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Month: March 2017

A Summer’s Day at a Local Pool… and a Bold New Voice in Horror: Altar by Philip Fracassi

A Summer’s Day at a Local Pool… and a Bold New Voice in Horror: Altar by Philip Fracassi

Altar Philip Fracassi-small

How are they moving like that? she thought. A few adults were running and then — at that moment — instinct took over, and she darted toward her son, not noticing when she knocked down another woman who was kneeling and tugging at her hair, not hearing the new screams, the screams of terror that were replacing the sounds of life like a spreading fungus…” (pgs. 40-1)

Back when I was a graduate student, back when I thought I was so busy, I actually had quite a bit of time to keep up on the newest horror writers coming down the pike. Now that I’m in the so-called real life world of jobs and mortgages, I find it difficult to stay on top of new horror. But I still keep my ear to the ground, and one name that I keep hearing about over and over is Philip Fracassi and his new novella Altar. Now that I’ve finally read it, I can see what the fuss is all about.

Before getting into the story, let me first say something briefly about the creepy cover art of Altar by Matthew Revert (see his work on the cover of the 2014 tribute anthology to Laird Barron, Children of Old Leech). This cover has, as far as I can see, little to nothing to do with the story within, though it interestingly sets a good mood for later in the story. This is not a complaint, just a note to those who haven’t read it yet. I wouldn’t want this cover to foul up someone’s enjoyment of this story with false expectations. And to be fair to the publisher, I’m not sure what would’ve counted as an apt piece of art for the cover of this horror novella. Why is that?

This story is about a summer’s day at a local community pool. But it’s this seemingly innocent setting that really sets the reader up.

Though not set in any noticeably particular time period, Fracassi really transported me back to those lazy summer days when I was a kid. I was completely immersed in Fracassi’s detailed account of a family on their way to their local public pool and what happens when they get there. You can almost feel the sun, you can taste the chlorine, you can smell the suntan lotion, and you can even almost smell those nasty public restrooms. You can also remember the excitement of your friends at that age doing the sorts of things that friends at that age do at the public pool. In fact, at twenty-five pages in, which is half way through the story, I stopped to look at the cover again just to make sure I was reading a horror novella. At this point, it was just a very happy (and for me very nostalgic) story. There was nothing about it that suggested a horror story.

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Nightmare, Issue 54 (March 2017)

Nightmare, Issue 54 (March 2017)

Nightmare Magazine March 2017-smallUsually with Nightmare, by the end of the issue I’ve picked a clear favorite story. The stories are always well-written, but there’s usually one that especially moves me. This month, we’ve got two haunted towns and two haunted families that consistently play with the concept of who is haunted and who is the haunter. And I just can’t pick a favorite.

It starts with “Things Crumble, Things Break” by Nate Southard, about a town that’s slowly dying from a chemical accident. Or from something that they’re told is a chemical accident. While the author never mentions Flint (either in the story or in the proceeding interview), it’s impossible not to read this story of a toxic, abandoned city without thinking that tragedy wasn’t at least a subconscious influence.

Next up is “Alice Through the Plastic Sheet” by Robert Shearman (originally published in Remember Why You Fear Me: The Best Dark Fiction of Robert Shearman), that starts with the familiar trope of the boring suburban family being disturbed by loud neighbors … only to veer off in a David Lynchian direction rather quickly.

“You Will Always Have Family: A Triptych” by Kathleen Kayembe starts with a noise in a locked room (yet another familiar horror trope) and slowly reveals a tale of possession that alternates between three different points of view (hence the “Triptych” in the title). Kayembe doesn’t spare with the gruesome imagery, but at its heart this is a story about family and what it means to different people. And while I normally hate horror stories that delve too much into explaining the physics behind the supernatural, this one puts in just enough that we understand the stakes, while also explaining why so many possessed people end up looking so ragged so quickly.

It all winds up with “Seven Minutes in Heaven” by Nadia Bulkin (originally published in Aickman’s Heirs, appropriately enough), another “haunted town” story that has a twist ending that actually comes up in the middle. So you might begin reading this story thinking, “Oh, I know where this is going,” and you’re right, but that twist gets revealed in the middle, leaving the reader to sink even deeper into the nightmare. Because the only thing worse than finding a monster in your closet is realizing that there’s another closet behind that one.

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