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Haunted Houses: The Greatest Stories
Haunted houses
320 pages, Hardcover
First published August 1, 1997
2 people are currently reading
57 people want to read
About the author
Martin H. Greenberg
910 books163 followersMartin Harry Greenberg was an American academic and speculative fiction anthologist. In all, he compiled 1,298 anthologies and commissioned over 8,200 original short stories. He founded Tekno Books, a packager of more than 2000 published books. In addition, he was a co-founder of the Sci-Fi Channel.
For the 1950s anthologist and publisher of Gnome Press, see Martin Greenberg.
For the 1950s anthologist and publisher of Gnome Press, see Martin Greenberg.
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Displaying 1 - 12 of 12 reviews
March 29, 2019
This is a very nice collection of haunted house stories, ranging from Bram Stoker in 1891 to Joyce Carol Oates in 1994, both of which were definite highlights. In between, there’s an H.P. Lovecraft, a Robert Bloch (you may know him as the author of the book that Psycho was based on) and a Robert Aickman which, also, was a highlight. I’d quibble a bit with the inclusion of Bloch’s story (not really a haunted house) and Jack L. Chalker’s story (not really haunted) but only two real disagreements in a collection like this is pretty good.
Possibly the best was what is as far as I can tell the earliest, Charlotte Perkins Gilman’s 1892 “The Yellow Wallpaper”.
Several focus more on the people experiencing the haunting than the haunting itself; Elizabeth Bowen’s “The Cat Jumps” (1934?), for example, might not even be a haunting. And Ruth Rendell’s “The Haunting of Shawley Rectory” (1979) takes several haunted house tropes and literally turns them around. Nor have I any idea what’s really going on in Charles L. Grant’s wonderful “The Children, They Laugh So Sweetly” (1985).
A couple rely on tricks at the end, such as Margaret St. Clair’s “The House in Bel-Aire” (1960) and the very out-of-place “Ladies in Waiting” (1979) by Hugh B. Cave, which seems more like a snippet from the beginning of a cheap horror movie than a full story.
Possibly the best was what is as far as I can tell the earliest, Charlotte Perkins Gilman’s 1892 “The Yellow Wallpaper”.
Several focus more on the people experiencing the haunting than the haunting itself; Elizabeth Bowen’s “The Cat Jumps” (1934?), for example, might not even be a haunting. And Ruth Rendell’s “The Haunting of Shawley Rectory” (1979) takes several haunted house tropes and literally turns them around. Nor have I any idea what’s really going on in Charles L. Grant’s wonderful “The Children, They Laugh So Sweetly” (1985).
A couple rely on tricks at the end, such as Margaret St. Clair’s “The House in Bel-Aire” (1960) and the very out-of-place “Ladies in Waiting” (1979) by Hugh B. Cave, which seems more like a snippet from the beginning of a cheap horror movie than a full story.
April 17, 2012
A Fresh Coat of Paint on the Old Haunted House
I suppose it could be argued that there isn’t a “new” way to write a haunted house story—how many unique things can you really do with a haunted house, after all?—but after reading Haunted Houses: The Greatest Stories, edited by Martin H. Greenberg, if such an argument were ever to be presented, I’d be on the side of the defense.
This collection isn’t short on classics—Charlotte Perkins Gilman’s “The Yellow Wallpaper,” Lovecraft’s “The Rats in the Walls” and Stoker’s “The Judge’s House”—nor is it short on some standardly-hallmarked, but still fun, pieces: Henry Slesar’s “The Right Kind of House” if you love a nail-biting mystery; Robert Aickman’s “The School Friend” if you love a little odd romance; “The Haunting of Shawley Rectory” if you like a ghost hunt; Michael Raeves’ “The Tearing of Graymare,” if you like a good scare.
But it’s the several stories with unique takes that make this collection a must-have.
Robert Bloch’s “Lizzie Borden Took an Axe,” while I found had one unbelievable moment as a character leaps to rather sudden conclusion (I would have founded this with at least one mention or thought earlier on in the story so it didn’t feel like it came out of nowhere), is a riveting page-turner while simultaneously creating a sense of leaden, pondering dread in the middle of a summer day through the use of a decay motif. And the subtly-foreshadowed ending is a total shocker. I won’t provide any other spoilers here except to note that the story is not about Lizzie Borden, but if you really want to make this one hell of a ride, you’d do well to read Angela Carter’s “The Fall River Axe Murders” first (Carter’s short was first published in 1981 and again in 1985; Bloch’s was first published in 1946. Who knows if Carter read Bloch’s story, but I find the connection between the two makes me think Carter may have been directly inspired).
Joyce Carol Oates’ “The Doll” is what you’d expect of her unique psychological horror, but when applied to the haunted house story, it’s definitely not what you’d expect (think about the story’s title a little bit and you might figure out why)—and deals a wallop of a commentary on the long reach of our childhood’s shadows. Similar in theme is William F. Nolan’s “Dark Winner,” which isn’t surprising, since he’s the genius behind Logan’s Run. What is surprising about “Dark Winner” is the storytelling itself. I won’t spoil it, but I will say that it’s tough to pull of this particular style and not bore the crap out of your readers. Nolan not only nails it, he gets the job done quick and dirty. I couldn’t put the story down. Charles L. Grant’s “The Children, They Laugh So Sweetly” also looks at the haunted house in connection with children, but through the eyes of—if I even mention it, I’ll blow the story’s surprise ending.
Years ago, I’d read Jack L. Chalker’s “No Hiding Place” and had loved it—and given its completely odd take on the Haunted House, I’m not surprised it was included in this collection (it appeared in his 1988 collection Dance Band on the Titanic, which had, that year, been a birthday gift from my Dad): this one will trash everything you know about haunted house lore.
The most fun piece, though, is Margaret St. Claire’s “The House in Bel Aire.” This is one take on a haunted house story that was so fresh I had to read it twice. For all the haunted house tales I’ve read over the years, I can’t think of any even remotely reminiscent of this one. I have never read anything like this and I’m pretty sure you haven’t either.
Anthologies and collections can be uneven, and this one is no exception. Just as there are solid and creative stories in this collection, there are weaker ones, too.
I felt that Edward Bryant’s “Teeth Marks,” which started off in a gripping, chilling voice, collapsed because it was told from alternating POVs; it was like walking on an uneven floor. Elizabeth Bowen’s “The Cat Jumps,” despite its well-developed atmosphere, was peopled with cardboard characters, lacked suspense, and had a what-the-hell-does-this-have-to-do-with-the-last-five-pages-I-just-struggled-through? ending.
I didn’t mention all the stories in here; there are a few more, and Greenberg’s introduction alone, in which he examines why tainted home stories are scary, makes the purchase of this book a worthwhile endeavor. So if spooky dwellings are your thing, you should own this collection.
It definitely puts a fresh coat of paint on the old haunted house.
I suppose it could be argued that there isn’t a “new” way to write a haunted house story—how many unique things can you really do with a haunted house, after all?—but after reading Haunted Houses: The Greatest Stories, edited by Martin H. Greenberg, if such an argument were ever to be presented, I’d be on the side of the defense.
This collection isn’t short on classics—Charlotte Perkins Gilman’s “The Yellow Wallpaper,” Lovecraft’s “The Rats in the Walls” and Stoker’s “The Judge’s House”—nor is it short on some standardly-hallmarked, but still fun, pieces: Henry Slesar’s “The Right Kind of House” if you love a nail-biting mystery; Robert Aickman’s “The School Friend” if you love a little odd romance; “The Haunting of Shawley Rectory” if you like a ghost hunt; Michael Raeves’ “The Tearing of Graymare,” if you like a good scare.
But it’s the several stories with unique takes that make this collection a must-have.
Robert Bloch’s “Lizzie Borden Took an Axe,” while I found had one unbelievable moment as a character leaps to rather sudden conclusion (I would have founded this with at least one mention or thought earlier on in the story so it didn’t feel like it came out of nowhere), is a riveting page-turner while simultaneously creating a sense of leaden, pondering dread in the middle of a summer day through the use of a decay motif. And the subtly-foreshadowed ending is a total shocker. I won’t provide any other spoilers here except to note that the story is not about Lizzie Borden, but if you really want to make this one hell of a ride, you’d do well to read Angela Carter’s “The Fall River Axe Murders” first (Carter’s short was first published in 1981 and again in 1985; Bloch’s was first published in 1946. Who knows if Carter read Bloch’s story, but I find the connection between the two makes me think Carter may have been directly inspired).
Joyce Carol Oates’ “The Doll” is what you’d expect of her unique psychological horror, but when applied to the haunted house story, it’s definitely not what you’d expect (think about the story’s title a little bit and you might figure out why)—and deals a wallop of a commentary on the long reach of our childhood’s shadows. Similar in theme is William F. Nolan’s “Dark Winner,” which isn’t surprising, since he’s the genius behind Logan’s Run. What is surprising about “Dark Winner” is the storytelling itself. I won’t spoil it, but I will say that it’s tough to pull of this particular style and not bore the crap out of your readers. Nolan not only nails it, he gets the job done quick and dirty. I couldn’t put the story down. Charles L. Grant’s “The Children, They Laugh So Sweetly” also looks at the haunted house in connection with children, but through the eyes of—if I even mention it, I’ll blow the story’s surprise ending.
Years ago, I’d read Jack L. Chalker’s “No Hiding Place” and had loved it—and given its completely odd take on the Haunted House, I’m not surprised it was included in this collection (it appeared in his 1988 collection Dance Band on the Titanic, which had, that year, been a birthday gift from my Dad): this one will trash everything you know about haunted house lore.
The most fun piece, though, is Margaret St. Claire’s “The House in Bel Aire.” This is one take on a haunted house story that was so fresh I had to read it twice. For all the haunted house tales I’ve read over the years, I can’t think of any even remotely reminiscent of this one. I have never read anything like this and I’m pretty sure you haven’t either.
Anthologies and collections can be uneven, and this one is no exception. Just as there are solid and creative stories in this collection, there are weaker ones, too.
I felt that Edward Bryant’s “Teeth Marks,” which started off in a gripping, chilling voice, collapsed because it was told from alternating POVs; it was like walking on an uneven floor. Elizabeth Bowen’s “The Cat Jumps,” despite its well-developed atmosphere, was peopled with cardboard characters, lacked suspense, and had a what-the-hell-does-this-have-to-do-with-the-last-five-pages-I-just-struggled-through? ending.
I didn’t mention all the stories in here; there are a few more, and Greenberg’s introduction alone, in which he examines why tainted home stories are scary, makes the purchase of this book a worthwhile endeavor. So if spooky dwellings are your thing, you should own this collection.
It definitely puts a fresh coat of paint on the old haunted house.
September 30, 2016
If you like things that go bump, scream, screech, and bang you will enjoy this book of stories.
October 6, 2020
The last story, "The Tearing of Greymare House" - my comment: he should have left that house alone. Overall, the book as some really interesting stories but I will not keep the book as the first story has the name of cat with the "N" word. It's not acceptable in these times, so I will donate the book. There are two or three stories in here I'd like to narrate as a Storyteller myself. Altogether this book kept me fascinated and entertained.
September 3, 2022
A very uneven collection of stories where some truly horrific classics are nearly overshadowed by the unfortunate inclusion of more contemporary 'literary' shorts. Definitely not a book to be read cover-to-cover, but the classics are well-worth the price.
January 31, 2019
Fairly solid anthology of classic and new haunted house stories. Worth a read if you can find a cheap used copy or at your local library.
July 19, 2022
Just not good. I was expecting super scary and didn't receive it. There were 2 short stories where my jaw dropped at the ending but that was it.
November 8, 2010
This was a great book to read around Halloween. It definitely sets the mood for that spooky night. Some of the short stories were just okay, some were very creative, and there were several that were downright creepy! My faves were The Haunting of Shawley Rectory by Ruth Rendall and The Tearing of Greymare House by Michael Reaves. The Fall of the House of Usher by Poe would have been a great addition to this collection.
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April 14, 2008Anthology,Horror
November 19, 2012
The selection is a bit too quirky for me, and technically a lot of the stories that comprise the collection aren't actually ghost stories. This is more than slightly annoying.
October 30, 2016
Really spooky stories from authors from Bram Stocker to Robert Bloch..
June 24, 2014
The stories get better as you keep reading!
Displaying 1 - 12 of 12 reviews