Overall I feel it's a mixed bag and it averages out at 3 or maybe 3.5 if you're generous. There's a few really good stories, a few duds, then a bunch of stuff that's sometimes pretty good but nothing exciting enough to recommend. I'm still glad I read it and enjoyed the experience because it's cool seeing horror from around the world and the different styles and things referenced.


Uironda: does the "mysterious place existing somehow right alongside ours and you could easily slip into it" thing but by making the protagonist a trucker it draws something new out of it, showing trucking as a parallel world already and for one to slip out of everyone's lives isn't so strange. There's a little bit of a silly twist at the end but the grotesque imagery there is wonderful and the whole thing really stuck in my head. Great stuff. 4/5
Mater Tenebrarum: don't really understand this one. Poor homeless orphan kind of wanders around a town as an apprentice to a witch? It has shaggy dog story vibes, and not the clever kind. Just felt like nothing happened and it didn't explore anything. 1.5/5
the Time Remaining: a great exploring of a simple concept, the lives kids breathe into their toys and what happens when it collides with the "white" lies of a dodgy parenting technique. There's a few bits of supernatural stuff here but the real horror is the intensity of the kid trying to "save" his "sick" toy and the lengths he goes to, which is all realist. Again, really great 4/5
The Angle of Horror: maybe partly a translation thing but relies on you finding them talking about "seeing the angle" believably sinister rather than them doing a maths problem. Otherwise... Idk? A story about alienation and depression? Kinda. I thought it was going to be a vampire story but no. Not sure what's going on here. 2/5
Down, in their World: a creepy and ultimately gory story about the things that end up in abandoned mines in Romania. Not really my sort of horror but pretty good 3/5
The Collector: pretty clichéd and goofy and predictable but very short and the final image is still pretty great just on its own 3/5
Señor Ligotti: hmmm. Not sure what to say about this one. Does some mildly scary but in a confusing way things then ends on a reveal that feels kind of whiffed.The rich old man who also terrorised him was the executive of the publishing company and did weird shit to get him to write a book? I mean... It's ok but it's kind of just a goofy ending haha 2.5/5.
The Illogical Investigations: there's a couple of wonderfully gory images here I loved the ending of a guy getting eaten by a tree while hallucinating the tree is like some sort of gingerbread house with an erotic element. Great stuff but it's wrapped up in a weird frame story of a group of policemen that feels like it's supposed to be funny but without being funny and that punctures the scary atmosphere rather than forming a clever contrast. I admit translation might be the issue here but! 2.5/5
Menopause: A short story with a great absurd concept that doesn't outstay its welcome. Maybe not very horror and a littlleee uncomfortable with certain language relating to trans stuff but it's such a good idea I can't not love it a world where when women go through menopause they become men 4/5
The Bones in her Eyes: Just a straightforwardly well-written great horror story. Variations on someone who sucks the life out of you to stop dying are pretty common but it's just really solidly and scarily done. Great 4/5
Twin Shadows: ehhh I dunno. I guess it's like, a vampire story? Given she appears to hang from a rod in the wardrobe from the first page. She's like, a stillbirth who became a vampire? And then after a story about her relationship with her twin sister over like 20 years she kills her sister to make her a vampire or something?? idk just felt like a dumb ending and overall didn't do anything for me. 2/5
Backstairs: man. A really uncomfortable story that gets more and more uncomfortable the more it goes on. Major trigger warning for child sexual abuse and connected stuff. It starts as a psychiatrist treating a child patient who's having terrifying nightmares but there's a "massager" involved and the story builds on sexual themes and around crossing the boundary to becoming an adult woman and the way people see you and it changes you until the final horrific reveal that the girl is being abused by some sort of creature from beyond while she's sleeping with the complicity and support of her mother. And she may be the creatures daughter. Despite being on such intense themes it doesn't feel exploitative and only shows a little explicity at the very end - the feeling of violation and a cycle of misogynistic violence is present mostly through suggestion and parallel through the rest. Maybe for other people it doesn't come off or crosses the line but it's the best I've read so far. 4.5/5
Pale Toes: a spontaneous cave trip with a random guy in France goes wrong for a couple. There's one really good little scene where they're in the cave together naked and when weird shit starts happening the guy who led them there starts getting erect and there's some interesting elements around sex and age but it feels like it doesn't cohere super well? And shows a bit more of the things it doesn't need to and a little bit too little of the things it should. It's ok and there's interesting stuff just not quite there. 3/5
Kira: about regretting lost love at a South African lake. The horror element is pretty small and not very exciting. It sort of fits into the rest of the story but there's just not really much to this one, either in scares or something to think about. Cool dog though. 2.5/5
Donation: Hmm... I feel like I'm missing something obvious here. A bratty kid at the door taking mild advantage of people who won't just kick him out leads to two people talking about their relationship and it's dramatic. I was waiting for some sort of... Something but it was weird. Tense but because I kept imagining there would be something more that didn't come. The couple flip between reacting so meekly and so extremely that it gives you whiplash. The horror element is pretty weak because what the boy does is so tame, relatively. I dunno. Wasn't feeling it. 2.5/5
Tiny Women: Very short and doesn't do much but just the concept of a colony of tiny women living like bedbugs is fun as a short sketch. Not exactly horror but bedbugs are terrifying enough so 3.5/5
Mechanisms: an interesting story that juggles the emotions around parenthood and close relationships and "pursuing your dream" Vs stability and responsibility. The horror is there and then you think it's normal and then suddenly it's back again and at the end everything comes together in a completely bizarre ending with an incredibly image of a guy who doesn't want children suddenly developing a nipple that lactates to feed a "bear cub" that's probably something else (dog, possibly?) And asking his husband to take a photo 4/5
The House of Leuk Dawour: is this... An anti drug story? There's a sort of cliched element to this I guess she shot her husband while under the influence thinking he was an evil spirit. and you're left thinking... Was there any supernatural involved actually ooo spooky and it doesn't do much with it but it's fine and short and I enjoyed finding out about another country's mythology. 3/5
The White Cormorant: a classic tale of someone being told not to do something and then doing it for some reason and then it's bad? Plus the ending is... a time loop? eh. Mostly a horror story about sailing being dangerous tbh. 2.5/5
All the Birds: the horror is mild and very obscure - maybe what happens at the end makes more sense to someone with a Filipino background - but it's a sweet story about lesbian love and missed opportunities and I'm a sucker for anything with lesbian stuff sorry 3.5/5
Snapshots: just a short creepy idea of bad things happening with a photo booth. Somehow it feels a little too "random" for my own taste in horror but it is creepy. 3/5 ( )

I have to applaud the editors at Valancourt for the immense time and effort it must have taken to not only comb the globe for great stories, but to also translate them for this book. The magnitude of such an endeavor is overwhelming to me. Luckily it was all worth it as this is a fantastic collection of horrifying short stories from around the world!

The stories vary widely in their plots and the type of horror they contain, so there is truly something for everyone here. It was exciting reading this collection as each new story also introduced me to a new author, many of whom I would love to read more from. As with all anthologies there are hits and misses, but overall this is a solid group of entertaining and terrifying tales!!

Some stand outs for me are:

“Mater Tenebrarum” by Pilar Pedraza (Spain)
“The Time Remaining” by Attila Veres (Hungary)
“Señor Ligotti” by Bernardo Esquinca (Mexico)
“The Bones in Her Eyes” by Christien Boomsma (Netherlands)
“All the Birds” by Yvette Tan (Philippines) ( )

Valancourt has just added to its impressive catalogue what might well be the jewel in its (Gothic) crown: "The Valancourt Book of World Horror Stories". In this veritable labour of love, editors (and Valancourt founders) James D. Jenkins and Ryan Cagle have combed through stories in a myriad of languages to come up with a selection of twenty-one contemporary horror stories from around the world, all of which are being published in English for the first time ever. Choosing the stories must have been a mammoth task. What is even more remarkable is that Jenkins prepared most of the translations himself. Having a command of so many languages is an achievement – but what is even more impressive is that these are no workaday renditions, but readable, fluent translations into English which manage to retain the different narrative voices and styles of the original.

How to start reviewing such a wealth of remarkable stories? I will not even attempt to do so but will simply list some reasons why you should check out this anthology.

1. Although some of the featured authors are very well-known in their respective countries, they are hardly household names in the English-speaking world. The lover of horror stories seeking new voices from outside the established English-language canon will find plenty to discover here.

2. The authors who make an appearance in this anthology are not “different” just because they are little-known, but because they genuinely bring something new to the horror genre. More often than not, their stories reflects folklore which will be unfamiliar to most readers. To cite just a couple of examples, Yvette Tan’s All the Birds incorporates elements from Filipino mythology and folklore, while Bathie Ngoye Thiam’s The House of Leuk Dawour taps into Senegal’s long tradition of supernatural storytelling. Down, in their World by Flavius Ardelean revives the scarier aspects of Romanian folklore.

3. Even when not directly inspired by local myths, many of the stories reflect aspects, landscapes and issues of the authors’ countries of origin. Menopause by Flore Hazoumé, for instance, provides social commentary on African society’s approach to womenhood whereas Luigi Musolino’s Uironda – a strong opener to this anthology – evokes the dreary highways of Northern Italy’s industrial hinterland.

4. Diversity and variety are two key characteristics of this anthology. As the editors explain in their foreword, they aimed to ensure a high rate of inclusion of women writers, authors of colour, and LGBT-interest material. This is no mere tip of the hat to political correctness but a genuine desire to make this anthology as inclusive as possible. And, ultimately, this is reflected in the sheer literary variety found between the book’s covers. Certainly, all the featured stories qualify as horror. But this is a broad church indeed. Just come inside and take your seat in your favourite aisle – whether the horror you love is psychological and Aickman-like, Lovecraftian (cosmic or reptilian), gory, surreal, or tinged with crime, folklore or comedy… you’ll find something for you.

5. The best reason to savour this anthology however is the quality of the writing. Judging from the reviews I’ve read, the horror community is showing this anthology well-deserved love. But this should honestly be more than a “niche interest” collection – this is great contemporary world literature, independently of its genre.

Here’s the roll call of stories:

Pilar Pedraza, 'Mater Tenebrarum' (Spain)
Flavius Ardelean, 'Down, in Their World' (Romania)
Anders Fager, 'Backstairs' (Sweden)
Tanya Tynjälä, 'The Collector' (Peru)
Frithjof Spalder, 'The White Cormorant' (Norway)
Jose María Latorre, 'Snapshots' (Spain)
Luigi Musolino, 'Uironda' (Italy)
Martin Steyn, 'Kira' (South Africa)
Attila Veres, 'The Time Remaining' (Hungary)
Lars Ahn, 'Donation' (Denmark)
Bernardo Esquinca, 'Señor Ligotti' (Mexico)
Cristina Fernández Cubas, 'The Angle of Horror' (Spain)
Christien Boomsma, 'The Bones in Her Eyes' (Netherlands)
Elisenda Solsona, 'Mechanisms' (Catalonia)
Michael Roch, 'The Illogical Investigations of Inspector André Despérine' (Martinique)
Solange Rodríguez Pappe, 'Tiny Women' (Ecuador)
Bathie Ngoye Thiam, 'The House of Leuk Dawour' (Senegal)
Marko Hautala, 'Pale Toes' (Finland)
Yvette Tan, 'All the Birds' (Philippines)
Ariane Gélinas, 'Twin Shadows' (Québec)
Flore Hazoumé, 'Menopause' (Ivory Coast)

Tantalizingly, The Valancourt Book of World Horror Stories bears the subtitle “Volume 1”. The editors have announced on social media that they’re already working on the next instalment in what promises to be another great series from Valancourt. Bring them on!

https://endsoftheword.blogspot.com/2021/01/Valancourt-Book-of-World-Horror-Stori... ( )

Valancourt has just added to its impressive catalogue what might well be the jewel in its (Gothic) crown: "The Valancourt Book of World Horror Stories". In this veritable labour of love, editors (and Valancourt founders) James D. Jenkins and Ryan Cagle have combed through stories in a myriad of languages to come up with a selection of twenty-one contemporary horror stories from around the world, all of which are being published in English for the first time ever. Choosing the stories must have been a mammoth task. What is even more remarkable is that Jenkins prepared most of the translations himself. Having a command of so many languages is an achievement – but what is even more impressive is that these are no workaday renditions, but readable, fluent translations into English which manage to retain the different narrative voices and styles of the original.

How to start reviewing such a wealth of remarkable stories? I will not even attempt to do so but will simply list some reasons why you should check out this anthology.

1. Although some of the featured authors are very well-known in their respective countries, they are hardly household names in the English-speaking world. The lover of horror stories seeking new voices from outside the established English-language canon will find plenty to discover here.

2. The authors who make an appearance in this anthology are not “different” just because they are little-known, but because they genuinely bring something new to the horror genre. More often than not, their stories reflects folklore which will be unfamiliar to most readers. To cite just a couple of examples, Yvette Tan’s All the Birds incorporates elements from Filipino mythology and folklore, while Bathie Ngoye Thiam’s The House of Leuk Dawour taps into Senegal’s long tradition of supernatural storytelling. Down, in their World by Flavius Ardelean revives the scarier aspects of Romanian folklore.

3. Even when not directly inspired by local myths, many of the stories reflect aspects, landscapes and issues of the authors’ countries of origin. Menopause by Flore Hazoumé, for instance, provides social commentary on African society’s approach to womenhood whereas Luigi Musolino’s Uironda – a strong opener to this anthology – evokes the dreary highways of Northern Italy’s industrial hinterland.

4. Diversity and variety are two key characteristics of this anthology. As the editors explain in their foreword, they aimed to ensure a high rate of inclusion of women writers, authors of colour, and LGBT-interest material. This is no mere tip of the hat to political correctness but a genuine desire to make this anthology as inclusive as possible. And, ultimately, this is reflected in the sheer literary variety found between the book’s covers. Certainly, all the featured stories qualify as horror. But this is a broad church indeed. Just come inside and take your seat in your favourite aisle – whether the horror you love is psychological and Aickman-like, Lovecraftian (cosmic or reptilian), gory, surreal, or tinged with crime, folklore or comedy… you’ll find something for you.

5. The best reason to savour this anthology however is the quality of the writing. Judging from the reviews I’ve read, the horror community is showing this anthology well-deserved love. But this should honestly be more than a “niche interest” collection – this is great contemporary world literature, independently of its genre.

Here’s the roll call of stories:

Pilar Pedraza, 'Mater Tenebrarum' (Spain)
Flavius Ardelean, 'Down, in Their World' (Romania)
Anders Fager, 'Backstairs' (Sweden)
Tanya Tynjälä, 'The Collector' (Peru)
Frithjof Spalder, 'The White Cormorant' (Norway)
Jose María Latorre, 'Snapshots' (Spain)
Luigi Musolino, 'Uironda' (Italy)
Martin Steyn, 'Kira' (South Africa)
Attila Veres, 'The Time Remaining' (Hungary)
Lars Ahn, 'Donation' (Denmark)
Bernardo Esquinca, 'Señor Ligotti' (Mexico)
Cristina Fernández Cubas, 'The Angle of Horror' (Spain)
Christien Boomsma, 'The Bones in Her Eyes' (Netherlands)
Elisenda Solsona, 'Mechanisms' (Catalonia)
Michael Roch, 'The Illogical Investigations of Inspector André Despérine' (Martinique)
Solange Rodríguez Pappe, 'Tiny Women' (Ecuador)
Bathie Ngoye Thiam, 'The House of Leuk Dawour' (Senegal)
Marko Hautala, 'Pale Toes' (Finland)
Yvette Tan, 'All the Birds' (Philippines)
Ariane Gélinas, 'Twin Shadows' (Québec)
Flore Hazoumé, 'Menopause' (Ivory Coast)

Tantalizingly, The Valancourt Book of World Horror Stories bears the subtitle “Volume 1”. The editors have announced on social media that they’re already working on the next instalment in what promises to be another great series from Valancourt. Bring them on!

https://endsoftheword.blogspot.com/2021/01/Valancourt-Book-of-World-Horror-Stori... ( )

This is a book that I've been looking forward to ever since it was first announced, and I wasn't disappointed. The general premise of the anthology was to collect modern horror short stories from around the world, excluding the English speaking parts of the US, UK, Canada, Australia,New Zealand, and Ireland. It came out surprisingly well, with all of the stories being good, and some of them very good—my particular favorite being "The Time Remaining" by the Hungarian writer Attila Veres.

My only complaint is that it's a bit too European-centric with 12 of the 21 stories being from Europe. The rest of the stories are divided up with 4 from various Latin American countries, 3 from African countries, 1 from Quebec, and 1 from the Philippines. This issue was addressed in the Foreword, though, and can be attributed to the fact that they could only use stories in languages the editors could read or which were submitted with translations, so I really can't hold it against them.

All in all, this is a great book for any horror fan who's interested in reading globally. ( )