Dreams from the Witch House: Female Voices of Lovecraftian Horror Kindle Edition
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About the Author
- ASIN : B01CSOTP9C
- Publisher : Dark Regions Press (April 12, 2016)
- Publication date : April 12, 2016
- Language : English
- File size : 8887 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Not Enabled
- Word Wise : Enabled
- Print length : 350 pages
- Lending : Enabled
- Best Sellers Rank: #306,847 in Kindle Store (See Top 100 in Kindle Store)
- Customer Reviews:
Top reviews from the United States
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Oates' opening isn't the collection's main attraction though. From the second story on this book delivers a number of quite diverse and in some cases extremely good fiction.
Having read literaly dozens of Mythos Horror Anthologies, this one stands out as one of the more memorable. The sheer width of the authors' imaginations range from cold sci-fi terror to farcical humour to deeply human portraits of personal horror in an uncaring universe.
This is a great collection if you like Lovecraft, and even if not. While based on the style, these stories are more modern and relatable.
Good read. Totally awesome Danielle Sierra drawings. Can't go wrong here.
By Wally Guy on December 17, 2019
I was not as impressed with this collection of Lovecraftian stories by women as I was by “She Walks in Shadows” (now sold under the terrible name “Chtulhu’s Daughters” or something equally obviously manufactured by the marketing department.) I found this to be less frequently thoughtfully interacting with cosmic horror and the unpleasant themes in Lovecraft’s works.
There were some excellent offerings.
“The Woman in the Hill” by Tamsyn Muir took a standard Lovecraft frame and, like any good cover song, made it completely her own. This was a great bit of period cyclical epistolary awesomeness that would appeal to fans of Stephen King’s “N.” But there’s other layers underneath this to tease out about agency and women being trapped by their roles.
“The Body Electric” by Lucy Brady fantastically had a simulation program inhabiting the role of the esoteric text. Artificial Intelligence as the Cosmic Horror is really nicely done, and definitely creepier than Wintermute.
“The Wreck of the Charles Dexter Ward” by Sarah Monette and Elizabeth Bear first appeared on the Drabblecast and is an excellent dark future of spacefaring in an uncaring cosmic void that brings in elements of Herbert West: Reanimator. No one can cast aspersions that this story is not fresh enough.
“Spore” by Amanda Downum was an excellent story about belonging and accepting yourself. “Mnemeros” by R.A. Kaelin was a fun weird western with interesting monsters and relentless pacing.
“The Face of Jarry” by Cat Hellisen was nicely evocative of dream quests in a more compelling fashion, but this time the human isn’t the ubermensch in the dream realms, but just a tin key that thinks it’s silver. “Our Lady of Arsia Mons” by Caitlín R. Kiernan was very cinematic. The multiple recordings that showed different events based on perspective was excellent.
Fewer stories worked for me than did, though. “Shadows of the Evening” by Joyce Carol Oates wouldn’t be my first choice to introduce people to the usually excellent JCO. It’s got a hint of a “Thing on the Doorstep” and a dash of “Innsmouth” with a scoop of “Erich Zann”. I found more Jamesian or Whartonesque class analysis than Lovecraft. While there were some sidebars about catcalling and the male gaze, I didn’t find much that held the story together as a cohesive whole. “The Genesis Mausoleum” by Colleen Douglas felt more like a scene than a story. It captures the writing style of the pulps, but not the good parts. And there’s a gibbering horde of others I can’t bring myself to transcribe my notes for.