The Tindalos Cycle (2010): edited by Robert M. Price

The Tindalos Cycle (2010): edited by Robert M. Price, containing the following stories and poems:

• But It's A Long Dark Road (2008) by Joseph S. Pulver, Sr.
• Confession of the White Acolyte (2008) by Ann K. Schwader
• Death Is an Elephant (1939) by Robert Bloch
• Gateway to Forever (1984) by Frank Belknap Long
• Juggernaut (2000) by C. J. Henderson
• Mind-Pilot (2008) by William Laughlin
• Nyarlatophis, A Fable of Ancient Egypt (2002) by Stanley C. Sargent
• Pompelo's Doom (2008) by Ann K. Schwader
• Scarlet Obeisance (2000) by Joseph S. Pulver, Sr.
• The Death of Halpin Chalmers (2008) by Perry M. Grayson
• The Death of Halpin Frayser (1891) by Ambrose Bierce
• The Dweller in the Pot, By Frank Chimesleep Short (1990) by Robert M. Price
• The Elephant God of Leng (2008) by Robert M. Price
• The Firebrands of Torment (2007) by Michael Cisco
• The Gift of Lycanthropy (1979) by Frank Belknap Long
• The Horror from the Hills (1931) by Frank Belknap Long
• The Hound of the Partridgevilles (1999) by Peter Cannon
• The Hounds of Tindalos (1929) by Frank Belknap Long
• The Letters of Halpin Chalmers (1994) by Peter Cannon
• The Madness Out of Time (1986) by Lin Carter
• The Maker of Moons (1896) by Robert W. Chambers
• The Shore of Madness (2008) by Ann K. Schwader
• The Space-Eaters (1928) by Frank Belknap Long
• The War Among the Gods (2008) by Adrian Cole
• The Ways of Chaos (1996) by Ramsey Campbell
• Through Outrageous Angles (1986) by David C. Kopaska-Merkel and Ronald McDowell
• When Chaugnar Wakes (1932) by Frank Belknap Long

Highly enjoyable, immensely long anthology of stories related in some way to HPL pal Frank Belknap Long's two major contributions to the Cthulhu Mythos, the space-time bending Hounds of Tindalos and the malign, elephantine Old One Chaugnar Faugn. As is usual in a Robert Price anthology, the notes on the stories are lengthy and detailed in their contextualization of the various stories. 

As is also usual, Price has cast a wide net both before and after the publication of the pertinent Long stories. Thus we get stories by Ambrose Bierce and Robert Chambers that predate Long's work and stories and poems that go pretty much right up to the year of the anthology's publication. Price has an eye for historical curiosities. The three chapters included here from a shared-universe novel may not be good, but they're both fascinating and so far as I know never before anthologized. 

This is more an anthology for someone familiar with the Cthulhu Mythos than a casual reader, as some of those afore-mentioned curiosities are not particularly good. Long's own work is idea- and energy-charged when it's early work and enervated and disappointing when it comes from later decades than the 1920's and 1930's. 

Long was one of those pulp writers who was at his best in his youth -- it's not style that one goes to Long for, but the substance of his strange and cosmic visions. Well, and a bunch of people in a vintage car chasing an animated elephant statue around the Jersey Shore so as to save the world by shooting the elephantine god with an Entropy Reversal Cannon. Recommended.

Beyond the Curtain of Dark (1967/1972): edited by Peter Haining

Beyond the Curtain of Dark (1967/1972): edited by Peter Haining, containing the following stories:

Lizzie Borden Took an Axe... (1946) by Robert Bloch: Interesting but a bit long and fairly obvious; a sort of thematic companion piece to Bloch's earlier, superior "Yours Truly, Jack the Ripper."
The Snail Watcher (1964) by Patricia Highsmith: Brilliant, gross, and very short from the creator of the talented Tom Ripley.
Chickamauga (1889) by Ambrose Bierce: Haunting and horrible tale of war as observed by a child.
At Last, the True Story of Frankenstein (1965) by Harry Harrison: A mostly funny, EC Comics-like entry in the school of 'that story was actually sorta true!'
Fever Dream (1948) by Ray Bradbury: A creepy tale of infection still resonates with body-fear in the Age of Ebola.
The Other Celia (1957) by Theodore Sturgeon: A fascinating character study of a voyeuristic loner and the strange fellow lodger in a boarding house whose oddities attract his attention.
The Oval Portrait (1842) by Edgar Allan Poe: Short-short from Poe, and not all that rewarding.
The Monster-Maker (1887) by W. C. Morrow: One crazy scientific monster story from the late Victorian Age.
Come and Go Mad by Fredric Brown: Brilliant piece of science-fictional paranoia, and an unusually long story from the often terse Brown, one of the two or three absolute masters of the shock-short.
The Survivor (1954) by H. P. Lovecraft and August Derleth: Derleth expands brief notes from Lovecraft into a story. You will see the ending coming. Fun but derivative.
The Ancestor (1957) by H. P. Lovecraft and August Derleth: Derleth expands brief notes from Lovecraft into another story. You will see the ending coming. Also fun but derivative.
The Mortal Immortal (1833) by Mary Shelley: A melancholy non-Frankensteinian work from Shelley. The ending suggests a possible future team-up between the eponymous protagonist and the Creature.
Dr. Heidegger's Experiment (1837) by Nathaniel Hawthorne: One of Hawthorne's funnier excursions into a bleak assessment of human character.
By These Presents (1953) by Henry Kuttner: Clever deal-with-the-devil story.
Whosits Disease (1962) by Henry Slesar: Brief and disposable.
King Pest (1835) by Edgar Allan Poe: Another of Poe's less-anthologized works is a funny-nightmarish walkabout in a plague-ridden port town. The extreme physical oddities of most of the characters, and the oddly jolly, macabre situation of the story suggest Tim Burton.
Mayaya's Little Green Men (1946) by Harold Lawlor: Very much telegraphed and pointlessly nasty.
For the Blood Is the Life (1905) by F. Marion Crawford: Maybe the prolific Crawford's oddest horror story, with a really striking revelation of a ghost as seen from afar.
The Human Chair (1925/translated from the Japanese 1956) by Edogawa Rampo: Very creepy little tale from a Japanese master of horror.
The Fortunes of Sir Robert Ardagh (1838) by Joseph Sheridan Le Fanu: The great Le Fanu plays with narrative points of view.
Return to the Sabbath (1938) by Robert Bloch: Relatively early Bloch melds Hollywood and the Satanic in an early indication of how Bloch's horror writing would develop.
The Will of Luke Carlowe (1906) by Clive Pemberton: You will see the ending coming.
Eyes Do More Than See (1965) by Isaac Asimov: Nifty and unusual inclusion of a science-fiction story set in a far, far future in which humanity has evolved into immortal energy beings.

Typically eclectic and wide-ranging anthology from the prolific anthologist Peter Haining. Not everything hits hard, but the breadth and occasional rarity of the selections make it a worthwhile read. Recommended.

100 by 54

100 Hair-Raising Little Horror Stories: edited by Al Sarrantonio and Martin Greenberg with stories by Washington Irving, Chet Williamson, Steve Rasnic Tem, Donald A. Wollheim, Edgar Allan Poe, Ambrose Bierce, Al Sarrantonio, Henry Slesar, Richard T. Chizmar, Avram Davidson, Gary L. Raisor, E. F. Benson, Saki, Frances Garfield, Mark Twain, Phyllis Eisenstein, William F. Nolan, Ed Gorman, Eric Frank Russell, Melissa Mia Hall, Joe R. Lansdale, Ruth Berman, H. P. Lovecraft, Edward D. Hoch, James E. Gunn, Robert Sheckley, Barry Pain, Fritz Leiber, Richard Laymon, Jerome K. Jerome, Ramsey Campbell, Nathaniel Hawthorne, Norman Partridge, Juleen Brantingham, Barry N. Malzberg, Thomas F. Monteleone, James H. Schmitz, Frank A. Javor, E. G. Swain, Bernard Capes, Nancy Holder, Charles Dickens, William Hope Hodgson, David Drake, Mort Castle, Bill Pronzini, Dennis Etchison, Charles L. Grant, Susan Casper, Rudyard Kipling, Sharon Webb, F. Paul Wilson, Manly Wade Wellman, and Stephen Crane (1993).

Fun, long anthology of horror stories of ten pages or less, arranged alphabetically. The book covers a range of about 150 years, starting with Dickens and Poe and ending up in the early 1990's with Norman Partridge. It's entirely inevitable that I'll find some of the selections odd and some of the omissions odder.

What I do like, though, are the multiple selections from Donald A. Wollheim, known much better now as the founder and name-giver of DAW Books, but also a fine short-story writer. "The Rag-Thing" is a terrific little piece, as is "Babylon: 70 Miles." In a perfect world, I suppose one could ask that every story be written by a different person. And in my perfect world, the parodies would be in their own anthology, as neither a Twain nor a Jerome K. Jerome piece raise any hair at all (nor are meant to, as they parody the form and content of ghost stories).

I've noticed this penchant in a lot of horror anthologists -- there's always a couple of parodies that aren't scary and were never meant to be. But there they are in something labelled 'horror.' I actually don't get it. There are great humourous horror stories of various types, and there are extremely subtle parodies that can still work as a horror story.

However, the overt 'ha-ha' stuff just seems out of place in a horror anthology because it isn't actually horror. Is there some unconscious nervousness about horror's respectability that causes the insertion of the parody into a non-parodic anthology? I don't know. I also dislike not knowing the year a story was published, but I seem to have grown resigned to anthologies generally omitting what I think is a necessary piece of editorial machinery. In any case, recommended.