Although best known for his world-building Book of the New Sun science-fantasy saga, Gene Wolfe wrote brilliant fiction that resisted encapsulation within rigid genre categories. This volume collects twenty-eight tales spanning nearly a half centuryâsix of them never before collectedâand gathered from venues as varied as menâs magazines, periodicals devoted to short works of fantasy and science fiction, and tribute anthologies to the works of authors as wildly opposed in their literary visions as Dante and H. P. Lovecraft. Although selected for their overtones of âhorror,â they frequently defy the conventions that contemporary category label conjures.
Take âTalk of Mandrakes,â a tale of malignant exo-biology spun from an ancient occult legend steeped in sex magic. Or âThe Other Dead Man,â a story set aboard an interstellar spacecraft that would distinguish any anthology of zombie fiction it appeared in. âInnocentâ is cast in the form of a dramatic monologue whose creepy first-person narrator details increasingly aberrant behavior that defies the formal psychological diagnosis it cries out for. And âIn the House of Gingerbreadâ recasts a classic childrenâs fairy tale as a dark noir whodunit.
To be sure, Wolfe willingly embraced horrorâs classic tropes, but he reworked them into remarkably original signatures through his personal creative ingenuity: There is much lycanthropy, but nary a hairy transformation in his futuristic âThe Hero as Werwolf.â âThe Vampire Kissâ reinterprets its titular monster as a scourge of the poor in Dickensian London. And in âWhy I Was Hanged,â the disadvantages of accepting advice from the ghosts of the living are made abundantly manifest.
Their macabre inflections notwithstanding Wolfeâs horror stories abound with affecting character studies that cleave the distance between the horrible and the human: the changeling child adapting to an unfamiliar life as a mortal in âQueen of the Nightâ; the investigator in âThe Detective of Dreamsâ dedicated by occupation to freeing his clients from their nightmares; the woman in âUncaged,â whose feral persona may be an expression of her true self. Wolfeâs tales of horror, like all of his fiction, are stories in which readersâhowever uneasilyârecognize, and relate to, much of themselves.
The Dead Man and Other Horror Stories - Gene Wolfe
Although best known for his world-building Book of the New Sun science-fantasy saga, Gene Wolfe wrote brilliant fiction that resisted encapsulation within rigid genre categories. This volume collects twenty-eight tales spanning nearly a half centuryâsix of them never before collectedâand gathered from venues as varied as menâs magazines, periodicals devoted to short works of fantasy and science fiction, and tribute anthologies to the works of authors as wildly opposed in their literary visions as Dante and H. P. Lovecraft. Although selected for their overtones of âhorror,â they frequently defy the conventions that contemporary category label conjures.
Take âTalk of Mandrakes,â a tale of malignant exo-biology spun from an ancient occult legend steeped in sex magic. Or âThe Other Dead Man,â a story set aboard an interstellar spacecraft that would distinguish any anthology of zombie fiction it appeared in. âInnocentâ is cast in the form of a dramatic monologue whose creepy first-person narrator details increasingly aberrant behavior that defies the formal psychological diagnosis it cries out for. And âIn the House of Gingerbreadâ recasts a classic childrenâs fairy tale as a dark noir whodunit.
To be sure, Wolfe willingly embraced horrorâs classic tropes, but he reworked them into remarkably original signatures through his personal creative ingenuity: There is much lycanthropy, but nary a hairy transformation in his futuristic âThe Hero as Werwolf.â âThe Vampire Kissâ reinterprets its titular monster as a scourge of the poor in Dickensian London. And in âWhy I Was Hanged,â the disadvantages of accepting advice from the ghosts of the living are made abundantly manifest.
Their macabre inflections notwithstanding Wolfeâs horror stories abound with affecting character studies that cleave the distance between the horrible and the human: the changeling child adapting to an unfamiliar life as a mortal in âQueen of the Nightâ; the investigator in âThe Detective of Dreamsâ dedicated by occupation to freeing his clients from their nightmares; the woman in âUncaged,â whose feral persona may be an expression of her true self. Wolfeâs tales of horror, like all of his fiction, are stories in which readersâhowever uneasilyârecognize, and relate to, much of themselves.