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A review by joecam79
Shadows at the Door - An Anthology by M. Regan, K.B. Goddard, Helen Grant, Daniel Foytik, Cameron Trost, Pete Alex Harris, Christopher Long, Barney Bodoano, Mark Cassell, Mark Nixon, Kris Holt, Caitlin Marceau, Andrea Janes, J.C. Michael
5.0
The website Shadows at the Door is a digital platform where horror writers are given the opportunity to publish their supernatural tales. Curator [a:Mark Nixon|1155898|Mark Nixon|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png] himself a writer of ghost stories, took this concept to another level with the publication of an anthology featuring authors associated with the website. Launched just a few weeks back following Kickstarter crowd-funding, the book is a joy to hold and behold – a high-quality hardback printed on glossy paper, with beautifully atmospheric black and white illustrations by [a:Barney Bodoano|15745160|Barney Bodoano|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png]
But what about the collection itself? Shadows at the Door prefers its horrors subtle and favours stories with an old-fashioned touch. The thirteen tales in this anthology are mostly in the tradition of [a:M.R. James|2995925|M.R. James|https://images.gr-assets.com/authors/1254798756p2/2995925.jpg] and other purveyors of the “classic ghost story” – [a:K.B. Goddard|8514985|K.B. Goddard|https://images.gr-assets.com/authors/1435754617p2/8514985.jpg] in particular (represented by A Macabre Melody) even manages to evoke the language beloved of late-Victorian authors. This is not to say that there are no grisly moments or sudden eruptions of violence (for instance in Mark Nixon’s own contribution Quem Infra Nos or in [a:J.C. Michael|7123940|J.C. Michael|https://images.gr-assets.com/authors/1379602203p2/7123940.jpg]’s Gytrash), but the emphasis is on atmospheric storytelling, where the horrors are implied rather than crudely spelt out. The types of haunting portrayed are varied – whilst some of the tales are clearly ghost stories (including one of my favourites – [a:Caitlin Marceau|8279607|Caitlin Marceau|https://images.gr-assets.com/authors/1477245792p2/8279607.jpg]’s moving Run) others touch upon dark fantasy ([a:Christopher Long|8154410|Christopher Long|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png]’s The Gallow Glass), fairytale (Deep by [a:M. Regan|14738|M. Regan|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png]) or folk horror ([a:Pete Alex Harris|14085938|Pete Alex Harris|https://images.gr-assets.com/authors/1439971080p2/14085938.jpg]’s Under Shiel Croft). Most of the stories have a strong sense of place. Indeed, the various settings range from English towns to the Scottish Highlands, New York and Melbourne and provide not just the backdrop to the action but, in some cases, a folk legend or tradition which serves as a germ of inspiration.
I’m looking forward to the soon-to-be-issued audiobook version with its specially commissioned soundtrack but, in the meantime, will be heading to the Shadows at the Door website to read some of the latest posts.
But what about the collection itself? Shadows at the Door prefers its horrors subtle and favours stories with an old-fashioned touch. The thirteen tales in this anthology are mostly in the tradition of [a:M.R. James|2995925|M.R. James|https://images.gr-assets.com/authors/1254798756p2/2995925.jpg] and other purveyors of the “classic ghost story” – [a:K.B. Goddard|8514985|K.B. Goddard|https://images.gr-assets.com/authors/1435754617p2/8514985.jpg] in particular (represented by A Macabre Melody) even manages to evoke the language beloved of late-Victorian authors. This is not to say that there are no grisly moments or sudden eruptions of violence (for instance in Mark Nixon’s own contribution Quem Infra Nos or in [a:J.C. Michael|7123940|J.C. Michael|https://images.gr-assets.com/authors/1379602203p2/7123940.jpg]’s Gytrash), but the emphasis is on atmospheric storytelling, where the horrors are implied rather than crudely spelt out. The types of haunting portrayed are varied – whilst some of the tales are clearly ghost stories (including one of my favourites – [a:Caitlin Marceau|8279607|Caitlin Marceau|https://images.gr-assets.com/authors/1477245792p2/8279607.jpg]’s moving Run) others touch upon dark fantasy ([a:Christopher Long|8154410|Christopher Long|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png]’s The Gallow Glass), fairytale (Deep by [a:M. Regan|14738|M. Regan|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png]) or folk horror ([a:Pete Alex Harris|14085938|Pete Alex Harris|https://images.gr-assets.com/authors/1439971080p2/14085938.jpg]’s Under Shiel Croft). Most of the stories have a strong sense of place. Indeed, the various settings range from English towns to the Scottish Highlands, New York and Melbourne and provide not just the backdrop to the action but, in some cases, a folk legend or tradition which serves as a germ of inspiration.
I’m looking forward to the soon-to-be-issued audiobook version with its specially commissioned soundtrack but, in the meantime, will be heading to the Shadows at the Door website to read some of the latest posts.