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Book Review: Death’s Dreams by Darryl Dawson

Death’s Dreams by Darryl Dawson

Darryl Dawson Books, 2019

ISBN: 978-1-7331921-4-9

Available: Paperback, Kindle edition

 

Death’s Dreams is the wildest, most original collection of short stories to come barreling down the pike in a long, long time.  If you’re looking for stories that are seriously OUT THERE, with a decent touch of blood splashed around the pages, this book is the place to be.  Why this wasn’t nominated for a Stoker award is beyond me, as it is certainly good enough to justify a nomination.

The collection is loosely held together by the idea that ol’ Death, the Grim Reaper himself, is losing it.  All the horrors he’s seen over the years while riding his figurative pale horse have started to get to him, so he finds a shrink to talk to and unload all his stories on.  Those stories make up the basis of this collection.  Make no mistake, what he’s seen in these stories would be enough to put any rational person in a padded room.   “New Identity” is a hellish look at what happens when one bad person makes a mistake and winds up the prisoner of a person who is a lot worse.  It’s a common plot device, but this story is truly terrifying.  “Night Train” may be the most original one, as it contains an actual phantom (or not?) train running in the storm drains beneath the city, that promises possible escape to those who need it.  Simply open the door to one of the train cars, and step into another dimension.  “There Really Are No Accidents” is a viciously ironic story concerning one woman’s attempt to take a brutal revenge on her scummer of a husband, and what befalls her.  This one also showcases author Dawson’s twisted sense of humor. The end of the story might well make you laugh, despite its nastiness.  Written with only dialogue, “The Claim” concerns a camera that causes the death of everyone it takes a picture of.  The author’s choice of format for this story makes it stand out from the others, as it can be a tough format to work with, but Dawson does it with ease.  “The Champion of Suffering” is a fantastic revenge story, as the evil killer starts the story already executed through lethal injection, and in Hell.  The protagonist has to decide if he is willing to sacrifice and condemn himself to Hell, just to go after the killer and inflict more punishment.  Is the death penalty enough?  How much is vengeance  worth to him?  This is an outstanding story that also raises some good questions about the nature of retribution.

The overall quality of all the stories is extremely high; there isn’t a bad one in the collection.  Some are better than others, but they all do a good job showcasing the author’s fertile imagination and skill.  The only drawback is the lack of dialogue between Death and the psychiatrist.  The first chapter was an excellent setup between the two of them, but that thread never really got explored to its potential, as they barely show up for the rest of the book.  If the interaction between Death and the doctor had been fleshed out more, this could have been an outstanding novel, instead of an outstanding collection of short stories.  Despite that minor quibble, Death’s Dreams is a book not to be missed.  Keep an eye out for this author in the future. Highly recommended.

 

Contains: violence, gore, profanity, sex

 

Reviewed by Murray Samuelson

 

 

 

 

Reviews at Monster Librarian

Monster Librarian reviews horror, paranormal, and supernatural fiction for all ages, and scary stories for kids. I am getting a lot of requests for reviews of police procedurals, mystery novels, and political thrillers. I mean, it is becoming overwhelming. I had a reviewer ask me what had been sent to me lately and it includes a big stack of these. I’m willing to stretch the boundaries of genre a bit; as a children’s librarian, I know they are fluid. But our mission is to promote horror fiction and its close relations for librarians and readers, and through that, to engage people in reading.

Send us  horror, please!

 

 

 

Documentary Review: Horror Noire: A History of Black Horror, directed by Xavier Burgen, written and produced by Ashlee Blackwell and Danielle Burrows

Horror Noire: A History of Black Horror, directed by Xavier Burgen, written and produced by Ashlee Blackwell and Danielle Burrows, based on the book Horror Noire: Blacks in American Horror Films From the 1890s to the Present  by Robin R. Means Coleman

Stage 3 Productions, 2019

Not Rated

Run time: 83 minutes

ISBN-13/ASIN: Not Available

Available: Streaming on Amazon, Shudder

 

“We’ve always loved horror. It’s just that horror, unfortunately, hasn’t always loved us.”

With this opening quote by Tananarive Due, award winning author and UCLA educator (Black Horror, Afrofuturism), viewers begin an essential documentary on Black horror. The film investigates a century of horror films that marginalized, exploited, and eventually accepted and embraced them. Horror Noire is based on University of Michigan professor Robin Means Coleman’s book of the same title. Through new and archival interviews from scholars and creators, we take a horror movie journey through early classics, Blaxplotiation, the Reagan Era, the 90s, and the 2000s. Interviewees include Ashlee Blackwell, who runs the Graveyard Shift Sisters website, Tony Todd, William Crain, Rusty Cundieff, Rachel True, Tina Mabry, Ken Foree, and Jordan Peele.

The documentary starts with a discussion of Black representation in Birth of a Nation and moves into early classics and depiction of Black characters, as slaves, servants, or hapless victims in the 1940s. When the 50s came, horror films basically erased the Black presence, with the exception of Son of Ingara, in Atomic Age science-centered scripts. Change was coming when Night of the Living Dead was released. Blaxploitation provided more screen time for Black actors, but the films remained problematic. The Reagan Era presented the change from “urban to suburban” white flight settings, relegating Black characters to gangsters and villains. In the 90s and 2000s, more Black filmmakers and actors appeared more in the horror genre, with a shift from the focal point of fear to heroes on the big screen.

I recommend this for anyone interested in the sociopolitical history of the horror genre. The use of footage from various civil rights and conflicts that reached the national level interspersed throughout the film helped explain the reception and shift in attitudes about Black horror, and Black horror movies. Highly recommended.

 

Reviewed by Lizzy Walker