A Collapse of Horses by Brian Evenson
My rating: 4 of 5 stars
I've made no secret of the fact that I love Brian's work; both his non-fiction and his fiction. I've published his work myself not once, but twice. I've only had the chance to meet him in person once, many years ago, but have had correspondence with him off and on for a long time now. He even let me have the honor of accepting the International Horror Guild Award on his behalf when he couldn't make it to a convention I was attending. So I might be a little biased. But only a little; even if he appears in my personal appendix N. I try to be objective when I read Brian's work, which means that, at times, I am a harsher critic than I ought to be. Then, along comes a story that entirely blows my mind and, well, there goes any semblance of objectivity or decorum, for that matter.
And what did I think of this collection? Brian's The Wavering Knife is one of my favorite single-author collections of all time, so A Collapse of Horses is up against its own stiff competition. Here are my thoughts on each story:
The structure (though not the subject matter) of "Black Bark" is reminiscent of the opening and closing sequence of the Twilight Zone movie, but much, much more scary. Wanna see something really scary? Four stars.
"A Report" is Kafka . . . *cough* *cough* Evenson at his most Kafka-esque. It's the absence of punishment that makes the torture portrayed here so excruciating. Four stars for "A Report".
"The Punish" is a story of bullying. And a story of revenge, sort of. But it doesn't play out quite how you'd expect. There is little of vengeful anger, little emotion at all, involved. At the center of it all is the sense of what's fair, what tit-for-tat comprises and how it plays out over the long term. Like much of Evenson's work, it is brutal in its lack of emotion. Five stars.
A tragedy that is not a tragedy is all the more tragic because it is not, in "A Collapse of Horses". Five stars.
"Three Indignities". Yes. Yes they are. Four cringe worthy stars that made me flinch and tremble, especially after having experienced one of them immediately after my back surgery, a few years ago. I did not care to relive that.
Using "Cult" as the title of this story may be the most clever use of a title I've seen in a while. Not the best Evenson story, but it still creeps into four star territory.
"Seaside Town" is an eerie, dissociative story that may or may not involve time travel. It reminds me of the work of Roland Topor, particularly The Tenant. A four star stay at the seaside town.
"The Dust" has a sense of paranoia that is almost palpable. It's a claustrophobic psychological horror story in a science-fictional setting. Fairly straightforward, by Evenson's standards, and yet flawlessly written to unfold a psychotic narrative that reminded me, simultaneously, of Pandorum and Carpenter's The Thing, but exactly not either of those. Four stars.
Don't judge a story by it's title! "BearHeartTM" was way less stupid and way more scary than I thought it would be from the title. Four stars, and a nod to Talky Tina.
"Scour" will . . . er, scour your soul. Evenson's ability to put the reader in the protagonist's head and cause the reader to, with her, willingly make the emotional phase shift from fear to sheer absence of will, is a draining spectacle to behold and be a part of. Four stars.
"Torpor" was a bit of grotesquery that I just didn't much care for. But you always have to admire Evenson's technically-perfect execution. Three stars.
"Past Reno" is clearly a riff on Lovecraft's idea of man's inability to correlate all the contents of the mind, along with the notion that what is off-screen is often more terrifying than what is right before you. But I've seen this done even more effectively elsewhere (though I can't for the life of me remember the title of the story that appeared in Ellen Datlow's Year's Best Fantasy and Horror that used redactions to horrifying effect - I'd be indebted if someone could help me remember what that story was and who wrote it. It was brilliant.). Still, a solid four star story.
"Any Corpse" will make you laugh, if you have as sick a sense of humor as me. I'm reminded of Evenson's Dark Property, but with a wry grin that quickly fades into a grimace. Five stars.
Many writers try to relay the feelings and sensations one encounters in a hallucinogenic experience. Evenson is one of the very, very few that actually catch the sensation of displacement that one feels during those experiences. Then he takes it two steps further, causing the reader to question reality itself in "The Moans". This is the PERFECT Evenson story, something transcendent. Five stars.
"The Window" appeared in the Fearful Symmetries anthology. Evenson hits the theme right in the middle in this ghost(?) story. Four stars.
"Click" is my new favorite Brian Evenson story. It may become one of my favorite short stories of all time. The sense of disassociative insanity is a fugue of unreliable narration, a drowning flood of swirling irrealities. I want someone to turn this into a black and white noir movie. No, not "someone". Definitely David Lynch working with the Brothers Quay. No one else could do it justice. Five gray supergiant stars!
I think I just read a Brian Evenson vampire story in "The Blood Drip". I think so, but I'm not sure. It ties in well with the opening story of the book and provides a thematic thread tying the beginning to the middle to the end, but it just didn't have the "pop" and "smarts" that I expect of Evenson's work. Three stars.
All told, that's a 4.1 average. And while I absolutely love "Click" (which should go in the end-of-the-world master textbook on how to write a short story) and "The Moans", I can't justify bumping it up to five stars. Though "The Blood Drip" and "Black Bark" bookend the collection and "A Collapse of Horses" provides a third equine leg to stand on, the various voices of the collection, the incongruous tones created by the overly-eclectic manuscripts, just didn't "bring it all together" for me. I think what we have here is two collections mashed into one: 1) stories that are more "clever" and sometimes downright funny and, 2) the more somber and grim (yet more linguistically playful) tones. My brain couldn't reconcile the two in such close proximity to each other. I appreciate both for what they are, but the two tended to repel each other, rather than pull the collection tighter together.
Still, four stars. And you're a fool if you don't rush out right now and find "Click" and "The Moans", whether in this collection or in their original incarnations. As usual, even with intervening weaknesses, Evenson proves that he is one of the greatest artists of the short story form alive today.
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