Shades of "The Lovely Bones," "Misery" and "The Collector" Wrapped in a New and Unique Package
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This is a writerly piece of fiction that took me a bit to get into. It was a matter of me adjusting to the writer's style. But once I did the story was a haunting nightmare told in short chapters. You can read the plot synopsis anywhere and if you have a kid, this is the type of story that will give you nightmares. Even if you don't have a kid, this will keep you awake because you want to know what happens next.

I loved this book. In it there are streaks of Alice Sebold's "The Lovely Bones," John Fowles' "The Collector" and Stephen King's "Misery" but told in a unique voice with different twists, unique perspectives and (no spoilers here) a truly unexpected hero. This is actually two stories. Yes, there is the story of Caitlin, the "disappeared" girl, but, as in Sebold's "The Lovely Bones," there is also the story of the family wrecked by her disappearance. I didn't count the pages, but by my reckoning, the author actually uses a lot more book to describe the consequences to the family than effects on Caitlin. And the book is better for it. Has he spent more time on Caitlin, the book would have been unbearable torture porn. As it was, I dreaded (in a good way) when the book returned to her and felt it as a small mercy when it diverted from her to go back to her poor, distraught family.

Read this book and when you get to the home stretch, be prepared to not stop until your race is finished.
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This new look at gothic romance comic books from Bedside Press meets all the expectations of a modern horror fan and more! The 22 stories fill a full 200 color pages, meaning it allows for multiple reading sessions, unlike most graphic novels that the average reader completes in an hour. The wonderfully conceived cover spotlights a black woman running in her night shirt as though straight from a 1970s gothic paperback, (oddly lacking the mansion with a single light on in the upstairs window and the water crashing on the rocks below, but the inclusion of some exciting pin-ups is a delicious addition!)

This is an adult comic, no doubt. It portrays adult situations and shows its share of bloody revenge. What makes it special is its diverse representation of characters and sexuality that has been lacking in the graphic novel industry since forever. It is a multicultural take on illustrated horror stories that are as diverse in the sexuality of their romance as in the artistic styles represented on their pages.

The forward discusses the history of romance comics, the gothic genre specifically, and is well researched. The writing is original and gripping. I wish many of the stories were longer, but the format is a collection of many short tales by many different voices, (since there is so much missing history to cover.) Because the genre is taken in a slightly new direction, the twists are unexpected and quite successful. Some leave you warm and wanting a cup of tea while you read, others leave you with a chill deep in your spine.

This reboot of the traditional formulaic genre is long overdue. Its impossible to find the old gothic paperbacks at the thrift store because the covers themselves are now being recognized as an art form. As the wave of Supernatural Romance spawned by <em>Twilight</em> has finally crumbled to a dry, welcome death, the market is ripe for grimly romantic ghostly tales with a more contemporary outlook. The governess may not be white, and he may not be heterosexual. The castle may not be on the New England coast, but the feeling of loneliness and heartache echoing through hollow hallways is timeless.
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With The Scrapbook of Frankie Pratt, Caroline Preston has transcribed the imaginative journeys I take every time I set foot in an antique shop.  I love exploring these little treasure troves of our past, creating my own stories about the lives of the former owners of gorgeous Flapper clothes, long thin cigarette holders, Depression glassware and kitschy wall decorations.  I imagine the fun they had when they turned in the Worlds Fair or silent movie tickets whose stubs now remain, preserved under glass for posterity.  I wonder about the loves and passions symbolized by old, heavy wedding bands and pressed flowers.

Similarly, in an imaginative and creative new literary form, Preston has blended a diverse collection of vintage material to recreate the history of Frankie Pratt, a modern 20s girl with dreams of becoming a writer. Through its beautiful array of advertisements, newspaper clippings, fabric swatches, postcards and other memorabilia, Frankie's scrapbook documents her graduation from high school, years as a Vassar girl, life as a starving writer in Greenwich Village, stint as a Parisian expat and, finally, her journey to success.  Along the way, Frankie experiences the thrills of first love and the pain of first heartbreak, experiments with cigarettes and shocking novels (like James Joyce's Ulysses!), learns about life and herself through both her successes and her failures, and grows up to find that, sometimes, the very thing you need to be complete is something you had all along.  Frankie's story alone is slightly interesting but, told through such a interesting blend of material, it becomes altogether charming and memorable.  Definitely a novel for any antique lover, history buff or scrapbooking queen!  I am so glad I purchased it, as I know I'll be opening it again and again to discover something I missed the first time through.
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David Jester's Little Terrors is a thrilling and fascinating amalgamation of literary genres and intuitive storytelling. The natural flow and provocation of the works within suggest that Jester possesses not only a brilliant imagination, but is a true and talented wordsmith.

While I would not label the collection as existing strictly or explicitly within the horror genre, I would agree that much of the content does appeal to elements and strategies commonly attributed to themes of horror. A few of the works, namely "When the Reaper Smiles," "Wipeout," and "The Sleepover," possess much more of that traditional edge of terror, foreboding, and a sadistic or sinister concluding twist that embodies what so many of us love most about the horror genre, some even showcasing a healthy dose of gore. Other stories in the collection, however, fall much more into the thriller/suspense genre, which is part of what makes this collection so wonderfully entertaining. The author writes just enough to raise the hairs on the neck and arms, before hanging readers on the edge of knowing, begging imaginations everywhere to fill in the blanks of whatever horrors or dread may lie ahead. One included work, "Little Man," accomplishes this effect especially well, being fairly short in length, but long enough to draw readers into what seems to be nothing more than the innocent curiosity of a sweet and endearing child, only to end swiftly on a note that strongly suggests otherwise.

Included works, such as, "Cold" and "Last Words," play more to the psychological elements of more modern horror and suspense, expertly feeding readers the art of morbid mind-play, demented fantasy, and delusional fear. Other works, like, "Ante Up" and "The Polystyrene Man," play on a different element of fear and horror--that of the darker sides of human nature and misfortune. In both stories, the main characters are riddled with misfortune, tragedy, greed, self-loathing, and disdain. Both delve deeper into these darker depths in order to attain success, revenge, or fortune. It is the type of story that, while it doesn't terrify you, it certainly manages to filter the mind and the body with a growing sense of unease and discomfort.

I found myself furiously flying through the individual works of Little Terrors as if I was trapped within the stories myself, and only the final page would set me free. These short works of creative fiction horror and suspense are addicting, to say the least, and one of the most riveting aspects of the collection is that of the actual writing style. The narratives as well as the portions of general description are so meticulous that it truly creates a three-dimensional reality for the reader, and the wording in the narrative is graceful and elegant, which is brilliantly cast in stark contrast to the often crass and profane speech and thought of many of the characters throughout. But for a few editing errors here and there, this collection is a true gem.

Artfully decorated with touches of humor and masterfully doused in the author's intuitive insights into human nature and the concept of fear, Little Terrors is sure to thrill, shock, and stun, and will keep you coming back for more.
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Ari Marmell's Strange New Words: Tales of Heroism, Hi-Jinks, and Horror is an enjoyable collection of mixed-genre tales. This is always a tricky undertaking--there's likely to be something for everyone inside such a collection, but there's also likely to be something that isn't for any given person, making it hard for the book to feel `perfect'. Don't let this dissuade you from reading "Strange New Words", as the tales you'll enjoy are well worth the ones that might not suit your tastes.

My favorites were the connected bookend tales ("The Cemetery Wyrm" and "One Solitary Scale") with their air of creeping horror. I particularly found "Railroad Spikes" (a tale of a terrifyingly trapped train) and "Big Apple, Small Serpent" (a zoo cobra calls on an ancient goddess) engaging and absorbing. But "Than to Serve in Heaven"---a story of a most unusual bargain between God and Lucifer---was the most intriguing of the tales, and stuck with me the longest.  The stories range from D&D-type fantasy to Lovecraftian horror, with a touch of noir and steampunk.
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What is The New Black? Its not only the name of the book, but also a genre in itself. New Black, or neo-noir, is ostensibly what noir literature has evolved into over many years and many stories. I say ostensibly because after Laird Barrons foreword and Richard Thomas introduction, the definition, if there can be one, remains nebulous. As Barron points out, neo-noir simply means dark fiction, and even within that niche, theres a hell of a lot of territory to cover. Youll find horror between these pages, but youll also find elements of many other genres, some of which may come as a surprise. Classification issues aside, The New Black is simply an extraordinary collection of fiction.

An aging boxer strives to assuage one type of pain with another in Craig Davidsons Rust and Bone, a hard-hitting story of crippling guilt and atonement in the ring.

Micaela Morissettes The Familiars straddles the line between magical realism and supernatural horror. An imaginary friend comes of age along with its companion, bringing to light the darkness lurking on the edges of childhood fancy.

Roy Keseys absurd yet emotive Instituto asks what perfection is, explores the possibility of attaining it at a price, and explores the relation between physical scars and the memories attached to them.

The unreliable narrator of Benjamin Percys Dial Tone struggles to make sense of his seemingly dull life, in a sort of reverse murder mystery that delves into the aimlessness and alienation of the digital age. An unorthodox haunting overshadows the proceedings.

With Its Against the Law to Feed the Ducks, Paul Tremblay brings an understated take on post-apocalyptic literature. This story, viewed through the eyes of a child, is all the more emotionally potent for the illusion of normalcy the family strives to maintain.

These are by no means highlights. Richard Thomas has drawn together an astonishing array of talent, and this is the rare collection in which every story is a highlight in its own way. Its stories adeptly bridge the divide between genre and literary, becoming a hybrid that any reader of fiction will appreciate. This is a book for fans of writers as diverse as Stephen King, Jos Saramago, Alice Munro, Gary Braunbeck, and Flannery OConnor. In many of the stories, characters internal lives are comprehensively revealed within the framework of heavily plot-driven narratives. Dark shadows loom and the occasional viscera glistens, while between the lines a far different tale unfolds.

Kafka said that A book must be the axe for the frozen sea within us. If thats the case, this book is more like a bonfire that begins with a spark and ends up burning its way into all corners of our minds. Wherever your taste in fiction lies, The New Black is a stunning and essential collection.
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Never judge a book by its cover ...

... unless it is part of Chris F. Holm's The Collector series.

The titles summon memories of classic hard-boiled noir in apparent homage to Dashiell Hammett's Red Harvest and Raymond Chandler's The Long Goodbye. [The 3rd installment, The Big Reap provides a similar tip of the hat to Chandler's The Big Sleep.]

Then look at the beautiful cover design: well-worn, long-loved pulp (complete with creases and stains), mingled with the supernatural and brought forward to the 21st century.

The only thing I wanted to do more than admire these covers was to open the bloody things up to get inside.

Sam Thornton is a collection agent from Hell.

No, really, he is.

Sam is a 1950s good-bad-guy operating in the 21st century. He collects the souls of the damned for delivery to Hell.

Sam has a sympathetic backstory and is very likeable. Oh, and he is conflicted. And determined. He is a well-conceived and very-well-written anti-hero.

Still in trouble from his actions in Dead Harvest, Sam is sent for the soul of a brutal Columbian drug lord. When he arrives to collect, he finds the soul (which is his responsibility and only he is supposed to collect) missing: taken by Sam's friend Danny.

Did I mention that Collectors aren't supposed to have friends?

Where Dead Harvest centred on Good vs. Evil, The Wrong Goodbye focuses on friendship and fellowship. With the bosses watching closely and his freedom at stake, Sam chases old friends, aided in his pursuit by an oddball (how else would you describe a recently-deceased hoodlum, a Texas oil man and a 7-foot transsexual fortune teller?) assortment of new friends.

Pacing is brisk (but not overwhelming), the action is intense (but not distracting) and, once again, the flashbacks are well-placed and reveal more of Sam, serving to increase our sympathy for him even further.

I loved this book almost as much as I loved Dead Harvest and my only regret is that I have a wait a while for the return of Sam Thornton.

(Originally posted at cheffojeffo.wordpress.com)
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I could write a book about why "Beautiful Sorrows" by Mercedes M. Yardley is one of the most stunning, poetic, dark, and memorable short fiction collections of the past few years. It's something that every dark fiction and horror fan should have on their shelves. Her work is reminiscent and evocative of Neil Gaiman, and although it may seem an easy comparison to make, the last time I was so taken aback by beautiful writing is when I read Neil Gaiman, and Mercedes' work will give the reader the same goosebumps as one reads her tales.

As I mentioned in my original book review on my blog, another beauty of this collection is that not every single story is pitch black. There are shades of darkness, some stories being lighter than others, some stories using full black ink, but it's a wonderful mixture that produces one of the best horror collections in recent memory. If you haven't bought your copy already, I urge you to do so and support this delightful and twisted author.
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With the release of two novelettes (Altar and Mother) and one novella (Fragile Dreams) in 2016, Philip Fracassi has quickly become synonymous with disturbing and disquieting horror. Building on his screenwriting experience, he has mastered the art of producing creepy and suspenseful horror stories and he shows no sign of slowing down if his publishing schedule for 2017 is anything to go by. With two new novellas and numerous short stories already announced, there are plenty of Fracassi tales to look forward to. But he begins the year with a short story collection, inviting us to Behold the Void.
Oftentimes, when an author releases a collection, it will be made up of the previously released stories (in this case Altar, Mother and, as readers of Strange Aeons will tell you, Coffin), some other good original stories, and then filler material. But there is no filler here. Every story is as unique in its subject matter as it is identical in its quality and excellence. Philip Fracassi is quickly building a reputation as a superior storyteller of incredible talent. And we are excited to see what fate has in store for an author we must surely now hail as a leading light in the dark field of horror fiction.

To read the full review, head over to This Is Horror
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Gregory Miller's third installment is a wonderful mixed bag of stories, embracing reality and the disillusionment of one's past and future. Each of Miller's tales is set in a predetermined municipality, providing familiarity and authenticity as street paths and settings cross. The reader is drawn into this small-town environment, feeling as if they are a very part of this community of strange characters.

The narratives themselves do not embody horror in the stereotypical sense, but each tale leaves a distinct feeling hanging over you, whether it is one of longing for those passed, nostalgia of fond memories, or the creeping chill of the unknown.

Miller has a unique voice that is clearly seen throughout his work; it is a fresh breath from society's current love of teen vampires, werewolves, and gossiping girls. His powerful short stories seduce you with their realism; the depth of his characters provides belief in all that is happening.

Miller makes a point to establish an identity for each character- this certainly pays off as their inimitable voices and presumed innocence leads to shocking revelations throughout the book.

It is difficult for one not to feel a connection with Miller's personal and relatable style of writing. As Ray Bradbury described him, Miller "is a fresh new talent with a great future." I know that I will anxiously be awaiting everything this master raconteur has to offer in his success as a new and innovative author.
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I have never before seen a graphic novel that so beautifully captures what I enjoy about watching 1940s movies. The New Deal is a rich-vs-poor caper set in 1936 at the New York Waldorf Astoria Hotel. Jonathan Case (<a data-hook="product-link-linked" class="a-link-normal" href="/Green-River-Killer-A-True-Detective-Story/dp/1595825606/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Green River Killer: A True Detective Story</a>) isn't doing a purely retro piece, though, since he also incorporates class and racial distinctions that were much more aware of now.

The time period allows Case to draw gorgeous settings and time-period fashion, but its also significant as the depths of the Depression. Which leads people to make questionable choices, and thats another significant way this differs from the original stories it evokes. Theres not an externally imposed moral structure that has to be adhered to, which gives Case more freedom in his portrait of a heist, in a pre-Code style.

Frank is a bellhop at the hotel when hes not promoting his friend Theresas play. Unfortunately, Frank is also deep in debt to a well-off world traveler, who happens to be staying at the hotel, and hes taken aback by a stunning new arrival, a high society dame. Theresa also works there as a maid.

Frank skates close to the edge frequently, because his whiteness gives him a flexibility Theresa doesnt have. Shes the one that automatically gets blamed when a rich womans fancy dog collar goes missing, and he doesnt stand up for her. Yet shes also the one with brains, the one people who get to know her trust (rightly or wrongly, since shes an actress).

The book is toned in a grayish blue, which gives it a past flavor while shading for greater readability, making the strong blacks all the more prominent. Cases figures are astounding, with movement and emotion. This is a smooth read, which allows the reader to get lost in the twists and turns. (The publisher provided a digital review copy. Review originally posted at ComicsWorthReading.com.)
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This collection should perhaps have a different title. For most, I would imagine, the "Mystery" genre conjures visions of intrepid investigators solving puzzling crimes. However, there is not much here that follows that typical scenario. If you come to this assortment of tales looking for Sherlock Holmes or Agatha Christie type stories, you will be sorely disappointed. With that out of the way, if you appreciate good writing, you are sure to love several of the works in this collection. The stand out for me is titled "Diamond Alley" by Dennis McFadden. The story is narrated by an older man reminiscing about the long ago murder of a high school classmate. Mr. McFadden beautifully evokes the feelings of childhood innocence and budding sexuality, leading to acceptance and wistful nostalgia. The story reminded my of what I love best in Stephen King's writing; the ability to evoke emotional connection with characters, even if they are experiencing something you've never gone through yourself. There are at least 3 or 4 other shorts in here that I thoroughly enjoyed, but your favorites may be different than mine. If you share them here, I'll look forward to reading about them.
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(4.5 stars) Although he has often dealt with the themes of identity, reality, and what it means to be human, Australian author Peter Carey creates a new approach to these ideas in this complex and sometimes strange novel with two overlapping narratives set one hundred fifty years apart.  Catherine Gehrig, a Curator of Horology (clockwork) at the Swinburne Museum in London, has led a secret life for thirteen years, enjoying an affair with Matthew Tindall, the married Head Curator of Metals.  On April 21, 2010, she arrives at work to discover that Matthew is dead, and that she is apparently the last to know.  Frantic with grief, she cannot even imagine how to go on with her life without Matthew.

Head Curator of Horology, Eric Croft, arranges for her to take sick leave and then to move to the privacy of the museum's Annexe in Olympia, where she will have a special job - to go through eight boxes filled with assorted gears, screws, and machine parts, along with assorted papers associated with an automaton of a duck from the mid-1850s, then restore it.  When Catherine discovers notebooks in the boxes, she introduces the second narrative, a detailed diary which opens in June, 1854, and features a style of writing compatible with the period.  Henry Brandling, a wealthy Englishman with an invalid son believes that if he can find someone to make an amusing duck automaton based on the real plans for "Vaucanson's duck," made in the eighteenth century, that Percy will be filled with "magnetic agitation," which will help him conquer his disease.  Brandling travels to Germany to Schwarzwald to find a clockmaker who will make the automaton.

Within this unique and fascinating framework, Carey explores many different aspects of reality and what makes humans unique.  Automatons seem real, and the more complex the machinery is, the more "real" they seem, ironically.  Henry Brandling does not know if the people he has hired are being honest with him and whether he will ever actually see the toy he has already paid for.  Sumper, the man who is ultimately in charge of the task, meets Brandling at the inn the night he arrives, but he already knows who he is and why Brandling is there, adding an element of mystery and otherworldliness to what has seemed so far a fairly straightforward tale.  Monsieur Arnaud, who works with Sumper, collects fairy tales.  Catherine's view of her own reality also changes as the restoration work continues.

While all this is going on, other motifs arise and continue, and these are sometimes mystifying since they do not feel completely integrated with the narrative: a playing card showing the "deep order" of the city of Karlsruhe, a sketch of the city arranged as a perfect circle;  stories about Sir Albert Cruickshank, a mathematician who developed an early adding machine and a primitive computer;  Samper's creation of a satiric automaton of Jesus Christ for Cruickshank;  and eventually, the BP gulf oil spill, which began the day that Matthew died, leading to the question of "Who made the machine that kills the ocean?"  Fewer of these motifs would have strengthened the narrative and the themes, for this reader at least.

The great dialogue, unusual subject matter, important themes treated in unique ways, and characters who engage our interest make this a story to celebrate, but the narrative, though wildly creative, is weakened when all these competing elements and motifs are introduced as parallels and overlapping images.  There is much to ponder here. Perhaps a bit too much.  Mary Whipple
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The thought-provoking novel that is `The Lovely Bones' pokes and prods at the concept of life after death, but even more importantly, the lives that continue after a death.

The story introduces us to Susie Salmon, a 14 year old girl who is trapped in her childhood after being brutally raped and murdered by George Harvey, an unusual man who lives on her street. Susie narrates the story from her Heaven, where she watches the day to day lives of the people who were most important to her, as they grapple with her murder and move on with their ever-changing lives and grow-up, something which Susie never had or will have the chance to do.

The book delves into the lives of her family and friends as they attempt to move on and the colossal effect her death has on them as they struggle to stay together. From one character's affair, to the unexpected arrival of an eccentric Grandmother and the intriguing obsession a school acquaintance develops the book explores the ways in which each character deals with the tragic loss. All this is explained through the eyes of a young girl watching those she most cared about live the life that she never would, making it an even more fascinating read. It is about her watching her family's struggles as they try to move on, when she herself can't.

As well as this is the ongoing sub-plot involving her killer, a disturbing neighbor, as he attempts to remain one step ahead of the police, and struggles to keep ahead of the Salmon family as Susie's sister and father determinedly pursue him refusing to sway in their belief that he is guilty. The story then looks at the depressing life that he brought on himself after he is forced to leave his home due to the suspicion of others.

But in spite of all this and the events that take place, the book does not have an entirely gloomy outlook, but rather displays the optimism, if at times nave, of a 14 year old girl. Although the desperate longing for her family is always underlying, the book does not have the depressed demeanor about it that you might expect.

`The Lovely Bones' is no piece of light reading, but rather a complex and deep examination of a family dealing with loss, and how it is viewed by a teenager, specifically the one who's life was cruelly taken. It is a story about overcoming loss, despite how hard it is to do just that. Its extensive mixture of characters and its many minor storylines will intrigue and interest you to the end, as you can't help but get involved in the daily struggle that is their lives, as you put yourself in the position of the characters.

In short-read it, or you're truly missing out.
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The first thing that will strike you about this remarkable and sizzling collection of stories, is how well each one is tailored to its subject.  The styles subtly change depending on what the author is writing about, phantasmagoric and multi-faceted, but not in a jarring way.  The writing is gorgeous and lush without being stilted and overblown, and the descriptions of people, places, and events are so real, so fresh and alive, that youll find yourself jolted back into reality once you close the covers of this wonderful and compelling book.  As with all collections, there are some which will hit home more than others.  Even with this, theres not a bad one in the bunch.  Some of these pieces are downright morbid and gothic, while others are character studies.  Still, a few are laugh-out-loud funny, in particular, Christmas Comes But Once a Year.  But of all the stories, Crook was my favorite.  Its the only novella in the collection and youd better get the tissues ready for this one.  A simply fantastic ending to a colorful and genuine treasure of a book.
As the book jacket says, THIS IS NOT A BOOK FOR CHILDREN!  The title comes from the first story, about a teenage pianist who is playing a piece by Debussy called The Childrens Corner. As with most short story collections, the title comes from one of the stories, and this is the case with this book.
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This is a mixed bag in more ways than one.
A mixed bag of masterful cinema.
If you like gothic horror, murder mysteries and action
and you have a love of old-time movies,
then you will not be disappointed with this collection.
If you are not yet familiar with great Italian film-maker
Mario Bava's work, then you are in for a revelation.
It is a sampler of different types of themes.
This is only one of two Bava box sets released by Anchor Bay
and very well done; the movies look great.
One of my favorite Bava films, "Planet Of The Vampires",
a great Lovecraftian sci-fi flick and more,
is not included in either box set,
but do not despair, it is available via Midnite Movies.
Bava is a genius at creating interesting sets and atmosphere
and a grand artist with a primary color palette and a camera.
Much like his fellow Italian master of the macabre and mayhem,
Dario Argento, he approaches film as art
and I marvel at the images that are created...serious eye candy.
This kind of cinema will not appeal to all,
but I recommend it without reservation.
Any one that is a fan of cinema must watch Bava's films
because they are true masterpieces
and countless other directors since have been sitting on his knee.
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This anthology impressed me with its diversity and substance; more often than not anthologies are filled with shorts that can feel incomplete and/or superficial. Fortunately, UnCommon Bodies is filled with rich and complex, albeit dark, tellings. These shorts explore a range of genres, from magic realism, to a more contemporary setting, and then a little of everything in between; this anthology is a beautiful tapestry of many colours and textures.

Of all the shorts in this anthology, Reserved by S.M. Johnson is definitely the lightest. However, while it is a story that is sweet and loving, it is also raw and confronting, and there is an air of sadness and desperation that can be felt through Petes character. Rorys effervescent self walks into Petes world, bringing with him hope. Rory seems to be the balm that momentarily soothes Petes pain and loneliness. They find a refuge in each other and what transpires between them is something beautiful and honest. For a short read, it is well written and well paced, characters were endearing, and the story compelling and arousing.

This is a fantastic anthology; a little bit of all my favourite genres, and an introduction to undiscovered authors. A smorgasbord of fantastic shorts. Highly recommended.

*An ARC was provided in exchange for an honest review