric, and wholly original, Kim Fu’s Lesser Known Monsters of the 21st Century blurs the boundaries of the real and fantastic, offering intricate and surprising insights into human nature.

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My Review: Listen to Author Fu on The Next Chapter for some very interesting insights into her writing.

This collection kicks off May is Short Story Month with a loud, explosive crashing percussive event. This is the best kind of short speculative fiction: Nothing shouts at you, no readily dateable stylistic flourishes that never do what the author imagines they will.

Strap in...we're headin' into the venerable institution of the Bryce Method. Short comments on each story, starting below.

Pre-Simulation Consultation XF007867 is the best intro to the author and her hobby horses. A world where there is a simulation technology that enables people to see whomever or whatever they desire, someone wants to see their recently dead mother to take a fantastic opportunity to get it right this time BEFORE she dies. An operator denies the application time after time, saying the truth is it's proven to be too addictive... plus the technology could present Mother in a quantum superposition of both alive and dead. The ideas are way richer than you or I would so much as dare to think about, still less explore as deeply as Author Fu does. Bold, fearless, deeply troubling. 5* and a cheer for this being the story that won the short-fiction 2022 Shirley Jackson Award!

Liddy, First to Fly explores the horrors of puberty via body horror...a girl grows wings on her lower kegs, decides she will use them, her world turns upside down in each possible area of her life. The role of friends comes in for some scary but bracing contextual changes. The adolescence of any girl, turned up to eleven on the scay-meter. 4*

Time Cubes truly gave me nightmares without needing to go to sleep first. Alice lives in our not-that-distant future as a "Depressive Insider." Her one fervent desire is to be no longer alive; all else is pale and vague. One day her existence brings her ro someone whose one amazing invention is an anti-aging machine. It has a reverse gear...4* for ineffable weird and eerieness.

#ClimbingNation rings a...fun? engrossing, anyway...change on the "a stranger calls" story when April, a social-media fangirl, attends an Instagram star mountaineer's wake using an old scraped acquaintance as her entrée. The way to be unobtrusive is to be helpful, and inconspicuous. It leads, in this case, to her learning how one accidental death is about to become two. Very Poe-esque. 4* and a solid shivering bow of respect

Sandman ruined forever my ability to listen to "Mister Sandman", previously a favorite...now it feels prurient, almost pornographic. "Please turn on your magic beam" indeed. Since I seldom have trouble getting to sleep, I have no voluptuous response to it, though it is obvious why this would be the case. Terrifying to know how many have reason to find ecstasy in what I just...do. 5 utterly unnerved stars

Twenty Hours "After I killed my wife, I had twenty hours before her new body finished printing downstairs." A terrible, horrible, no-good way to combat the quotidian sameness of marriage, a toy that makes another person an object...literally, not merely "objectified"...and manages also to indict capitalism as the vicious, sadistic thing it truly is. 4.5*

The Doll is doll horror *convulsive shudder* plus Babbitty snobbery and class judgment seen through a kid's eyes. Effective iteration of a nothing-new plot. 3.5*

In This Fantasy will drive the Punctuation Prioresses potty. Every-damn-thing is a parenthesis. And that's the point. What does a life so deeply, existentially, killingly boring leave is inhabitant but fantasy lived in parentheses? Sad, saddening, filled with the masked hatred of the trapped. 4*

Scissors is...there's no other word, okay phrase then pedants, than "D/s porn". Two women enact a performance-art version of so many subs' fantasy of being used, passed around. As the first explicitly lesbian story, it stands out; as a story for mainstream audiences in a collection, telling it from the sub's close first-person PoV makes it fluoresce and strobe with intense, focused sexual energy. WILL OFFEND SOME. 5 deeply moved, slightly aroused stars

June Bugs traces Martha and Neil's intense, toxic connection from giddy-up to whoa. The abuse escalates from verbal to physical to emotional as their accidental, impulsive couplehood deteriorates, Martha leaves...Neil follows...and those june bugs! 3.5* for big "Who's Afraid of Virginia Wolff?" energy

Bridezilla is the slightly off-putting third-person close PoV narrative of a woman who, in spite of her chosen man's entire expression of passive selfhood, agrees to marry him...then doesn't go through with it, in the most humiliating possible way. There's a sea monster in there, though for the life of me I could not see how or why. My least favorite story. 3*

Do You Remember Candy? is my worst NIGHTMARE! Something...we never learn what...destroys everyone's (around the world, it seems, though we stay focused on Allie and her daughter Jay) ability to taste food. Can you even *imagine* the response in France? Or...holy mother goddesses...ITALY?! So Allie is one of the few who really care about this, keeping her memories of the glories of eating real food alive as Industry pivots to making goos, glops, and pills to keep people nourished. It becomes a fetish, shared among the few, the embarrassed oddballs, to keep those memories alive. Allie becomes the keeper of this secretive sensuous crowd's fantasies made physical. Her daughter, young when...whatever it was, no one looks into it much after a time...happened and is utterly unmoved by the consuming (!) passion of her elders. Awful, scary reminder that no matter how we feel about things as they are, they become normal. And the past...vanishes. 4.5*

Superb speculative fictions that made me think, squirm, and pray for the future to all those useless gods I don't believe in. Not quite even enough in quality for all five stars.

LISTEN TO YOUR SISTER, an exhortation at least two Black men shoulda taken to heart

LISTEN TO YOUR SISTER
NEENA VIEL
St. Martin's Griffin (non-affiliate Amazon link)
$12.99 ebook editions, available now

Rating: 4.25* of five

The Publisher Says: For fans of Jordan Peele’s films, Stranger Things, and The Other Black Girl, Listen To Your Sister is a laugh-out-loud, deeply terrifying, and big-hearted speculative horror novel from electrifying debut talent Neena Viel.

Twenty-five year old Calla Williams is struggling since becoming guardian to her brother, Jamie. Calla is overwhelmed and tired of being the one who makes sacrifices to keep the family together. Jamie, full of good-natured sixteen-year-old recklessness, is usually off fighting for what matters to him or getting into mischief, often at the same time. Dre, their brother, promised he would help raise Jamie–but now the ink is dry on the paperwork and in classic middle-child fashion, he’s off doing his own thing. And through it all, The Nightmare never stops haunting Calla: recurring images of her brothers dying that she is powerless to stop.

When Jamie’s actions at a protest spiral out of control, the siblings must go on the run. Taking refuge in a remote cabin that looks like it belongs on a slasher movie poster rather than an AirBNB, the siblings now face a new threat where their lives–and reality–hang in the balance. Their sister always warned them about her nightmares. They really should have listened.

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My Review: "Listen to your sister" is the most oddly edged weapon in the arsenal of control. Listen to her wisdom. Listen to her express while she experiences despair. Listen to her, learn how the wisdom comes out of the same swamp as the despair.

Being tasked with responsibilities beyond your capabilities is a common feature in many child-as-custodian tales. Rising to meet the challenge, failing at it, muddling through...well, that's adulthood as parent or guardian or, to be completely honest, any old thing as a legal adult.

What sets this story above most I've read like it, from The Outsiders as a kid on, is The Nightmare. It's a really big part of Calla's quotidian awareness. It's a looming, energy-sapping Presence...éminence grise writ literal...that defines Calla's every waking thought about her ward/little brother. In The Nightmare Jamie dies, and dies, and dies; the most horrific death. Here's Calla, responsible for the life of someone she honestly should never have been if her parents had...well, what? not died? not run away? where are they and why aren't they there?...not, in any event, left her responsible unhelpfully unbackstopped by her other brother, useless Dre.

Now my full attention is engaged. Starting just before the halfway point I began to listen to my own niggling awareness. Permaybehaps this is Calla finding a coping mechanism to make sense of this utter reorientation of her world...permaybehaps she's tuned in to something like a psychic K-Cthulhu...she might simply be going quietly insane...and in the US a young Black woman whose self-image is of being too hefty who's also now responsible for shepherding a teenaged Black man into adulthood alive and unencarcerated when he has a big mouth and a powerful eye for hypocrisy....

I was deeply interested in the way I wasn't answered as I got these musings phrased into questions. I was instead led to ideas about the answers supported in the story. That we see the narrative through all three siblings' eyes lent the book the air of fairness, until you thought a minute about it when Calla's centrality swims into focus ever more clearly. She is the only one who acts for the clearly conceptualized good of the Family, where her brothers (one too young, one too narcissistic) think only of how The Nightmare and its embodiment in their sister affects them. It is through those young men's eyes that The Nightmare feeds into horror. They mock and disbelieve, thinking she's nuts and/or trying to control them.

Sound familiar, Cassandra fanciers? Calla's awful stresses are external, internal, self-inflicted, inevitable for a young woman of color in a deeply racist white world. They're real. They're just fearful imaginings. They can't be taken seriously. Laugh them off.

That goes as well as it usually does when men ignore sound advice from women. As a subject for social horror, I'm hard-pressed to think of a better, more trenchant way to build a story.

What I ended up enjoying the most in this read was less the plot...first novels are almost always a bit baggy at the knees...than Calla's mellifluous voice and her sense of humor. BE AWARE THAT THE N-SLUR IS USED A LOT. I don't like it, this is something I have trouble with from my 1960s childhood where it was used *very*differently* so I want you to know that fact. Mostly, Calla's a smart, funny woman doing a thankless job she wouldn't have had to do had death and abandonment not landed her where she is.

I can't go a fifth star because of the N-slur stuff. It made me think hard about many things, and might should get that five; but not with the (appropriate, well-thought-out) use of N-words.

YMMV, but in any event I encourage you to find out soon.

STRANGE PICTURES, aptly titled off-kilter murder-mystery narrative translated from Japanese

STRANGE PICTURES
UKETSU (tr. Jim Rion)
HarperVia (non-affiliate Amazon link)
$13.99 Kindle edition, available now

Rating: 4* of five

The Publisher Says: The spine-tingling bestseller that has taken Japan by storm—an eerie fresh take on horror for fans of Hidden Pictures and Junji Ito, in which a series of seemingly innocent pictures draws you into a disturbing web of unsolved mysteries and shattered psyches.

An exploration of the macabre, where the seemingly mundane takes on a terrifying significance. . . .

A pregnant woman's sketches on a seemingly innocuous blog conceal a chilling warning.

A child's picture of his home contains a dark secret message.

A sketch made by a murder victim in his final moments leads an amateur sleuth down a rabbithole that will reveal a horrifying reality.

Structured around these nine childlike drawings, each holding a disturbing clue, Uketsu invites readers to piece together the mystery behind each and the over-arching backstory that connects them all. Strange Pictures is the internationally bestselling debut from mystery horror YouTube sensation Uketsu—an enigmatic masked figure who has become one of Japan's most talked about contemporary authors.

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My Review: Visual horror...sequential art, film, artworks...isn't very effective on me. My idea of horror is Wrongness, and that's deeply individual in its iconography, therefore effective representation. I'm more afraid of people than Supernatural Forces because the Supernatural, by definition, can't be identified until we know all the laws of nature, and know that we know all of them. Until then, everything that happens, including things that break the known laws of physics, are simply unexplainable but still not supernatural.

Reality stinks, mono- or a-theistic religious nuts. Miracles and superheroic gods are improbable but not impossible because nature is not even a billionth of a percent explained yet. Stay agnostic, it's the only defensible stance.

This effort at image-enhanced horror is very interesting, though I'm pretty convinced it's one of that most Japanese of stories, the eerie murder mystery. I've reviewed plenty of those. This is another one. It's...fine, perfectly readable (as a mystery), and in spots enjoyable. It's a complex puzzle, not at all easy or simple to solve. It defeated me. I was sure one particular thing was true, and it explicitly wasn't. That made the read much more interesting to me than it would've been if I'd been correct.

Like so many mysteries from Japan, the characters are more gesturally indicated than developed. Mystery-genre readers in the US are less tolerant of this than they could be; we tend to look for people to invest emotional energy in, not just puzzles that rake place in a brooding ill-defined space. I think the ideal reader for this story, among my Anglophone audience, is likely to be someone who really enjoys Julio Cortázar or Umberto Eco.

I was not particularly enraptured by the read until after I finished it. This was more akin to a storyboard pitch to investors about an idea for a horror story connecting some...suspicious deaths that were or could've been Influenced From Beyond than itself a horror story. Thinking about the read, which I finished last night after taking a week to read (in my habitual scattershot way interspersed with other books), I realized I was very, very successfully manipulated from the off. A child psychologist explaining how a little murderer's artwork provided clues to the reality that child operated within initially felt a bit In Cold Bloody to me. Should I believe the narrative? Should I be interested in *how* or why? Or permaybehaps what....

That's top-quality misdirection for that to work on a reader with sixty years' experience.

Will you love it? I doubt it; I didn't. Will you enjoy reading it? See my comps, if you love them you might get a charge out of this off-kilter, well-crafted read.

EXORDIA, rich, immersive story to block out the world's noise

EXORDIA
SETH DICKINSON
Tor Books (non-affiliate Amazon link)
$29.99 hardcover, available now

Rating: 4.5* of five

The Publisher Says: “Anna, I came to Earth tracking a very old story, a story that goes back to the dawn of time. it’s very unlikely that you’ll die right now. It wouldn’t be narratively complete.”

Anna Sinjari―refugee, survivor of genocide, disaffected office worker―has a close encounter that reveals universe-threatening stakes. While humanity reels from disaster, she must join a small team of civilians, soldiers, and scientists to investigate a mysterious broadcast and unknowable horror. If they can manage to face their own demons, they just might save the world.

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My Review: A species (!) of hard sci fi from a writer previously celebrated in the fantasy field for The Traitor Baru Cormorant, here blending queer representation with cosmic horror via military sci-fi in the paranoid Cold-War mode, heavily Cthulhu-ized.

That sounds like something I'd hate. Why didn't I?

Seth Dickinson. He has a deft touch with humor to lighten the darkness, irony to show the urgency of perspective, and unflinching realism to get the reader's investment in the stakes. Which are, I know this will surprise you, existential for Humanity.

On the nose, in our present political and environmental climate? I thought so going in. I think so now. However, there's a reason I recommend this story for your immersion and entertainment anyway. It is about the ways and means used to accomplish political goals while using people's fears and anxieties to motivate them into actions that are genuinely necessary. It takes us into the labyrinth of tech-dominated institutions of force apllication, and shows us the internal conflicts that impact everything done or not done in these institutions. The stakes are often secondary to the purposes of the instituion's inmates.

Yet...in the end, after much troubling back-and-forth...the people are clearly all working for something they see as Right and Good. No matter what outcome eventuates, someone's plans will fail, and someone else's will sorta-kinda work. Will anyone be fully happy? No. The way the book's structured, the changing PoVs are the way to keep this story from devolving into Us-v-Them predictability. Whose ideas and goals you empathize with really isn't the point. It's recognizing the goals and ideas matter TO THEM, and using that knowledge to get what *you* want.

A hard leap to make, as witness the fact that so few ever make it. Author Seth shows the reader the idea of it with startling clarity and not a little dark humor. The results...you'll discover the specifics...are exactly and precisely what the actions of all the characters add up to. There is no deus ex machina here. There is, in the second half, a lot of science to go with your fiction, mostly physics.

I typed that sentence with a sinking heart. I know some significant fraction of my readers just went *click* into the off position. It is, of course, entirely y'all's privilege...but please hear me out. Your prior knowledge of physics would enrich the uses of it. Your entire ignorance of it will not in any way diminish the force of its uses in the story. You read about magic without understanding how it works, this is essentially the same thing. The scientists are casting spells on ushabtis, not writing code to make drones work in concert...it's all a matter of looking at the technology talk in the proper storytelling spirit.

Appeal made. You decide. What you'll miss, if you ignore my recommendation of this read, is a cracking good story about how people, real people with needs and wants and ideals, get together to accomplish goals in the real world. That story will, I wager, appeal to readers of technothrillers, geopolitical spy stories, and SF gulpers as we head into the season where a big, immersive read will keep you from needing to pay attention to Aunt Lurlene's stories about her neighbors you've never met and couldn't care less about, or your nephew's reprehensible politics.

HORROR UNMASKED: A History of Terror from Nosferatu to Nope, great way to thrill your horror-movie fan

HORROR UNMASKED: A History of Terror from Nosferatu to Nope
BRAD WEISMANN
becker&mayer! books
$24.99 hardcover, available now

Rating: 4.5* of five

The Publisher Says: Horror Unmasked offers a general introduction to the popular film genre, serves as a guidebook to its film highlights, and celebrates its practitioners, trends, and stories.

From the silent-film era to the blockbusters of today, Horror Unmasked is a fun-filled, highly illustrated dive into the past influences and present popularity of the horror film genre.

The horror film’s pop-culture importance is undeniable, from its early influences to today’s most significant and exciting developments in the genre. Since 1990, the production of horror films has risen exponentially worldwide, resulting in impressive ticket sales in the modern day, not to mention how the genre has expanded into books, fashion, music, and other media throughout the world.

Horror has long been the most popular film genre, and more horror movies have been made than any other kind. We need them. We need to be scared, to test ourselves, laugh inappropriately, scream, and flinch. We need to get through them and come out, blinking, still in one piece. This comprehensive guide features:

A thorough discussion on monster movies and B-movies (The Thing; It Came from Outer Space; The Blob)

The destruction of the American censorship system (Blood Feast; The Night of the Living Dead; The Texas Chainsaw Massacre)

International horror, zombies, horror comedies, and horror in the new millennium (Matango; Suspiria; Ghostbusters)

A dissection of the critical reception of modern horror (Neon Demon; Pan’s Labyrinth; Funny Games)

Stunning movie posters and film stills, plus fan-made tributes to some of the most lauded horror franchises in the world (Aliens; The Evil Dead; The Hills Have Eyes; Scream)

A perfect reference and informational book for horror fans and those interested in its cultural influence worldwide, Horror Unmasked provides a general introduction to the genre, serves as a guidebook to its film highlights, and celebrates its practitioners, trends, and stories.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: It is astonishing how important the horror-movie industry has grown to be. It began with a bang...pardon the wordplay...and pretty much reliably made money for the film industry for decades. Its reach into pop culture has never stopped making the puckerhole set very, very, very anxious and uncomfortable. The trends in horror-film making have huge impacts on things from politics to design aesthetics. It's all in here, though of course not in great, or academically sourced, depth. This is an exciting gift book, not a film studies text.

That is a feature, not a bug. My enjoyment of the read was thorough while we were in the past; in the modern day, I felt...impatient...this is current events! Do we really need to go into the stuff from day-before-yesterday? Yes, of course, said my old-man common sense. Not everyone sees the same information I do. Still, I'm docking a half-star for it because I'm giving *my* impression, and it might match up with your possible giftee's. Forewarned is still forearmed.

The Table of Contents, and the Introduction, are typical excitement-building spreads:


The Chapter One opening spread, and first text spread, gives us the basic format's development into the informative delivery medium for the deep-enough dive into the development and trends in horror film from the initial efforts through our present era of splatters in place of scares.

Gross oversimplification on my part, and not universally true; like all generalizations, exceptions abound. Go look into Bollywood horror...go learn about the reason we've seen such an explosion of horror franchises...find out who directed a horror film that you'd swear an oath would never have done such a thing.

Here's your chance to thrill the horror aficionado in your life with a hardcover book that will teach about the genre while pleasing the eyes and teasing the memory. Believe me, you'll never lose at trivia if you read this one.

A really great graphic representation of the interconnectedness of the global horror industry.

SINOPHAGIA: A Celebration of Chinese Horror, fourteen unsettling tales chosen and translated by Xueting Christine Ni

SINOPHAGIA: A Celebration of Chinese Horror
XUETING CHRISTINE NI, editor and translator
Solaris Books
$16.99 trade paper, available now

Rating: 4.75* of five

The Publisher Says: An anthology of unsettling tales from contemporary China, translated into English for the very first time.

Fourteen dazzling horror stories delve deep into the psyche of modern China in this new anthology curated by acclaimed writer and essayist Xueting C. Ni, editor and translator of the British Fantasy Award-winning Sinopticon.

From the menacing vision of a red umbrella, to the ominous atmosphere of the Laughing Mountain; from the waking dream of virtual working to the sinister games of the locked room… this is a fascinating insight into the spine-chilling voices working within China today—a long way from the traditional expectations of hopping vampires and hanging ghosts.

I RECEIVED A DRC FROM THE AUTHOR. THANK YOU.

My Review: These fourteen tales of eerie events, unnerving occurrences, and dreadful doings all work as a unit to dispel the expectations of Western readers that there is one Chinese way to "do" horror. We're accustomed to thinking of China in monolithic terms, as a single unitary entity with a single (incomprehensible) culture and language.

So here comes Xueting Christine Ni, one-person wrecking crew, to show us in the monolithic, culturally incurious West, what we're slowly coming to realize: There's a lot of great storytelling in the rest of the world, and it's hella fun to discover what creeps other folks out...and how often it creeps us out too. Which leads me to one of the oddest modern phenomena ever to make me snort: The content warning. These are horror stories. If you are not triggered by them all, at some level, they are not doing their collective job! I am not including them because, well, horror. The translator/editor is kinder than I am and includes a story-by-story list of them.

As is the custom of this country here (aka my blog), we'll go story-by-story with a note and rating, then a summation, or the Bryce Method as it's better known around here.

The Girl in the Rain by Hong Niangzi has the most eerie vibe...anything that smacks of perception manipulation gives me serious shuddering horrors.

As a way to start the collection, it's got a serious punch. It gets 4.5*.

The Waking Dream by Fan Zhou moves the perception manipulation up a notch, and uses it to fuel the more-expected among Western readers bodily pains and restraints. Is any of this real? Or is there a deep disturbance in the psyche? Is the disturbance in the psyche causing victimhood, or perpetration?

A combination I wasn't expecting, and that didn't really land in either direction, so 4*

Immortal Beauty by Chu Xidao is remorselessly, grindingly physical...abuse is horrifying, though not horror in my personal taste. I felt this was more a report of awful events than a story.

Least successful to me. 3*

Those Who Walk at Night, Walk With Ghosts by She Cong Ge adds bugs to the psychoterror, and does so in a way I was genuinely dreading. The disability angle caused my horripilation to become visible from across the room.

Affecting, upsetting, dark, and just plain nasty. 4*

The Yin Yang Pot by Chuan Ge was more or less a take on "The Girl in the Rain"'s themes...I was still very, very unsettled by the physical restraint aspect, as I always will be, but the perception manipulation in this story was what Did. Me. In.

I want to rate it "zero stars, do not recommend", so that means it did a 4.5* job of creeping me out.

The Shanxiao by Goodnight, Xiaoqing gets my CW because animals are abused. Do what you want to adults, but never harm an animal.

Two stars, because there's some very memorable, lurid non-animal-harm imagery.

Have You Heard of Ancient Glory? by Zhou Dedong did its level best to make my axniety circuits fry. Adding to perception manipulation the scourges of addiction, deliberate and intentional triggering of CPTSD, and mental illness issues galore, gave me a jolt that caused me to put the book down for a week. But I could not stop thinking about it during that week. Read the story again, and *click* on came the light: I am in this same headspace—but I can leave it!

That is a giant success. It's the story I'd call the most successful at what horror fiction does. 5*

Records of Xiang Xi by Nanpai Sanshu was unpleasant on every axis: Animal abuse, use of slurs and a kind of contemptuous belittling attitude, a sense of horrifyingly real entitlement, that repulsed me without the cathartic benefit of other stories. A grudging 2*

The Ghost Wedding by Yimei Tangguo did all of that, and more...but did not project the nauseating sense of entitlement, of an absolute right to inflict these horrors, which in my mind made this story (while unpleasant to me) less inexcusable and intolerable.

Evil exists. We must look at it to poultice away some of its toxic power and its appalling fascination. 3* because it was absolutely no fun at all to read, but does something I value.

Night Climb by Chi Hui felt like a Crimean vacation after a Moscow blizzard! Atmospheric and eerie, dread in place of horror, and a slammin' command of imagery.

Never so glad to give something I finished in shivers 4* in my life.

Forbidden Rooms by Zhou Haohui places too much of its harms on children. It doesn't do so gratuitously, and this isn't The Focus like in earlier stories, but...well...ew. I was interested, not repelled, by the slurs used in this story...honestly, human inventiveness is marvelous even when used for scumbaggery. Because this story's ending is what it is, I felt able to get to 4*

Tian'nang by Su Min trads the territories above, and really stomps the floorboards with it...felt like a tale meant to push you outside its narrative to compel you to look, really look, at what you're reading as an entertainment, not merely a story.

I could totally be projecting with this and it has no bearing whatever to the author's intent. But that's how I found it, and it worked well on that level. 3.5*

Huangcun by Cai Jun leans into the slur-use...for my taste, this is just plain ol' abuse meant to disgust. This, plus a hafty dose of graphic violence, could've led to a poor rating. The trick, when selling horror stories to an ambivalent consumer like me, is to bring the goods...this does...but to offer a level of reflection on, or assessment of, the goods in a differently slanted frame.

It's down to the prose in this story. In less adept hands, this would've sent me on my way for good. As it is, 4*

The Death of Nala by Gu Shi is the last story, and would've been no matter what because the animal harm was just too much for me. 3*

All in all the seasoned horror-reader will get the desired chills and thrills from these stories, and from some unexpected directions. I'm always sure that my horror reading is bog-standard until I get a horror title to read! I'm a complete wuss...animals and kids should be left alone. You can talk hauntings and demons all nigh, won't bother me a whit because I don't care, but hurt a creature that can't fight back and I am very angry.

So why did I rate this collection so highly? Because I learned a lot about what scares the Sinophone world. Because I am, like most in that world, stirred into fear and rage by the same sorts of things.

Because Xueting Ni has annotated this collection, you can go learn a lot if you like. If you don't care to do that, you can get your scary-story needs (whatever they may be) met here unbothered. I think it's a fine emotional investment.

THE BOOK OF WITCHING, the kind of horror that keeps me awake

THE BOOK OF WITCHING
C.J. COOKE
Berkley Books
$19.00 trade paper, available now

Rating: 4* of five

The Publisher Says: A mother must fight for her daughter’s life in this fierce and haunting tale of witchcraft and revenge from the author of A Haunting in the Arctic.

Clem gets a call that is every mother’s worst nightmare. Her nineteen-year-old daughter Erin is unconscious in the hospital after a hiking trip with her friends on the remote Orkney Islands that met a horrifying end, leaving her boyfriend dead and her best friend missing. When Erin wakes, she doesn’t recognize her mother. And she doesn’t answer to her name, but insists she is someone named Nyx.

Clem travels the site of her daughter’s accident, determined to find out what happened to her. The answer may lie in a dark secret in the history of the Orkneys: a woman wrongly accused of witchcraft and murder four centuries ago. Clem begins to wonder if Erin’s strange behavior is a symptom of a broken mind, or the effects of an ancient curse?

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: The dual-timeline haters are duly warned: this novel uses that technique in an absolutely inescapable way. It's not a gimmick to improve pacing...it's integral to the story, and deployed in a way you invest in right away, or really dislike instantly. It does not change for the entire book so be advised of that if you do not like it on contact.

The initial horror set-up, a mother hearing that her daughter who was off on an adventure holiday is now in the hospital, scared me enough. "It can't get worse than this," thought innocent little me. Your kid's in a burn unit far away. You have to get there, worried out of your mind. Your beloved only child is, when you can finally speak to her, someone else...or so she says. "It can not get worse than this," I shuddered.

Had I but known....

I don't go in for supernatural stories, witches and devils and suchlike silliness. If something supernatural like that existed, I'd've seen it for myself in these past *cough*ty-*mumble* years. Ain't happened. Weird shit, yes; devils and gods and miracles, nope. None of that kind of horror is here, either. It's all the slimy rottenness of Humanity. It's all the horrible stench of misogyny. It's all greed and control at their ugliest and most personal.

Just in somehow linked points in past and present.

That's as far as suspension of disbelief will take me, so I'm glad that's as far as we went. There's nothing but a truly unnervingly described...talisman? power focus?...wisely left ambiguous. If one wants a supernatural explanation for these weirdly entwined events so distant from each other in time, there's a way to see that; there's also nothing that requires it to have that explanation, and the horror in the story told is of human origin.

That made it just right for me to read this #Deathtober, and is why I gave it four stars. I found Clem's anguish and confusion horrifying because they're totally relatable. Her child, a new mother herself, is wounded terribly in body and quite possibly irretrievably in psyche. That could not possibly be worse, except evil Author Cooke made it scarier by introducing elements that are outside normal parameters.

Parents of teens strongly cautioned.

STEPHEN KING: His Life, Work, and Influences, perfect gift for your teen/tween Constant Reader

STEPHEN KING: His Life, Work, and Influences
BEV VINCENT
becker&mayer! kids
$16.99 trade paper, available now

Rating: 5* of five

The Publisher Says: A thrilling visual companion curated for young adults voraciously reading their way through Stephen King’s colossal corpus of creepy books.

For many young readers, when the last page of Goosebumps is turned, the first chapter of Pet Sematary begins, and a world of terror crafted by Stephen King is revealed. His novels are as fascinating as his life, and in this ultimate illustrated guidebook, young readers explore the cultural phenomenon and legacy of the King of Horror.

From scare-seeking child to impoverished university student to struggling schoolteacher to one of the best-selling—and most recognizable—authors of all time, this engrossing book reveals the evolution and influences of Stephen King’s body of work over his nearly 50-year career, and how the themes of his writing reflect the changing times and events within his life.

With tons of photos, approachable bite-size sections, and gripping details to captivate young readers, the book offers an extensive look into Stephen King’s books, short stories, writings, movies, series, and other adaptations ideal for the young reader to review. Exclusive memorabilia from Stephen King, including personal and professional correspondences, handwritten manuscript pages, book covers, movie stills, and a never-before-seen excerpts from his poems. Personal insights and observations such as real-life settings that inspired King’s writing, the editor who discovered him, his life as a Boston Red Sox fan, and the many awards and honors he has received. Motivating quotes from King from interviews over the decades.

“My childhood was pretty ordinary, except from a very early age I wanted to be scared…there was a radio program at the time called Dimension X, and my mother didn’t want me to listen to that because she felt it was too scary for me, so I would creep out of bed and go to the bedroom door and crack it open. And she loved it, so apparently, I got it from her, but I would listen at the door and then when the program was over, I’d go back to bed and quake.” —Stephen King

Young adults will covet this comprehensive yet accessible reference to their favorite horror author.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Author Vincent's a King superfan, and believe you me, it shows. This compendium of anecdotes and overviews of his career, and the stories he's offered us, is exactly what a young fan will love.

Plenty of not-so-young fans too, I'll wager.

I'm not a Constant Reader, as he addresses his immense and well-earned audience online, more of a dibble-dabbler. I enjoy many of his massive tomes—my own favorite being 11/22/63—because I'm very old and that date means so very much to me. (Rob asked me once why that date was important...ouch.) The manner in which Author Vincent hits the life and career high points will make this a deeply welcome gift to your King-stan teen or tween. (Officially. We won't discuss what you do with it before wrapping it up.)

The design and visuals are very much up to the job, as one would expect from a Quarto Group imprint.

Clear, concise, not too busy to fail in its primary duty of informing as well as keeping one's interest.


I enjoyed the glimpse into King's early methods and processes.


It's safe to say we do not share a taste in companion animals. *shudder*


The stuff of literal nightmares for decades now!


...speaking of which...Tim Curry does Pennywise the best, in my never-remotely humble opinion. Skarsgard's got a different take, not worse not better...but give me Curry every time.

Here are a couple text-only spreads to round out your visual impression of the book. I'll stress that, even on my tablet, the design's readable and very appealing.


Solid design, appealing to a recipient fan, very intentionally a gift book. It's a terrific value at this price!

MY DARLING DREADFUL THING, sapphic Dutch Gothic horror...my first such...please not last, though

MY DARLING DREADFUL THING
JOHANNA van VEEN
Poisoned Pen Press
$17.99 trade paperback, available now

Rating: 4* of five

The Publisher Says: In a world where the dead can wake and walk among us, what is truly real?

Roos Beckman has a spirit companion only she can see. Ruth—strange, corpse-like, and dead for centuries—is the only good thing in Roos’ life, which is filled with sordid backroom séances organized by her mother. That is, until wealthy young widow Agnes Knoop attends one of these séances and asks Roos to come live with her at the crumbling estate she inherited upon the death of her husband. The manor is unsettling, but the attraction between Roos and Agnes is palpable. So how does someone end up dead?

Roos is caught red-handed, but she claims a spirit is the culprit. Doctor Montague, a psychologist tasked with finding out whether Roos can be considered mentally fit to stand trial, suspects she’s created an elaborate fantasy to protect her from what really happened. But Roos knows spirits are real; she's loved one of them. She'll have to prove her innocence and her sanity, or lose everything.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: Satisfying sapphic romantic story of a woman who uses legit psychic powers in service of a horrible, harridanly charlatan. Or the story of an impressionable mentally ill young woman in thrall to a horrible, harridanly charlatan who grabs hold of sapphic love to effect her escape from abuse.

Either one fits. Both take us down the very dark, quite chilling paths that Author Johanna ushers the reader down. Roos, our PoV, has never experienced a normal life. It's the second culturally Dutch novel I've read this month that paints a very bleak picture of Dutch life after WWII, though I suppose that isn't exactly a shock is it. What does surprise me is the deeply homophopbic atmosphere Author Johanna portrays...I suppose the patriarchal horror of the world she's limned before our utterly appalled eyes is a big part of that, as the homophobia in question is directed at sapphic lovers.

If I'm to offer you one inducement to exceed all the others to get this book into y'all's hands, I'm going with: Dutch Author Johanna wrote this book in English, about lesbian survivors of a horrifying war in the Netherlands, because she's Dutch, because she's lesbian, and because she's clearly not quite right. How many people can accrete so many out-of-mainstream identities, write a story directly centered in them all, and get it published in the insular US market? And then, topping the high-calorie literary sundae with its obligatory gorgeously red cherry, create the undead/zombie character that twangs your readerly heartstrings with her fullness and pathos? Sweet, dead Ruth...my favorite zombie!

There are no others, just this one.

You can read, and there's a synopsis above this, so you know what's going on. I'm here to tell you if I think Author Johanna did the job of convincing me to invest in her world: Yes. Did she make me think long and hard about how the transactional world cheapens, while defining, human relationships: Better than the Southern Gothics. Roos is a classic Tennessee Williams character, a Blanche Dubois plus agency, with the psychic fragility and serious Love problems; Ruth puts me in mind of a gender-flipped Darl Bundren, articulate, doomed. Did her writing cause me to sit quiet for long moments, committing parts to memory: once, which is once more than most books I read. (It's a spoiler, so I daren't share; the Spoiler Stasi are ever vigilant and quick with their truncheons.)

The unique quality I literally never expect from horror, especially Gothic horror, novels is, here, the pervasive Dutchness of the story. It could not be reset in the US, or England, without losing the special something that kept luring me past my usual guardrails against con-artist faux psychics and fantastical stories of spirit lovers. These are usually the tropes I use as reminders that I have compararively few eyeblinks left and don't want to waste them. Author Johanna, in using postwar, post-Occupation Netherlandish settings, convinced me not to pre-judge these characters. Their long national trauma, their dark personal traumas, their battles faught against real cultural horrors, all formed a gestalt of world and people that convinced me to set my usual intolerance for these ideas aside and consider them as real...to the characters, thus opening the door to my belief as well.

That's a huge achievement for an author I'm unfamiliar with. I'm really pleased to say that I felt the ending was indeed a payoff commensurate with my investment of care and attention.

Brava, Johanna van Veen. Clearly your genesis as the odd-triplet-out was predictive of your sui generis selfhood. I'm eager for more from you.

THE REFORMATORY, death and reckoning in Jim Crow Florida...winner of the 2024 BRAM STOKER & WORLD FANTASY & SHIRLEY JACKSON AWARDS FOR BEST NOVEL

THE REFORMATORY
TANANARIVE DUE
Saga Press
$28.99 hardcover, available now

WINNER of the 2024 World Fantasy Award for Best Novel!

WINNER OF 2023'S BEST NOVEL—SHIRLEY JACKSON AWARDS!

Rating: 4* of five

The Publisher Says: A gripping, page-turning novel set in Jim Crow Florida that follows Robert Stephens Jr. as he’s sent to a segregated reform school that is a chamber of terrors where he sees the horrors of racism and injustice, for the living, and the dead.

Gracetown, Florida

June 1950

Twelve-year-old Robbie Stephens, Jr., is sentenced to six months at the Gracetown School for Boys, a reformatory, for kicking the son of the largest landowner in town in defense of his older sister, Gloria. So begins Robbie’s journey further into the terrors of the Jim Crow South and the very real horror of the school they call The Reformatory.

Robbie has a talent for seeing ghosts, or haints. But what was once a comfort to him after the loss of his mother has become a window to the truth of what happens at the reformatory. Boys forced to work to remediate their so-called crimes have gone missing, but the haints Robbie sees hint at worse things. Through his friends Redbone and Blue, Robbie is learning not just the rules but how to survive. Meanwhile, Gloria is rallying every family member and connection in Florida to find a way to get Robbie out before it’s too late.

The Reformatory is a haunting work of historical fiction written as only American Book Award–winning author Tananarive Due could, by piecing together the life of the relative her family never spoke of and bringing his tragedy and those of so many others at the infamous Dozier School for Boys to the light in this riveting novel.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: WINNER OF the Bram Stoker Award for Best Novel (2023)

This is one long story. Long in words, long in facts, long! What it isn't is a dragging mess to read. Ghosts, abused boys, wretched families, the oppressive miasma of Florida's hideous climate...any one of these could've sent me on my way. Instead they all work as a gestalt of Horror, suffering, and terror that left me drained but made me as happy to know this story as an old white man who has never had to fear this kind of abuse and calculated cruelty can be at knowing, from the inside out, what the system I and mine have benefited from did while we were looking anywhere but there.

The single most awful part is that it's fictionalized, not fiction.

I just do not know why anyone would, based on skin color or other cosmetic or cultural factors, engineer a life designed to end quickly and prematurely for innocent victims. Othering, a long-standing weapon of mass destruction, is the cruelest and excuses the cruelest means of hurting those unloved. Why we keep burying our knowledge of its occurrence is perfectly clear after reading this story: Admitting that we tolerated this, knowing on some level that it was happening because these people vanished, but not how, not what horrifying acts occurred in our names, is acutely painful.

So is torture. So is the murder of your loved ones.

Suddenly the pain of reading about it isn't quite so bad, is it.

I hope this book becomes the classic anti-racist read of the twenty-first century. It has renewed urgency and relevance as the years go by. It seems white folks just can't stop being horrible to others.

AND WHAT CAN WE OFFER YOU TONIGHT, multi-award-winning novella and damning takedown of a hypercapitalist hellscape

AND WHAT CAN WE OFFER YOU TONIGHT
PREMEE MOHAMED
Neon Hemlock Press
$12.99 all formats, available now

Rating: 5* of five

The Publisher Says: Winner of the 2022 Nebula Award and World Fantasy Award for Best Novella.

In a far future city, where you can fall to a government cull for a single mistake, And What Can We Offer You Tonight tells the story of Jewel, established courtesan in a luxurious House. Jewel’s world is shaken when her friend is murdered by a client, but somehow comes back to life. To get revenge, they will both have to confront the limits of loyalty, guilt, and justice.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: Self-esteem, self-love, class solidarity, friendship, Love...big, big themes to tackle in under a hundred pages. Yet as one expects from Premee Mohamed, tackled they are, and indeed pinned to the mat of argument.

There are those who say they have no patience for future-set stories, yet who will gobble the stories that center amateur sleuths who are not arrested and abused by police and courts who do not approve of this behavior...inconsistent much? Each is unbelievable in its own way, and this story’s amateur sleuths have some *very* powerful motives for their far higher stakes poking around. I know others whose taste in storytelling excludes tales that begin in medias res. That being a taste that can not be argued with, I warn those folk that this is not one for them.

The authorial voice here, Jewel’s stream of consciouness and self-aware of its floridity, would wear on my nerve if it lasted more than the eightyish pages that it does. In this size of a dose, it counterpoints the horrifying, bleak dystopia that these young people are...existing is a better fit than living...within. The brothel where they work is a reputaable one, yet a client murders one of them and no one in power cares, or pursues justice.

Sound familiar, y’all?

Unlike boring old twenty-first century reality, though, the murdered party returns for revenge, not as a zombie or vampire but simply undead. Go with it. As the co-sex-worker Winfield sets about getting the revenge that I myownself feel is richly deserved, the story meditates on the larger, darker themes of living in a hypercapitalist hellscape. The ending is, as expected, satisfying. The truths Author Mohamed tells us in the course of this bleak vision of a future where money = justice, where might = rights, where even the meagerest of existences is contingent on selling one’s own body for the gratification of others, are readily applicable to the world around us.

That horrifying truth is how this very short, sharp shock to the reader’s system won the very high-powered awards that it did. Very highly recommended.

KING OF NOD, like Stephen King emigrated to the Low Country

KING OF NOD
SCOTT FAD
Self-published (non-affiliate Amazon link)
$34.95 trade paper, available now

Rating: 3* of five

The Publisher Says: After twenty years of self-imposed exile, Boo Taylor finds he must return to Sweetpatch Island, South Carolina, following his fathers mysterious death. Upon his return, he is shocked to discover that the small, marshy barrier island he left behind is now covered with golf courses and swarming with tourists. It seems that everything he ran away from the violence, the hatred, the betrayal have all but vanished. But the islands ghosts are not so easily dispelled. King of Nod layers time and secrets in an intricate pattern of half-truths and glimpses of redemption that slowly dissect the riddle of the islands past and its inexorable connection to Boo's own fate.

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My Review: Lots of comparisons to Stephen King get made about this story...the setting of a landscape ripe with thoughtless change, irritating the spirits of the place; lush, descriptive language; an outsider who Just Knows he isn't who he's been told he is; and as far as it goes, all of those are accurate assessments of this read.

What doesn't get a lot of airplay is how much like King the bloated, self-indulgent length of the book is.

Robert Lee "Boo" Taylor is our PoV character. The putative son of the town doctor in Low Country Sweetgrass Island, South Carolina, he never settles in to his identity. Spoiler alert: It's much more fraught a topic than he was led to believe. Notice, please, his uber-Southern names (if they aren't obvious to you, google them) and their cultural resonances. As I think being thumped on the nose this way is not my idea of fun, I was ready to move on from this read very quickly.

But here the more positive resonances with King kicked in. I found the first 45% hard to read but hard to quit. This is a lot like my response to King's Pet Sematary. I did finish both books, this one no more sluggishly than King's. Both ended up being what, for this materialist reader, on the unsettling side but never frightening the way, say, Sundial was. Any time we start talking about Eeeville from Beyond, I get impatient. But the parts about family, the cruelty of the ignorant, the burden of being Other in a small place...those I relate to and enjoy.

Would I read it again? No. Was my time wasted? No. I'd recommend someone cutting at least 200 pages to whip up the pace. The author has definite promise, with ideas that are worth exploring and a good eye for the details that can immerse one into the book's world. The fact is, though, these same details were splashed on so liberally that I felt submerged in a vat of Old Spice. Cut, cut, cut, and emerge with a possible world-beater.

If You Hear "ANYBODY HOME?" for gawdsake say no! & FALTER KINGDOM, horror-adjacent YA bodysnatching

ANYBODY HOME?
MICHAEL J. SEIDLINGER
CLASH Books
$18.99 trade paper, available TODAY!

Rating: 4.5* of five

The Publisher Says: What came first, the home or the desire to invade?

A seasoned invader with multiple home invasions under their belt recounts their dark victories while offering tutelage to a new generation of ambitious home invaders eager to make their mark on the annals of criminal history. From initial canvasing to home entry, the reader is complicit in every strangling and shattered window. The fear is inescapable.

Examining the sanctuary of the home and one of the horror genre's most frightening tropes, Anybody Home? points the camera lens onto the quiet suburbs and its unsuspecting abodes, any of which are potential stages for an invader ambitious enough to make it the scene of the next big crime sensation. Who knows? Their performance just might make it to the silver screen.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: I am on record as loathing the chest-pokey, accusatory second-person narrative voice. Looking at the rating above, you're entitled to wonder what happened to that vat of extra-thick contumely I keep simmering away on the Stove of Rage firing my soul.

Author Seidlinger (MOTHER OF A MACHINE GUN, the ineffable six-stars-of-five THE FUN WE'VE HAD) pulls it off better than I have seen it done elsewhere. This post-apocalyptic Clockwork-Orange level story of the inevitable end of surveillance capitalism's seemingly unstoppable rise...Siri, Alexa, Ring, Google's absolute right to track your every move to earn more profits ring bells?...by poking your chest to remind you of who it is, exactly, who's consuming these "conveniences." The second-person feels accusatory because it is an accusation, a Zola-level J'accuse...! to our corrupt, passively complicit consumer ethos.

The joke here, it's no spoiler to say, is an "unscripted reality show" based around a home invasion. No one would watch that for real, would they, a group of people being terrorized for our amusement? I present In Cold Blood, book and film, as countervailing evidence for the antiquity of this trope being used for entertainment...there are other, older, examples of hostage-taking entertainments like Key Largo but they moved the action to a slightly less personal sphere...so no one's got any sound footing to tut and scoff at the premise. Not even me, the maharajah of TutAndScoff.

So what happens? You know already what happens, there's a family of sorts that gets home-invaded and different things happen to them. Nothing, in keeping with the reality-TV format, is personal. It's all done for the viewers, the audience (note that these words are from different senses and this should be very closely attended to), the dramatis personæ having only designations like "Invader #1" or "Victim #4". In his usual "you didn't imagine this would all be on the surface, did you?" style, Author Seidlinger slings his arrows into the tiniest cracks in the jaded consumer's armor, making this a book far better delectated than consumed. It is, in fact, horror in the sense it's really quite horrifying in what it says, but a supernatural-horror fan will leave the read unhappy, while a revenge-driven horror fan won't get far into it before discovering their needs are not being met. This is more existential horror, a horror that eases the bathroom door open inch by inch before ripping open the shower curtain and flinging cold water on you in order to elicit the screech of terror, outrage, and angry embarrassment at Being Caught.

Make no mistake: You're caught.

You're the one watching; you're the one there's a meta-home-invader to explain to, and to coach "Invader #3" and cohorts. You're the reason this story exists, is being enacted before your "horrified" eyes. You, consumer of the fear and anguish of others.

Which is why I will now say something I have never said before, and never expect to say again:

Second-person narration rocks.

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

FALTER KINGDOM
MICHAEL J. SEIDLINGER
Unnamed Press
$16.00 trade paper, available now

Rating: 4* of five

The Publisher Says: Hunter Warden just wants some peace and quiet. He wants to watch unboxing videos and be lulled to sleep by the monotone voices and smooth talking YouTube hosts. He wants his parents that are always working to either totally leave him alone or be around for once. After a few beers, Hunter decides to get away from it all and go for a run in Falter Kingdom.

When you run the gauntlet at Falter Kingdom, a tunnel next to a park on the outskirts of suburbia where local high school kids go to drink and smoke, one of two things can happen — nothing or you catch a demon.

The cold spots, locked doors, scratches on the wall, and disappearing laptop immediately alert Hunter to the fact that a demon is haunting him. He knows the signs, he's seen the videos of people that are possessed, and everyone knows someone that has had to get an exorcism. Hunter knows that he should get rid of it, but he can't help but enjoy the company of "H," despite this demon's sinister intentions.

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My Review: Make friends with the Darkness Within. There's never going to be a way to get rid of it, so pick a coping strategy: Denial will fail in quicktime; submission will have dreadfully uncomfortable consequences; but making friends with the Darkness Within, making its vision and its urgings (not to mention urges) a source of strength...that way billionairedom lies!

The real question this book presents to its younger-skewing audience is: Who exactly is it that's possessed? What makes someone a possessor? Where, in other words, does the real power lie? (Wordplay decidedly not optional)

What makes this a four-star read but not a five-star one, for me, is Hunter as a stream-of-consciousness narrator. He doesn't think like a high-school senior, said the grandfather of more than one such being. It's only problematic, to be honest, because it's a book aimed at the high-school aged crowd. If it were simply another of Author Seidlinger's unease-inducing, perception-defying novels, I'd never even bring it up. But aimed where it is, I expect it to go there; it didn't make the trip in this reader's perception.

The story itself...how the Falter Kingdom is accessed, what the Falter Kingdom represents...is the usual Author Seidlinger-esque mindfuck of "sure, look at the pretty surfaces, but remember that this author dude laughed through the entire Saw franchise." It's perfect, in terms of believably attracting the teen-boy victims these demons are in search of. It's believable metaphorically..."don't go into that tunnel," says Adult, thus guaran-damn-teeing the kid will and thus will learn from this initiation...it's handled in a quite amusingly perfect way, and it satisfies the narrative need for a driver of action.

I'm all for it. Read, remember, respond with the desired shivers and frissons and half-laughs of memory.

***As an aside, this review vanished from Goodreads last year which caused me no little amount of angst. Must've been a victim of the stupid-people-friendly redesign's early stages. Luckily it's been safely parked on my YA tab, but this year's publication of ANYBODY HOME? brought it into the full glare of public scrutiny.

OUR WIVES UNDER THE SEA, a lesbian-led version of Annihilation

OUR WIVES UNDER THE SEA
JULIA ARMFIELD
Flatiron Books
$26.99 hardcover, available now

One of NPR's Best Books of 2022!

LONGLISTED for the 2023 Andrew Carnegie Medal for Excellence in Fiction!

One of LitHub's 38 Favorite Books of 2022!

Rating: 4* of five

The Publisher Says: Leah is changed. Months earlier, she left for a routine expedition, only this time her submarine sank to the sea floor. When she finally surfaces and returns home, her wife Miri knows that something is wrong. Barely eating and lost in her thoughts, Leah rotates between rooms in their apartment, running the taps morning and night.

As Miri searches for answers, desperate to understand what happened below the water, she must face the possibility that the woman she loves is slipping from her grasp.

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My Review: First, read this:

The space around us is a claw half grasped, holding tight without quite crushing, and I wish, in the idle way I always wish these days, that I felt more confident in my ability to breathe.
–and–
I used to think there was such a thing as emptiness, that there were places in the world one could go and be alone. This, I think, is still true, but the error in my reasoning was to assume that alone was somewhere you could go, rather than somewhere you had to be left.
–and–
Her tone is perfectly reasonable, even kind. Beneath it, however, there is little enough in the way of feeling, a chilly blank where the rest of her voice, as I know it, should be.

Don't think for a moment that this is ever an easy book to read. It's not long, only 240pp, or probably 85,000 to 90,000 words. It's a supremely effective exercise in lovely phrase-making that adds up to an eerie atmospheric story of two women in a marriage based on so many broken places and invisibly tiny hooks on long, thin, almost undetectable filaments that intertwine with the other's reaching filaments...no telling whose reach in, whose reach out, the effect still mimics velcro for the soul.

I used to think it was vital to know things, to feel safe in the learning and recounting of facts. I used to think it was possible to know enough to escape from the panic of not knowing, but I realize now that you can never learn enough to protect yourself, not really.

I felt my impatience with Miri, the wife on land, wax and wane several times during the read...in life I'd find Miri intolerable...and I found Leah more and more relatable, as the quote above could've been ripped out of my mind and prettied up some to be Leah's voice. I understood these two women being together, and I understood why Author Armfield introduced a new Leah-like character to be active for Miri the passive, the sea-like all-absorbing heatless Miri. I understood...but I didn't love.

Too much of what happened reminded me of Jeff VanderMeer's Annihilation, possibly more the filmed version than the book. Too many things left off, dangling conversations like the one in the ancient Simon & Garfunkel song. The eerieness of it is very close to ennui at times, Leah speaks of exhaustion that feels bottomless and that unfortunately is what I took away from this read.

But oh my goddesses, the beautiful phrases. The beautiful, beautiful phrases, the concepts caught in their gem facets, oh my goddesses. Give me that all day long. I promise I won't complain a peep about the "plot".