By 22nd December 2013Uncategorised

In no order of preference, here are my favourite reads of 2013. I thought every book was terrific and I recommend them all. What strikes me here is my patterns as a reader; I tend to catch up on a movement or area of fiction, and rarely ever read randomly. If I like a book, I then fall upon other titles by the same author. There’s often a completest strategy at work.
 I found the combination of philosophical and religious ideas and cosmic horror absorbing. With Lovecraft and Ligotti lighting this approach in the past, it was great to read a new author who really goes for the bigger themes around existence and consciousness. All the stories reach for the numinous, and the perpetual threats of chaos are really well wrought.

I enjoyed the essays as much as the fiction because you can’t beat a really good essay, written by an authority, on something that interests you: the history of the angel and demon and their interpretations in horror, a Buddhist reading of George Romero’s first three undead films, and parts of the old testament as a horror story. Quality. Lovely Mythos edition too, so I suggest jumping on those still available.
 Continuing my catch-up of the new wave in North American horror (as a metal fan that’s a handy classification for my own shelves), I thought the new anthology from Laird Barron – THE BEAUTIFUL THING THAT AWAITS US ALL AND OTHER STORIES – was tremendous. ‘Blackwood’s Baby’, ‘Hand of Glory’, ‘The Siphon’, and ‘The Men from Porlock’ being my personal favourites from stories that are nearly all epic in their range. As well as the writer’s own vision, many of the same qualities I enjoy in Cormac McCarthy’s westerns, in Blackwood’s mysticism and terror in the wilderness, and in Lovecraft’s cosmic horrors, I thoroughly enjoyed in this collection. Particularly affecting and effective is the constant sense of an occult force that swells behind the action of the stories (not an easy thing to conjure).
 I spent two weeks reading John Langan’s two short story collections – MR GAUNT AND OTHER UNEASY ENCOUNTERS & THE WIDE CARNIVOROUS SKY AND OTHER MONSTROUS GEOGRAPHIES – and they made the last hour of the day something to really look forward to. Always inventive and intelligent and both collections were a constant reminder of what can be done with a horror story. ‘Technicolour’, ‘The Wide Carnivorous Sky’ and ‘June, 1987. Hitchhiking. Mr Norris’ were my personal faves amongst the shorts, but my wonder and awe reached their peaks while reading the longer stories, or even novellas, that close each collection: on ‘Laocöon, or the Singularity’ for its cosmic horror, and the mighty ‘Mother of Stone’ which I’d say is one of my favourite horror stories of the last few years (it gave me Nigel Kneale style shivers). The cover price for the second collection (WCS) is a steal for that novella alone. I’d be surprised if we don’t see ‘Mother of Stone’ again, reprinted in collections for years to come. Because we should do. Outstanding.


 The exceptional quality of the writing aside, what most impressed me about this collection was how the uncanny and the supernatural was used to augment stories that a chronicler of everyday tragedy and misfortune, like William Gay for example, often wrote about. At times I felt like I was reading a new approach to horror fiction, and that’s a very refreshing prickle to feel across my scalp. There’s a fantastic idea at the heart of every story too.

I think my favourite story is the one that is enduring most vividly in my memory, and that is the last story – THE GOOD HUSBAND. Which I think has its first publication in this volume, and ends the book to give a suggestion of the continuance of quality. SUNBLEACHED and the title story are also sublime. I read SUNBLEACHED at a time when I don’t think I could take another vampire in any form but that of confectionary jelly, but this story restored and re-empowered the spectre in my imagination.

I think this is a collection of fiction that anyone who appreciates quality horror should read. Said it before, but horror fiction is in a fine place right now and it’s exciting.

 Wonderful writer – insightful, and masterly with description. Also the author of MAILMAN, which is one of the funniest portraits of outright despair I have read. CASTLE is very different to MAILMAN, and the first two thirds had me spellbound and walking into walls. Very ambitious novel about memory, abuse, mental illness, with a mystery at its heart that actually reminded me of LOST. I think it takes a great writer to be able to render moving to a small town and renovating a house in such an interesting and absorbing way. A keeper.

 Very ambitious time-slip novel, in which a woman is transported into a future version of her life and self. In her second time around most things are the same – family, locations, the wider world – though her personal life has altered: her appearance, her relationships with her family, her career. So this is science fiction in concept, but the novelist primarily concentrates the narrative on two things: Elisa’s psychology and how she deals with the changes after being transformed into a parallel self in a parallel existence (a self that made different choices in a parallel past); and the relationships this emotionally fragile and unstable woman has with her “new” family and those she encounters. Lovers and friends she once knew are now strangers she has never encountered before in her new history (which has to be explained to her by her husband, who is also subtly different to how she remembered him). And places of work she once knew intimately have never known her presence. I found that totally absorbing and frightening – your past is no longer your past, your friends are strangers, your family still exists but your relationships are different because your experiences with them have been different in your parallel life that you now inhabit. If you confess to what you think has happened, people will think you are mad. Perhaps you are and have imagined something outlandish that seems like reality to you.

Often novels based on such a fantastical concept struggle when the reader is distracted by pulling threads from the concept, ie with time travel. I’ll admit I am one of the few who didn’t rate Before I Go To Sleep; I just didn’t buy the principal the story was founded on. But Lennon really thought his ideas through and creates, to me, an authentic experience, no matter how outlandish the central idea (the fact that it isn’t outlandish as you read is another testament to the subtlety of his craft and approach). And that is an indication of really intelligent and insightful writing.

My edition has an after word by the author in which he says that the novel was his reaction to how America changed in subtle but disorienting ways the day after 9/11. It’s also an idea that he considered for ten years until he was ready to write the book. In addition he says it’s about parenting and how you change as a person, whilst remaining partially powerless over keeping your offspring on the right path. Not an approach I’ve come across often.

I found Elisa almost unbearably high maintenance at times, which says more about what experience of similar people I brought to the reading experience than the character. But the psychological insights are superb, as are the characters (there’s a seemingly sociopathic son reminiscent of Kevin from ‘We Need To Talk About Kevin’ in both worlds, who is rendered so well), and I always prefer an authentic character who isn’t particularly likeable to a “hero”. I tend to find North American writers handle this depth of psychological insight so well in their literary tradition. What I like about Shriver, Cheever, Bellow, Malamud, McCarthy, Ford, Salinger etc in how they explore psychology and consciousness, I also admire about Lennon’s fiction. No one is good, or necessarily all bad, they’re all “assholes” to each other at one time or another, they’re confused and battling with their own ghosts – they’re mixed, they’re real.

The ending is superb, and I found it chilling and unconventional – a bit Nigel Kneale, which is no bad thing. It also features the best rendering of a genre convention I have read, and I have been to a few. So I highly recommend the novel, and for me, it’s the kind of science fiction I like to read – how a character responds to a major event, rather than space operas in which adventures occur amidst advanced physics and technology. The fact that it might not even be science fiction but the story of a woman unhinged by a monumental series of breakdowns, I also liked. My jury was in and out on occasion, but I ultimately decided that she did “dimension-slip”.


An immediate personal favourite. More than a flicker of Machen, echoes of Salinger’s CATCHER’, though with a more precocious character, a possible homage to Tove Jansson, and much that reminded me of Joan Lindsay’s PICNIC AT HANGING ROCK.

I’ve not yet read a Burnside novel that didn’t both spellbind and quietly horrify me. But this is my favourite of those I have read; I even prefer this to GLISTER, which is saying something. Be prepared for considered (and rewarding) insights into consciousness, as well as unusual characters that are studied in forensic detail.

Would suit a Wheatley, Haneka or von Trier adaptation. There is much to be learnt about enigma and restraint from this Scottish poet and literary novelist and great rewards await a patient reader.

A remarkable story of one man’s emotional and psychological breakdown in a small grey Scottish town, via murder, abduction, alienation, separation. All of the startling insights into the human condition, and a poet’s deep scrutiny of landscape and memory, that you expect from Burnside’s prose are also in place here. Reminded me of Nabokov’s Lolita too; and Burnside is a novelist who writes about uncomfortable subjects without flinching. Sixth novel I have read by this author and they have all been both marvellous and disturbing

I thought the novel was another confirmation of what a good place horror fiction is in these days. I thought this was an exceptional novel that set me reading at a careful and patient pace to savour the quality of the writing, the psychological insights, and the deft handling of the supernatural. The social milieu reminded me of the stories of Cheever, Updike or Tartt, more than you tend to find in horror (with the exception of some Peter Straub) and I think the sophistication of the author’s style really distinguishes this book in the modern horror field. The supernatural elements in the haunted house carried the ideal combination of being simultaneously sinister and enigmatic. Particularly admired what was done here with art history, expressionism blended with the occult, and the interpretation of an afterlife. More please, Mr Langan.

Another novel that came highly recommended, and I will pass on that recommendation like a piece of parchment festooned with occult runes to the next innocent idler, is THE CRONING by Laird Barron. For me, this was a most authentic rendering of the true spirit of Lovecraft, packed with eldritch lore, anthropology (and any number of academic pursuits to augment the story), epic adventure and cosmic terror. Great writing, great ideas. Fantastic.

While it would be very hard for me to shortlist my favourite Ramsey Campbell books, because there are too many to make a list that would qualify as “short”, two recent titles are immediate personal favourites: THE SEVEN DAYS OF CAIN and THE KIND FOLK. One of the few writers, who seems to open a rarely used part of my consciousness when I read their work (same with Robert Aickman and M John Harrison). One day I fear I may become trapped in that consciousness … and will eventually be found grinning in the dark …

Another gem of a single-author horror anthology. To my taste, at least five great modern horror stories are included in this volume. There’s terrific writing here and a powerful imagination on full power to the last page, delivering a sense that something vast, though often unseen, is close to each story, which I love in weird tales. Outstanding.

One of the best single-author collections of horror fiction I’ve read. Even though I’ve read most of these stories before in other collections and magazines (I often buy the latter because Joel Lane has a story in them), they’re compiled here with a unique chronology and continuity so I enjoyed them even more second time around. Some of the most original horror I’ve come across, blended with police investigations and urban tragedy (all set in my home town), and so well-written. It takes a true poet to re-imagine the world like this.

Fantastic thriller from a writer I’ve long admired. With the Straw Men books Marshall combines a literary style in very effective commercial plot-driven fiction, at the border where the thriller touches upon and then mingles with horror. And the plot here is superb: inventive and surprising. I’d have been happy to just read a novel about the real estate agent’s life in Florida, because even without the more fantastical element, the book stands up as a model of a particular time and world. I always enjoy the insights into life and identity in Marshall novels, though you also get much more through the escalation of a dilemma and mystery that falls upon an ordinary man. The author has a more sensitive and philosophical approach to the genre, which I particularly enjoy (also check out INTRUDERS), without eschewing drama and action in which every thing is at stake. Highly recommended to those who like intelligent thrillers.

Much to enjoy and admire in THE SLEEP ROOM, that is, quite literally, a novel of psychological horror, as it is set in a psychiatric hospital. Echoes of McGrath’s ASYLUM, with a twist of Aickman and M R James. Some masterly set-pieces and a fascinating study of a man of science confronted by the uncanny, old school. Highly recommended.


EDGE is pretty good and well worth checking out. An effective blend of folklore, advanced physics (that even I could grasp and I failed O Level maths twice), pure mathematics, cosmic horror, missing people, and lots of bizarre occurrences and ancient mysteries. It also has a curious aborted sex scene, and a couple of paranormal episodes so weird I reread them several times. It’s translated from Japanese and the scientific detail is really well wrought, though some of the syntax and description elsewhere seemed odd compared to the other Suzuki I have read (with translations, which voice are we reading: translator or author?). Overall, this novel hits that blend of science fiction and horror I’ve always enjoyed.





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