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REVIEW: The Woods All Black by Lee Mandelo

Last Updated on February 14, 2024

I fell in love with Lee Mandelo’s writing when I read his debut, Summer Sons. Now he’s back with queer, atmospheric The Woods All Black. This is a slim novella, but it doesn’t hold back any punches. Full disclaimer: I haven’t shut up about this book since I read it. Set in rural Appalachia in 1929, we encounter a clash between queerness and entrenched small communities – and it’s also in many ways a story still relevant in this day and age, where the hate faced by the trans community has never been bigger.

Les is part of the Frontier Nursing Service, an organisation providing medical services to rural communities. Sent to Spar Creek to provide vaccinations, he soon encounters a clash between the remote and isolated population and his own rather modern and queer ways. Family planning and traditional mindsets don’t mesh well, after all. As Les does his best to look after the women of the community – and Stevie, a young trans man trying to become himself – things go south very fast. And there is a monster in the woods adding fuel to the fire.

Les considers himself an “invert”, a concept that made the jump from medical research to the wider community in the 1920s. This means that he considers himself to have masculine traits, while being in a woman’s body. He is a brilliant leading character, complex and charming – and utterly stifled. Similarly, Stevie, the other lead character and Les’ love interest considers himself a man. Born female and in the early stages of pregnancy, he too struggles against the confines of the community he grew up in.

Their queerness is at the heart of The Woods All Black, and showcases how Spar Creek may be a remote community in the 1920s, but can also be read as an allegory for our allegedly modern society.

Mandelo’s academic background is clear throughout The Woods All Black is an expertly crafted novella and it is obvious how much care has gone into the writing and research for it. It is in conversation with early 20th century literature by women as well as queer ideas of the period. A careful reader will soon recognise references to classic texts and for all other readers, Mandelo has included a reading list in the author’s note.

Just like his previous work, The Woods All Black is steeped in atmosphere. The woods become a character of their own, taking part in the story as a source of the uncanny. This is a horror novel, but a very literary one. Don’t expect flashy gore, rather this story plays with the reader’s sense of impending doom. It also interrogates how complicity becomes villainy, how being present alone furthers hate – and hate crimes. In this, Mandelo joins a tradition of modern gothic, stories that pick up on the vibes of the traditional gothic novel, but convert it for today’s audiences. In terms of style, The Woods All Black reminds me both of classic feminist texts like Charlotte Perkins Gilman’s The Yellow Wallpaper and modern literary horror like Caroline Hardaker’s  MothTown.

My best description for The Woods All Black is literary monsterfucking. It is one of the queerest stories I have ever read – and confronts its reader with their own complicity in contemporary oppression. In that, this is a very timely novel despite its 1920s setting and mentality. I beg you, read this one. The Woods All Black  blew my mind and cemented Lee Mandelo as a king of modern gothic.

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REVIEW: The WOODS ALL BLACK by Lee Mandelo

I fell in love with Lee Mandelo’s writing when I read his debut, SUMMER SONS. Now he’s back with queer, atmospheric THE WOODS ALL BLACK. This is a slim novella, but it doesn’t hold back any punches. Full disclaimer: I haven’t shut up about this book since I read it. Set in rural Appalachia in 1929, we encounter a clash between queerness and entrenched small communities – and it’s also in many ways a story still relevant in this day and age, where the hate faced by the trans community has never been bigger.

Les is part of the Frontier Nursing Service, an organisation providing medical services to rural communities. Sent to Spar Creek to provide vaccinations, he soon encounters a clash between the remote and isolated population and his own rather modern and queer ways. Family planning and traditional mindsets don’t mesh well, after all. As Les does his best to look after the women of the community – and Stevie, a young trans man trying to become himself – things go south very fast. And there is a monster in the woods adding fuel to the fire.

Les considers himself an “invert”, a concept that made the jump from medical research to the wider community in the 1920s. This means that he considers himself to have masculine traits, while being in a woman’s body. He is a brilliant leading character, complex and charming – and utterly stifled. Similarly, Stevie, the other lead character and Les’ love interest considers himself a man. Born female and in the early stages of pregnancy, he too struggles against the confines of the community he grew up in.

Their queerness is at the heart of THE WOODS ALL BLACK, and showcases how Spar Creek may be a remote community in the 1920s, but can also be read as an allegory for our allegedly modern society.

Mandelo’s academic background is clear throughout. THE WOODS ALL BLACK is an expertly crafted novella and it is obvious how much care has gone into the writing and research for it. It is in conversation with early 20th century literature by women as well as queer ideas of the period. A careful reader will soon recognise references to classic texts and for all other readers, Mandelo has included a reading list in the author’s note.

Just like his previous work, THE WOODS ALL BLACK is steeped in atmosphere. The woods become a character of their own, taking part in the story as a source of the uncanny. This is a horror novel, but a very literary one. Don’t expect flashy gore, rather this story plays with the reader’s sense of impending doom. It also interrogates how complicity becomes villainy, how being present alone furthers hate – and hate crimes. In this, Mandelo joins a tradition of modern gothic, stories that pick up on the vibes of the traditional gothic novel, but convert it for today’s audiences. In terms of style, THE WOODS ALL BLACK reminds me both of classic feminist texts like Charlotte Perkins Gilman’s THE YELLOW WALLPAPER and modern literary horror like Caroline Hardaker’s MOTHTOWN.

My best description for THE WOODS ALL BLACK is literary monsterfucking. It is one of the queerest stories I have ever read – and confronts its reader with their own complicity in contemporary oppression. In that, this is a very timely novel despite its 1920s setting and mentality. I beg you, read this one. THE WOODS ALL BLACK blew my mind and cemented Lee Mandelo as a king of modern gothic.

Read The WOODS ALL BLACK by Lee MandeloAmazon USAmazon UK

 

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REVIEW: The Archive Undying by Emma Mieko Candon

Deft of prose and evocative imagination, Emma Mieko Candon’s The Archive Undying unfolds an uncannily prescient promise: “When an AI god dies, its city dies with it.” This opening line sets the tone for a gripping narrative that binds elements of trauma, flesh-and-blood characters, and the mesmerising allure of the complex relationship between humanity and AI.

A haunted soul unable to escape the aftermath of a robotic god’s corruption that left his home in ruins, Sunai has roamed like a ghost for years, numbing his pain with vices and fabricated indifference. But just when he thought he was out, they pull him back in. 

The gears of fate start turning when Sunai wakes up beside an unexpected stranger with whom he shares more than one passionate night. Fate, like time, is never linear, and Sunai is once again sucked into the machinations of cybernetics deities and the ones that would seek to worship or destroy them.

Candon swiftly delves deep into her characters’ psyches, immersing the reader in Sunai’s heartfelt grappling with the profound impacts of past (and ever-present) trauma. The Archive Undying constantly challenges notions of reality and understanding, creating an ethereal atmosphere comparable to Jeff VanderMeer’s Annihilation.

Seeing the world through Sunai’s eyes was a visceral experience; witnessing his carving as he battles both powerful external forces and the demons within him was terrifying and blissful. The slow-build relationships add layers to the story, making the connections between characters feel substantial.

The Archive Undying explores the ever-more fascinating alliance between humanity and AI, a complex interplay beyond mere explorations of “human versus machine,” ably interweaving both.

As the story unfolds, Candon makes you think deeply about our entanglement with this technology and the coils of future faith. The concepts of pilot-priests and AI corrupting bodies allow for the introduction of body horror elements, adding terror-fueled awe to the already otherworldly narrative. 

The world of The Archive Undying is vivid and immersive, capturing the mind with its blend of speculation and emotional depth. It is one where the boundaries between human and machine blur, and the echoes of trauma linger long after the last page.

Challenging and thought-provoking, this masterful exploration of trauma, complex characters, and the enigmatic dance between humanity and AI is a triumph for modern sci-fi.

Read The Archive Undying by Emma Mieko CandonAmazon USAmazon UK

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An Interview with Gemma Amor

Gemma Amor is the Bristol-based Bram Stoker and British Fantasy Award nominated author of thirteen published books. Her books include Cruel Works of Nature, Dear Laura, White Pines, Girl on Fire, Six Rooms, Grief is a False God, and These Wounds We Make. Her debut traditionally published novel, Full Immersion, released in 2022 from Angry Robot Books. Her most recent books include The Once Yellow House, Christmas at Wheeldale Inn, and The Folly. Gemma is also an illustrator and has created covers for many horror books, including her own.

Gemma writes for many podcasts including the wildly popular, award-winning, multi-million download horror anthology show, The NoSleep Podcast. Her scripts, “The Train” and “The Funeral,” were performed live on stage as part of the NoSleep Live European tour, which culminated in a sell-out show at the renowned Rival theatre in Stockholm.

She is also the co-creator, writer, and voice actor for the horror-comedy audio drama podcast Calling Darkness, which stars TV and film actress Kate Siegel. Additionally, Gemma writes and voice acts for Shadows at the Door, and she has had stories featured on Creepy and The Grey Rooms podcasts.

Gemma’s influences range from Carter to King, Shakespeare to Shelley, and she has a particular love of misunderstood monsters and women with an axe to grind. I recently had the distinct pleasure of discussing with Gemma about her recent work and future plans.

[GdM] Thanks so much for taking the time to do this interview with Grimdark Magazine. I absolutely loved your short story, “Adrift,” which appears in Grimdark Magazine Issue #37 and serves as your tribute to Edgar Allan Poe’s “MS Found in a Bottle.” Could you tell us about what drew you to this classic horror story and more broadly about your inspirations from Edgar Allan Poe?

[Gemma Amor] I had been working with the NoSleep podcast on a story for their Poe themed series, and done some research into his catalogue of works as part of that. MS Found in a Bottle appealed to me because of its grand scope and the themes of self-doubt, guilt, shame and loneliness often prevalent in Poe’s work. I wondered what it would be like if I took some of those themes and the setting and wrote my own version of the protagonist, delving deep into why a person might feel so adrift and lost in the world- often, as adults, we feel that way when wrestling with grief, and to me, being lost at sea is the perfect metaphor for loss and heartache. Plus, being adrift on a vast alien ocean gives the protagonist time to confront death in her own way, beyond mourning the loss of her father- it allows her to spend time with the idea of her own mortality in an almost peaceful yet inevitable manner, trapped on a small boat with sharks circling around and gradually closing in. This story was one of the earliest of Poe’s to receive literary acclaim and the success of it encouraged him to publish a collection, so I appreciated the importance it had in his life.

[GdM] Your latest novel, The Folly, is a brooding Gothic gem with strong Daphne du Maurier vibes in both its setting and in your beautiful prose. Could you tell us about the inspirations for this work, including both du Maurier and other sources of inspiration?

[Gemma Amor] …Anyone who follows me on social media will know that I spend a lot of time in Cornwall, hiking and exploring. It is a wild and beautiful part of the UK that often feels like another country altogether, but that beauty (and the weather) are unpredictable and volatile, ever-changing (parts of Cornwall even have their own unique microclimate), and I’ve known for a long time that I wanted to set a novel there. I have been an avid du Maurier fan for years, Rebecca being extremely influential on me, although my relationship with the protagonist has changed considerably as I’ve gotten older. My favourite works are her short stories, many of which are also set in Cornwall, as indeed Rebecca was. Du Maurier had an enormous understanding of the human condition, and was an expert spinner of dread, suspense and slow, creeping terror. I wanted to write something in tribute to that; specifically I wanted to write something that summed up how her works made me feel- confused, enthralled, seduced and shocked, and all played out against a moody, Cornish coastal setting. Beyond that, I’ve also always had a fascination with ornamental folly structures, of which there are many scattered around the country, and I thought it would be an ideal place to examine a father-daughter relationship from the point of view of two adults thrust into living circumstances beyond their control.

[GdM] Although it’s never mentioned by name, it’s clear that The Folly is set during the COVID-19 pandemic. Why is it important for authors to capture this tragic period of our recent history in fiction? Did writing about the pandemic help you come to grips with our shared suffering as a society?

[Gemma Amor] …I personally have a fair amount of unprocessed trauma from my experience of the pandemic, in particular in relation to the lockdowns we experienced, trying to parent an ADHD and dyslexic child during that time, and losing a loved one to covid in 2021. It was such a horribly surreal time, so fraught with threat and death and uncertainty and misinformation, with the very best and worst of human nature on display across the globe, that I think I had to refer to it in some way or I would have gone a bit mad. Pretending the pandemic didn’t happen is mind-boggling to me, so I am deeply surprised not to see it pop up more in current fiction and art. I have never subscribed to the view that novels should exist solely as forms of escapism- I prefer to think of novels as mirrors held up to society, sometimes, and if the reflected images within make us uncomfortable and make us confront things about ourselves we don’t necessarily wish to, then so much the better, I say. That being said, the pandemic itself doesn’t feature heavily in this novel, but does run along in the background as an enhancer to Morgan’s isolation. I would perhaps like to write more specifically around covid in the future, but felt that would have detracted from the closed-nature of The Folly.

[GdM] You make it seem so effortless to adapt your writing style across sci-fi horror (Full Immersion), occultist epistolary body horror (The Once Yellow House), Daphne du Maurier-style Gothic fiction (The Folly), and even a Victorian Christmas tale (Christmas at Wheeldale Inn). In every case, I am in awe of your stylistic perfection and authenticity. What is your process for moving so fluidly across different genres or subgenres and adapting your writing style to fit each specific work?

[Gemma Amor] …Goodness, I wish I could tell you I had a defined process, but honestly I just write whatever has gripped me in the moment and the stories sort of make themselves up as they go along- I do think they are influenced by whatever I have perhaps been reading at the time, or things that inspire me in a particular moment- a painting, a song, a movie, a place I have walked through. I don’t really make a deliberate effort to genre-hop, I just tend to focus on the characters and their motivations and the rest just sort of coalesces around them. I tend to throw word-pasta at the wall to see if it sticks, which is no doubt a disappointing response but I am a very chaotic and rather disappointing person, really.

[GdM] You have published both traditionally and as an indie author. What are your thoughts about some of the pros and cons of these two approaches? Which path would be your recommendation for new authors seeking to publish their first novel?

[Gemma Amor] …I try wherever possible to make no recommendations beyond: do what feels right to you in that time, at that moment, and for that book. There are so many pros and cons to each form of publishing and I consider them all valid (with the exception of the more predatory vanity presses masquerading as indies). I have self-published, worked with indie presses and gone traditional, and enjoyed all three for various different reasons. I do tend to veer towards self-pub for those perhaps at the start of their journey as the traditional route can be exhausting when you are previously unpublished- querying is not for the faint of heart. That being said, some people love the process, so I say, do some research, look at what your favourite authors are doing perhaps, then run a few experiments and see what happens. You live and learn in this industry, and I think a lot of us authors are hybrid authors nowadays. I have no real regrets for any of my books, and feel I made the right call for each of them so far- certainly I’ve been lucky enough to find my readers regardless of manner of publication.

[GdM] Could you tell us the history behind Christmas at Wheeldale Inn? How did you decide to write a Victorian-era Christmas horror? Did the Victorian setting pose any challenges compared to writing a modern-day horror?

[Gemma Amor] …Christmas at Wheeldale was a direct response to my discovery of the disgusting ways in which Charles Dickens treated his wife (who bore him ten children) in the later years of their marriage (which, incidentally, had been a financially very fruitful relationship to him in the early days of his career where money was scarce). His repeated attempts to discredit her sanity and even to have her committed to an asylum on the grounds of mental instability and alcoholism (actually refused by the asylum itself) revolted me so much I decided to write a version of a Christmas Carol where the protagonist was a woman looking for escape and redemption rather than a grasping old man, but greed and meanness still featured heavily. The Victorian setting presented no challenge, as I adore research and so many of our old pubs are little time-capsules from that era anyway. The setting is based on a real-life pub set high on the Yorkshire moors, which is frequently snowed in for days on end, sometimes with patrons still inside. It seemed the perfect place for ghostly encounters with vengeful spirits.

[GdM] Full Immersion is one of my favorite books from any genre. You’ve dealt with the raw emotions and real-life horror of postpartum depression in such an honest fashion, ultimately finding a path toward hope. I believe this novel can serve as an inspiration for mothers and fathers everywhere who are faced with this issue. Now that some time has passed since its publication, what is your perspective on writing this novel and the impact that it has had on you and your readers? (In asking this question, I also want to share my deepest thanks to you for writing Full Immersion.)

[Gemma Amor] …This is perhaps a question with a response so large that I might need an essay to answer it properly but I shall do my best to be succinct: I think one of the things people have missed the most with Full Immersion is that it is, at heart, a horror novel, and as such perhaps does not have the happy ending that some interpret it to have- which is to say, there is sometimes no definitive end to postnatal depression, and the effects and implications of it can have lifelong impact. I would be hesitant for people to find it a hopeful or inspirational novel as there are many things that Magpie has not fully dealt with, in particular her relationship with her therapist, which is a good deal more controlling and manipulative than first impressions might suggest, but she has reached some better understanding of her own condition and some acceptance of her past and her future. I think I am happy knowing that the representation of postnatal depression and the intrusive thoughts that came with the condition were presented in a way (based on my own experience) that other parents have been able to identify with, to the point they have felt less alone. I have had some wonderful messages from other parents who have been through the same sort of trauma I did and I am thankful that for a brief while, I made them feel seen and heard and validated. The impact on me personally is complicated, though, as Magpie’s story is in no way complete, but I do perhaps feel some catharsis, allowing me to appreciate how much I have overcome and how far I have come since those dark, confusing days. But I also know there is a long way to go- although that is for different novels. I doubt I will write a book like Full Immersion ever again, to be honest- it drew too much lifeblood from my veins. I am grateful for the opportunity to put the book out in the world, however, and am proud of myself for having done so.

[GdM] You are also an accomplished artist, with your artwork playing a prominent role in The Once Yellow House. Could you tell us how you came to adopt an epistolary style for this occultist horror and how art became such an integrated part of the novel?

[Gemma Amor] …I have long wanted to write an epistolary novel and it made complete sense to me that if the protagonist was an artist, her diary would be filled with doodles and sketches and pallet swatches and more. I wish I had expanded on what artwork there was, honestly, but time and printing costs were a little against me. Other books like The Raw Shark Texts explore similar themes with interesting text layouts that fascinated me, and I wanted the novel to act as a puzzle the reader had to try and piece together, as many first-hand accounts of major tragedies are, after the event. It also helped portray Hope’s fragmented state of mind and relationships with other people, and allowed me to introduce other points of view without it being too jarring a switch from one character to another.

[GdM] In addition to being an outstanding horror novel, The Once Yellow House is also your tribute to the color yellow. What is it about yellow that you find so intriguing? (I’m asking on behalf of my daughter, who is also very passionate about this color.)

[Gemma Amor] …Honestly, I think the best answer to this is to read The Once Yellow House, paying particular attention to Hope’s thoughts and research and footnotes in relation to the colour yellow, and it is all laid out in there- in a nutshell, it is a duplicitous colour that means many different things to different people. Colours in general feature heavily in some of my favorite works of literature and obviously in visual artforms, and it fascinates me. I am a highly colour-driven individual and this won’t be my last exploration of hue in my work.

[GdM] Could you tell us more about your work in podcasting? What would be the best starting point for our readers to check out your podcasts?

[Gemma Amor] …I was the co-creator and voice actor for a horror-comedy audio drama podcast called Calling Darkness, season one of which features Kate Siegel, and this was very much a teach-yourself how to podcast experiment that turned out rather well. Season Two is very much the baby of my writing partner from S1, but I still feature. Beyond that, most of my stories have appeared on the well-known horror anthology show the NoSleep Podcast, also on Shadows at the Door, The Hidden Frequencies, and more. I have story consulted for the folks at Fool and Scholar, working on their audio drama Never Mind Cruxmont, starring Adjoa Andoh, and have popped up as a host a few times on Pseudopod, too.

[GdM] Thanks again for taking the time to do this interview. What’s next for Gemma Amor going into 2024?

[Gemma Amor] …2024 sees the release of my destination horror story collection All Who Wander Are Lost from Cemetery Gates Media, and that’s it for book releases that year. I will be working on the Titan anthology of ancestral horror stories I am editing called Roots of My Fears, and looking to find a home for my next novel which is currently with my agent. I plan to make a big return to short stories, publishing those individually each month, and of course I hope to paint and travel and enjoy all the things I have enjoyed in 2023 to the best of my ability. Oh, and I aim to cultivate a slightly healthier work life balance…but then I say that every year!

This interview was originally published in Grimdark Magazine Issue #37 .

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REVIEW: Creepshow #5

After the highs of Creepshow #4, the follow up issue falls back to the mean. Both stories in Creepshow #5, rather surprisingly, rely heavily on the theme of comic books – which is either exceptionally meta, or perhaps the editorial team didn’t quite get any contrasting stories to line up in time. Either way, this issue is an interesting read in terms of comparing how the writers make use of comics within their texts.

Not so many years ago the writer of the first story (“Burning Ambition”) in Creepshow #5, Saladin Ahmed came to notice with his debut fantasy novel, Throne of the Crescent Moon. While I thought the novel was at least one draft away from being really, really good, it’s clear that Ahmed’s writing has come along in leaps and bounds since. That said, though, he appears to have taken the easy road with his story here, which is so satirically broad it straddles continents.

If I told you the main character was an American politician given to making incendiary, and rather ill informed comments, ginning up the crowd all the while bedecked in a red tie, you’d know exactly which particular American politician I was referring to. And while the fate Ahmed has in reserve for this politician is very, very satisfying, the overall story is so polemical it is drained of any suspense or, indeed, scares.

That said, the way in which our book burning politician gets his comeuppance – a cursed comic book taken from the creator who happens to be a witch – is very inventive and as I said before, satisfying. But the shorter format of this comic does tend to undercut any nuance (not that our American politician is capable of anything approaching nuance), but one feels that with a bit more work, Ahmed could’ve made the character somewhat sinister, thus rendering his fate all the more delightful.

The second story in Creepshow #5, by writers David Andry and Tim Daniel, does achieve a level of complexity that its predecessor lacks. The story, titled “Keep It Fed,” revolves around young Ernest and the twin problems he has to deal with – the very real monster under his bed, and his parents who refuse to believe that there is a monster under his bed. The story takes an unexpected turn when we discover the monster doesn’t want to eat Ernest himself, only something he loves. Well, Ernest has plenty of love to give…in the form of his vast and expanding comic book collection.

So a meeting of minds (and appetites) occurs – Ernest gets to live another day, as long as he feeds the monster his favourite comics.  As long as he’s allowed to have comics, that is…

There’s a definite Twisted Sister – We’re Not Gonna Take It vibe to this story – like the music video, Ernest mimics the lead character in that both must deal with uncomprehending parents who are unable to fathom his rock and roll (well, comic obsessed) lifestyle.

And so it proves – years later, Ernest is still at home, still reading comics and still feeding his pet monster under the bed, until his father finally goes full Rambo and sets his collection alight, with his mother looking approvingly on.  The book burning (which mirrors the theme of the first story in Creepshow #5) is amusingly illustrated by artist Matthew Roberts, who renders the fate of Ernest’s parents in delightful (if off panel) detail.

Creepshow #5 overall is an entertaining issue marred slightly by a too broad satirical brush in the first story, but is redeemed by an entertaining second instalment that balances nicely the typical Creepshow vibe of laughs and gasps.

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REVIEW: Renia by Karl Forshaw

Karl Forshaw’s debut novel Renia is without a doubt one of the most exciting, unique and fresh takes on a fantasy story I have ever read. It’s an alluring genre-blendy gem of a book that defies expectations, expertly mixing fantasy with mystery, and then adding in some enticing dystopia, horror, and steampunk(ish) elements that will keep you on your toes. And while I realise that all might sound like a lot, Forshaw honestly just makes it work so well and executes this story to perfection.

In a time long past, a cataclysmic event known as the Moonfall created a mysterious and irradiated crater called the Moonwastes, where dangerously powerful Lightstones are scattered all across the land. Renia grew up in that desolate place, but now she spends her days peacefully transcribing books and hunting for knowledge in the grand Halls of Venn. That is, until the coveted book that was recently assigned to her gets stolen, setting off a course of chaotic events that puts Renia down a disturbingly dark path full of mysteries, secrets, and painful self-discovery.  

Right from the moment I started reading Renia, I just fell head over heels in love with its alluring air of mystery and intrigue. The book is divided up into three seamlessly connected parts, with the story steadily getting darker and more complex as you make your way through. In Part 1, we mainly focus on the titular character Renia, and intimately get to know her as all her virtues and vices are on full display. She might not be the most likeable character, yet I just couldn’t help but root for her despite all her flaws.

What made Renia’s story so compelling to me, is that we are not just told about the tragic past that haunts her, but we get to experience it first-hand through dark flashbacks that are interspersed throughout the present timeline. Not only did this establish a deep emotional connection from the get-go, but it also immediately set the tone and showcased just how brutal life in this world is. Actions are proven to have serious consequences, so the stakes just felt sky-high from the very start.

Over the course of the story, we are slowly introduced to more and more intriguing and enigmatic characters who get their own POV as they become entangled in the confounding mystery surrounding the stolen tome. Cue the chaos, deadly assassins, dangerous schemes, magical mayhem, brutal betrayals, and devastating sacrifices.

The scope of the world also smoothly and gradually expands, yet the story never becomes overwhelming because of its grounded, intimate, and character-focused storytelling. Each of these characters really gets their moment to shine, and they all have an important role to play in the story. The compelling character dynamics had me glued to the page, and I just loved sinking my teeth into all the messy, complex, endearing, heartbreaking, and just beautifully human relationships that lie at the heart of Renia.

One of my favourite aspects of Renia is the fact that it is just so masterfully crafted, with the characters’ personal inner conflicts tying seamlessly into the overarching mystery plot that drives this narrative forward. This book features some of the most gripping and surprising character arcs that I have ever come across, and I love that Forshaw isn’t afraid to take risks and go down some dark paths. Themes of mental health, identity, loss, motherhood, (found) family, and belonging are all explored in such a delicate and authentic way, which only made this story more emotionally impactful.

Now, if it wasn’t already clear, Renia is a deeply character-driven narrative, yet it has also got so much more to offer than just brilliant character work. In fact, I think the highlight of the book might actually have been the incredibly captivating, immersive, and simply exquisite world building for me. The world of Luna Ruinam is alluring, bewildering, mystifying, exciting, and slightly weird in the best way possible.

For the most part, this feels like a familiar and expected fantasy setting, but then suddenly all kinds of fascinating dystopia and steampunk elements start being introduced. So, not only do we have a riveting mystery plot driving the narrative forward, but the world building itself is also shrouded in mysteries, which I just absolutely adored. Treasures of lost civilizations and advanced technology pop up left and right (hello coffee machines and airships!), which leaves you wondering about the history and true nature of this world and universe.

And while I am generally not much of a visual reader at all, this mesmerising world just came to life in my mind’s eye through Forshaw’s immaculate, vivid, evocative, and even haunting descriptions. From the mystical and magical moonstones to all kinds of eldritch horrors, everything about this world just captured my imagination in a way that I totally wasn’t prepared for.

Even though we don’t get to see much of this world outside of the contained setting of the Halls of Venn in this first book, I am honestly so ready to discover and explore this mysterious and enthralling world in all its glory as the series continues.

Renia was just utterly captivating from start to finish, and with a debut that’s this bold and strong, I have no doubt that Forshaw is going to be an author to watch!

While Renia is truly unlike anything I have ever read, I think fans of Mark Lawrence’s The Book That Wouldn’t Burn and China Mieville’s Perdido Street Station will be in for a real treat here. If you like the sound of a dark and genre-blendy fantasy story with character-focused storytelling, a contained institution setting, surprising character arcs, riveting mysteries, mystifying world building, and immersive and evocative prose, then Renia is the perfect fit for you. 

Thank you to the author for providing me with an eARC in exchange for an honest review. All opinions are my own.

Read Renia by Karl ForshawAmazon USAmazon UK

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REVIEW: Sunglasses After Dark by Nancy A. Collins

Sunglasses After Dark by Nancy A. Collins is the first of the Sonja Blue novels that I have been recommended multiple times but haven’t gotten around to reading until now. I know Nancy Collins, first, from her Vampirella comics that were quite entertaining and sadly cut short. I also knew her to be an author who had briefly put her characters in the Vampire: The Masquerade universe but I had never read her signature Sonja Blue series.

The premise of Sunglasses After Dark is Sonja Blue is the adopted persona of a young heiress who disappeared a couple of decades prior. Imprisoned inside a metal hospital, but only recently, she has a fascinating history the reader slowly discovers. Sonja is a “living” vampire who has managed to maintain most of her humanity upon her traumatic transition from rebellious teenage girl to vampire. Forced to work as a prostitute, eventually becoming a hunter of her own kind, Sonja must cope with the traumatic physical as well as psychological changes that have turned her from Denise Thorne to Sonja Blue. A vampire who struggles with a personified embodiment of psychopathia and hunger called “The Other” (who may be a demon or may be not).

Sunglasses After Dark’s biggest selling point and what makes it interesting is it is a punk horror book, not a romance. It is about a young woman from a privileged background who survives a traumatic event (her literal rape accompanied by turning) before building herself back up on the margins of society. There’s not a whiff of romance about being a vampire here and being the nicest vampire in the world means she’s still a vicious hardcore killer. It’s just most of her victims deserve it and she prefers to hunt on “Pretenders” (monsters living among us Muggles).

The punk themes are embodied by the primary villain being religious hypocrite and televangelist con woman, Catherine, exploiting her followers using psychic powers. She has endured a life almost as horrifying as Sonja’s, but it has made her even more determined to be the boot rather the ant. Honestly, Catherine doesn’t work that well as a villain because she seems fairly weak tea compared to Sonja’s other opponents and her motivations are almost incidental to our heroine’s problems. We also have Sonja’s bisexual British Renfield, and much time devoted to how society craps on women in general (which our heroine still suffers from because she needs money). Effectively, she just has our heroine imprisoned so she can keep bilking her parents but doesn’t even know Sonja is a vampire for most of their relationship.

One thing I really liked about the characters in Sunglasses After Dark is they all had surprisingly three-dimensional characterization and backstories which were all plausible. Claude is a pudgy ex-football player who gets caught up in circumstances beyond his control. Catherine is a “white trash” character who comes from an abusive fundamentalist background. Sonja’s mother and father (or more precisely, Denise’s) are both hit by her “death” differently. The book is incredibly violent and doesn’t make any apologies about the fact vampires are monsters—incredibly dangerous ones at that. One of my favorite scenes in the book is when a convenience store clerk describes his encounter with a hold-up that Sonja “interrupts” and ends with a housewife finding the unfortunate stick-up artist dead in her trash cans. There was a kind of bleak humor that is found throughout.

I have to say that I have some criticisms about Sunglasses After Dark, but I also feel kind of iffy about giving them. They’re stylistic choices that probably explain why the book won a Stoker award versus a more generic format. This book is an achronically ordered series of vignettes which are primarily concerned with how it feels to be a vampire as well as her life. Much of her history is told in flashbacks and exposition that still give a great sense of what a craptacular life she’s lived.

It switches from Claude’s perspective to Sonja’s to Catherine’s to her minion’s to Sonja again many times. Characters like Claude become irrelevant despite strong openings and are less important than the narrative implies they’ll be. I felt this book hit me in the gut several times and I appreciate that, but other readers may have issues with it. I confess, if I was the writer (which is always a dangerous thing to say), I would have gotten to Sonja’s perspective and backstory earlier but I’m not a world-famous vampire writer.

In conclusion, Sunglasses After Dark is an excellent Gothic Punk novel and perfectly fit the themes of books of the time period that laid the groundwork for what I liked about Vampire: The Masquerade and other dark fantasy fiction. It’s violent, unapologetic, dark, and very much of the horror genre—which is why it’s awesome.

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REVIEW: The Tusks of Extinction by Ray Nayler

Ray Nayler made waves in 2023 with literary science fiction novel The Mountain in the Sea. Now he’s back with a literary take on Jurassic Park. The Tusks of Extinction is set in a future world in which elephants have joined mammoths in extinction – except, now scientists have found a way to bring mammoths back to the Russian tundra. The Tusks of Extinction combines that fun speculation with a nuanced take on ecological preservation and poachers.

Dr. Damira Khismutallina made the survival of elephants as a species to her life’s work. Eventually, poachers won out, brutally murdering Damira and soon after, sealing the species’ fate. A century later, Russian scientists succeeded in reviving the mammoth species – but without their survival instinct. As the knowledge passed down over generations is now lost, the mammoths don’t know how to live, roam or recognise threats. In comes Damira. She had had her consciousness copied shortly before her untimely death. Now, she is called back into the world of the living, leading the mammoths into a new age.

As a novella, The Tusks of Extinction is a fairly short and punchy read. It is packed full of tension – though the focus is on more on themes and emotions rather than a quick-paced plot. In many ways, not much actually takes place in this novella, while at the same time, it is full of progression and scenes that propel the story forward. In that, the pacing is closer to a short story than long form fiction.

What makes The Tusks of Extinction stand out is the writing. Nayler has a way with words and I really enjoyed how he switched between human mode and mammoth mode – using different internal voices, looking at how both species handle memories and what impact they have on their day-to-day. I don’t know much about elephants, personally, so looking at their group dynamics and ongoing memory exchange was very interesting, especially at the intersection of a human mind in the body of a mammoth, dealing with a new way to interact with the world.

And of course, the novella features grey morality and a hostile world. It goes beyond human morality, though it does feel like the human side gets more play-time in this regard. The story asks the central question of what you are willing to do to reach your goals, and how far you are willing to break with your own convictions to succeed. And that makes this rather literary novella appeal to a grimdark audience, really. I am looking forward to reading more Ray Nayler and seeing what impact he will have on the genre as his career goes on.

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Review: The Traitors We Are by Michael Roberti

Misfortunate is the one that calls Aroegin Reach home. When the only guarantees in life are taxes and hard times, only the strong survive here. They pay their dues with blood. For a better future, these fierce men and women have gone to war under the command of War Chief Ordan. But the revolution is not all that it seems. After all, the saying goes, “The gods have been unkind to the Reach.” The Traitors We Are by Michael Roberti is an epic fantasy bursting with political intrigue and treachery.

The worldbuilding in The Traitors We Are is something to obsess about. Michael Roberti’s world is intricately detailed. The rich traditions from the Reach are particularly noteworthy. A soldier knows the outcome of battle by either the victory or defeat beer served. The deceased must be spoken ill of, with the cruelest insults reserved for the best of them. Antitheism in the Reach starkly contrasts with the rest of Midland’s worship of the Goddesses. Culture is further emphasized since the reader is given perspectives from the opposing sides.

The Traitors We Are follows the exploits of several characters but predominately those of Emil Trestinsen and Cael Oberlan. Emil is the King of Harfal’s nephew and bent on obtaining glory. He will conquer the Reach and squash the rebellion. He will achieve greatness. The only problem is no war general wants him. As far as they are concerned, Emil is green and born with a silver spoon in his mouth. Meanwhile, Cael’s name is already legend. His prowess on the battlefield earned respect from his troops and enemies. These polar opposite characters offer distinct insight into this world.

Readers may notice the influence of Joe Abercrombie. In a similar manner, like The Black Prism and Dark Oak, this book is a fantastic mix of political and modern fantasy. Since the reader is given opposing perspectives, treason hits heavily. Michael Roberti spins schemes and deceptions until even victory feels like defeat. The Traitors We Are has no heroes, only survivors.

The attention given to political schemes overshadows a couple plot points. Certain outcomes feel rushed. Cael’s war legacy, the Reach’s suffering, the failing faith in the Keep could have been showcased. However, The Traitors We Are more than compensates for this with its fast pace.

The Traitors We Are is an excellent debut from Michael Roberti. His imaginative worldbuilding and multifaceted schemes make him an author to watch out for.

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REVIEW: Renfield

Renfield (2023) is an action horror comedy starring Nicholas Cage, Nicholas Hoult, and Awkwafina. Bluntly, whether you enjoy this movie will probably be decided purely on whether the prospect of Nicholas Cage as Dracula intrigues you.

If you like the prospect of Nicholas Cage as the Prince of Darkness, know that he could have played the role in a subdued as well as dignified fashion. Nicholas Cage did not do this. Instead, he went the full Cage and everything enjoyable about this movie can directly be related to him going the full Cage. This is funny because Nicholas Cage is not the star.

Allegedly.

In fact, as the title implies, this is, technically, Renfield’s (Nicholas Hoult) story. The movie is an unofficial sequel to the 1931 Universal Horror movie version of Dracula and even has CGI-ed footage inserting both Cage as well as Hoult. Here, Dracula survived or came back from the dead and has been carrying on with Renfield for the past century. Renfield is immortal as his servant but enslaved both psychologically and physically to Dracula’s power.

Being a servant comes with some perks other than immortality including being able to throw around regular humans like ragdolls. However, Renfield is expected to find an endless parade of victims for Dracula, and he’s disgusted when you bring him bad people instead of innocents. Renfield has tried to break away in the past but ended up getting the last two vampire hunters in the world killed in the process.

There’s a surprising amount of pathos to be had with Renfield as the movie leans hard into the idea that their relationship is an abusive romantic one. It’s subtextual because this version of Dracula is disgusted at the media’s attempt to make eating people sexual. No, sir, eating people is purely for evil. However, Renfield attends groups to try to reassert his independence and also reads self-help manuals in hopes of getting out from underneath Dracula’s talons.

The story about Renfield’s abusive relationship with Dracula intersects with a crime movie as a New Orleans policewoman (Awkwafina) is trying to put an end to the Lobos gang that killed her father. Unfortunately, said gang has the entirety of the police in her pocket except for her and is perfectly willing to kill her if she annoys them. A chance encounter shows that Renfield isn’t remotely afraid of a bunch of human gangsters and leads to worlds colliding.

Much of the movie is about zigzagging between the pathos of Renfield trying to escape Dracula’s control into gory action scenes that include plenty of black comedy in both. As stated, this is Nick Cage’s movie and his playing the Lord of the Vampires is awesome as well as hilarious. Nick’s interpretation is utterly ridiculous but no less terrifying due to how inhumanly evil he is while asking for cheerleaders to snack on.

I’m not a big fan of Awkwafina, thinking she generally overacts way too much in any role she’s cast in, but she dials it down in a movie where everyone else is hamming it up. While not quite the straight woman, her wackiness is much more entertaining in limited doses. The fact she’s genuinely horrified and traumatized by her father’s death gives her character enough meat to have a role in a film with Dracula as well as his slave.

In conclusion, I recommend this movie as a “so bad it’s good” of the S tier. It’s campy and serious in all the right places. This is the kind of movie that is an easy watch and I’d probably watch the sequel for (if there was one) even though it’s not going to be winning any awards.

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