“Art is a way of remembering what it is like to be alive when you may have forgotten,” says Cayley.
In this suite of sixteen uncanny tales, memory and loss are manifest in the spectres that haunt various characters.
“The function of it was the pleasure of the work for readers, and the value to writers was to show them how good they had to get,” says longtime series editor John Metcalf.
Tuttle’s brand of quiet horror is at once a rejoinder to a genre that leans heavily on masculine aggression and a means to achieve effects more unsettling than an explicit presentation could ever be.
Cather’s use of a close third-person narration lends her story an uncanny element of unease and creepiness.
Poe’s 1843 tale is not only one of the greatest horror stories ever written; it is also a pristine example of internal integrity in the short form.
Though Bhat’s new book is described as her second novel, the individual pieces comprise all the attributes of linked stories.
A Borgesian story about literary posterity and the fickleness of memory, from an Australian master.
A powerful monument to what the short form is capable of from “the most influential writer of American short stories in the second half of the 20th century.”
Irish author Flattery’s novella-length story is an enthusiastic evisceration of the patriarchy and institutional pomposity.