The Horror Anthology of Horror Anthologies
edited by D.F. Lewis. Megazanthus Press, 2011.
D.F. Lewis deserves credit for, among other things, devising an
original theme for his latest collection: every story features a
collection of horror stories as an element of the plot. In the world of horror anthologies, this is the age of the theme. Aside from Year's Best collections, most multi-author collections depend for their coherence on one theme or another (involving, as likely as not, vampires,
zombies, the creations of H.P. Lovecraft, or some combination thereof.) Lewis, a seasoned author, anthologist, and reviewer, loves
to play with ideas and question common assumptions. But he
also knows his audience.
Delivering on expectations is, by definition, a primary consideration of
genre fiction, but even here success demands originality enough to stimulate even the most saturated sensibilities. So credit Lewis with putting together a
themed collection that plays with expectations while at the same time
delivering solid, satisfying horror fiction from newcomers and from some of the
best in the field.
There are weak
stories here, but it's almost in the nature of the form to
tolerate or even welcome a
few (hopefully interesting) failures in the mix. Stealback's "The Writer" is
technically weak and conceptually muddled, and could have been omitted;
on the other hand, A.J.
Kirby's contribution is well-written
enough for a mainstream horror venue, but I found it overlong and
unoriginal. The biggest problem I had with the
book, however, was that several of the less successful tales appear merely to graft the horror
anthology device onto a preexisting story. S.D. Tullis' "Horror Planet" is silly, with many cringe-inducing lines, but at least the concept is audacious and its use of the horror anthology element is central to the story's conception.
In the best pieces the device of the horror anthology is integral to the story. Joel Lane's
beautiful meditation "Midnight Flight" treats its themes - the elusive fictional
anthology at its center, urban alienation, aging, regret - with
deceptive delicacy and control. Some of these elements, especially the
urban grayness and decay seen through the eyes of an outsider narrator, have been
worn thin by the heavy tread of decades of urban horrorists, but Lane folds his story
inward to its conclusion with a convincing feel for the workings of
fate and, in the process, strikes unsettling notes that carry after the
last page is turned. The other standout story here, nearly worth the
price of admission, is Reggie Oliver's "Flowers of the Sea."
It shares with Lane's story a
mysterious quality of the best horror fiction - a
command of pace, incident, and climax which, in the hands of a master,
is even more persuasive and nerve-wracking than that other prized attribute,
the convincing evocation of atmosphere. We are drawn in by a true and skillfully depicted human tragedy, hypnotized by visionary weird
elements, then stunned with the horror of a climax which shockingly
melds the tale's ideas and emotions with a vivid physical presence.
Proud to announce that a new story of mine called "The Face in the Wall" appears in the latest issue of the online literary journal Fiddleblack. Navigate to Issue #4 to find my tale. 
