A generous collection of 22 ghostly tales, some by well-known writers, most by long (and sometimes unjustly) forgotten authors. The volume is prefaced by editor Lundie's long and informative Introduction, which divides the stories thematically into five major categories: marriage, motherhood, sexual rivalry, madness, and widowhood or separation. What keeps this from being a really superior anthology of its kind is the overfamiliarity of some of its contents (Edith Wharton's ``The Lady's Maid's Bell,'' Ellen Glasgow's ``The Past,'' Helen R. Hull's ``Clay-Shuttered Doors,'' Mary E. Wilkins Freeman's ``Luella Miller,'' for example—superior stories, one and all—have been anthologized, as it were, to death), and the indifferent quality of several pieces (including, most egregiously, Cornelia A.P. Comer's ``The Little Gray Ghost'' and Josephine Daskam Bacon's ``The Gospel''). Lundie makes insupportable claims for such work as Mary Heaton Vorse's overheated tale about a young woman possessed by the very contrary spirit of her predecessor (``The Second Wife'') and Charlotte Perkins Gilman's ``The Giant Wistaria,'' a shrill and obviously deeply personal fictional defense of an unhappy woman's suicide (Gilman would later take her own life). Much better are Zora Neale Hurston's colorful, folkloric ``Spunk''; Hildegarde Hawthorne's compact and beautifully written tale of a wronged woman who ensures that she and her straying lover will remain united forever (``A Legend of Sonora''); (the ever underrated) Harriet Prescott Spofford's intricate ``Her Story,'' a subtle, boldly drawn portrayal of a woman who is declared mad and institutionalized by her unloving husband—and who may in fact be a victim of demonic possession; and M.E.M. Davis's clever, atmospheric story, set on a vividly evoked Louisiana plantation, about a young woman's fiancÇ seduced by the determined ghost of her passionate mother—capped by a very satisfying surprise ending. To be skimmed, then, rather than read straight through, but nevertheless a collection that fills long-standing gaps in the fields of both supernatural fiction and women's studies.
Pub Date: Jan. 1, 1997
ISBN: 1-55849-055-8
Page Count: 336
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 1996
Certainly not for all readers, but anyone interested in seeing William Peter Blatty’s infamous The Exorcist (1971) by way of...
The wonder of friendship proves to be stronger than the power of Christ when an ancient demon possesses a teenage girl.
Hendrix was outrageously inventive with his debut novel (Horrorstör, 2014) and continues his winning streak with a nostalgic (if blood-soaked) horror story to warm the hearts of Gen Xers. “The exorcist is dead,” Hendrix writes in the very first line of the novel, as a middle-aged divorcée named Abby Rivers reflects back on the friendship that defined her life. In flashbacks, Abby meets her best friend, Gretchen Lang, at her 10th birthday party in 1982, forever cementing their comradeship. The bulk of the novel is set in 1988, and it’s an unabashed love letter to big hair, heavy metal, and all the pop-culture trappings of the era, complete with chapter titles ripped from songs all the way from “Don’t You Forget About Me” to “And She Was.” Things go sideways when Abby, Gretchen, and two friends venture off to a cabin in the woods (as happens) to experiment with LSD. After Gretchen disappears for a night, she returns a changed girl. Hendrix walks a precipitously fine line in his portrayal, leaving the story open to doubt whether Gretchen is really possessed or has simply fallen prey to the vanities and duplicities that high school sometimes inspires. He also ferociously captures the frustrations of adolescence as Abby seeks adult help in her plight and is relentlessly dismissed by her elders. She finally finds a hero in Brother Lemon, a member of a Christian boy band, the Lemon Brothers Faith and Fitness Show, who agrees to help her. When Abby’s demon finally shows its true colors in the book’s denouement, it’s not only a spectacularly grotesque and profane depiction of exorcism, but counterintuitively a truly inspiring portrayal of the resilience of friendship.
Certainly not for all readers, but anyone interested in seeing William Peter Blatty’s infamous The Exorcist (1971) by way of Heathers shouldn’t miss it.Pub Date: May 17, 2016
ISBN: 978-1-59474-862-2
Page Count: 336
Publisher: Quirk Books
Review Posted Online: March 1, 2016
Kirkus Reviews Issue: March 15, 2016
BOOK REVIEW
BOOK REVIEW
Fans of smart horror will sink their teeth into this one.
Things are about to get bloody for a group of Charleston housewives.
In 1988, the scariest thing in former nurse Patricia Campbell’s life is showing up to book club, since she hasn’t read the book. It’s hard to get any reading done between raising two kids, Blue and Korey, picking up after her husband, Carter, a psychiatrist, and taking care of her live-in mother-in-law, Miss Mary, who seems to have dementia. It doesn’t help that the books chosen by the Literary Guild of Mt. Pleasant are just plain boring. But when fellow book-club member Kitty gives Patricia a gloriously trashy true-crime novel, Patricia is instantly hooked, and soon she’s attending a very different kind of book club with Kitty and her friends Grace, Slick, and Maryellen. She has a full plate at home, but Patricia values her new friendships and still longs for a bit of excitement. When James Harris moves in down the street, the women are intrigued. Who is this handsome night owl, and why does Miss Mary insist that she knows him? A series of horrific events stretches Patricia’s nerves and her Southern civility to the breaking point. (A skin-crawling scene involving a horde of rats is a standout.) She just knows James is up to no good, but getting anyone to believe her is a Sisyphean feat. After all, she’s just a housewife. Hendrix juxtaposes the hypnotic mundanity of suburbia (which has a few dark underpinnings of its own) against an insidious evil that has taken root in Patricia’s insular neighborhood. It’s gratifying to see her grow from someone who apologizes for apologizing to a fiercely brave woman determined to do the right thing—hopefully with the help of her friends. Hendrix (We Sold Our Souls, 2018, etc.) cleverly sprinkles in nods to well-established vampire lore, and the fact that he’s a master at conjuring heady 1990s nostalgia is just the icing on what is his best book yet.
Fans of smart horror will sink their teeth into this one.Pub Date: April 7, 2020
ISBN: 978-1-68369-143-3
Page Count: 400
Publisher: Quirk Books
Review Posted Online: Jan. 12, 2020
Kirkus Reviews Issue: Feb. 1, 2020
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
PERSPECTIVES
SEEN & HEARD
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