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Over the Darkening Fields by Scott Thomas
In The Present... A Young woman explores the mysteries of death through the paintings of an enigmatic artist. A young couple discovers a restless antique doll in a cemetery. The charred bodies of homeless men appear in the snowy alleys of Boston. A strange mural with an appetite for bones haunts a deserted house. In the past... A woman roams the slums of London hoping to be Jack the Ripper's next victim. Night after night a man dreams of his lonely lover and her trip to a strange museum. Following a tragic accident, a widow orders the construction of a secret chamber with walls thick enough to muffle screams. In a strange city, long ago... Women are blinded at birth; this has been the law for 500 years. Now they can see, and they are coming back from the grave to take their revenge. A cryptographer struggles to solve the mystery that may save the living from the dead. 26 Stories From The author of Westermead and Cobwebs and Whispers.
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First published January 1, 2007
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About the author
Scott Thomas
28 books58 followersThis bio is for the Horror/Fantasy author, Scott Thomas. There are also several other writers with this name.
Scott Thomas is an author of ghostly stories, often set in the 18th and 19th centuries in New England and Britain.
He is also the author of the fantasy novel FELLENGREY. His books include the collections URN AND WILLOW, QUILL & CANDLE, MIDNIGHT IN NEW ENGLAND, THE GARDEN OF GHOSTS, OVER THE DARKENING FIELDS, WESTERMEAD, SHADOWS OF FLESH, COBWEBS AND WHISPERS and two books co-written by brother Jeffrey Thomas, THE SEA OF FLESH AND ASH and PUNKTOWN: SHADES OF GREY.
Two of Scott Thomas' stories were reprinted in "The Year's Best Fantasy and Horror #15" (St. Martin's Press) and another story was reprinted in "The Year's Best Horror Stories XXII" (DAW Books). Scott lives in New England.
Scott Thomas is an author of ghostly stories, often set in the 18th and 19th centuries in New England and Britain.
He is also the author of the fantasy novel FELLENGREY. His books include the collections URN AND WILLOW, QUILL & CANDLE, MIDNIGHT IN NEW ENGLAND, THE GARDEN OF GHOSTS, OVER THE DARKENING FIELDS, WESTERMEAD, SHADOWS OF FLESH, COBWEBS AND WHISPERS and two books co-written by brother Jeffrey Thomas, THE SEA OF FLESH AND ASH and PUNKTOWN: SHADES OF GREY.
Two of Scott Thomas' stories were reprinted in "The Year's Best Fantasy and Horror #15" (St. Martin's Press) and another story was reprinted in "The Year's Best Horror Stories XXII" (DAW Books). Scott lives in New England.
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Displaying 1 - 3 of 3 reviews
October 3, 2013
These stories were just lovely, and perfect autumn reading. Lonely souls, ghostly imagery, poetic prose, right up my alley. I'm happy that I already have a few other Scott Thomas books in my collection, and I shall be seeking the rest of his works as well. Too bad his Delerium collections are so scarce and expensive...
June 26, 2015
Originally published on www.darkofthings.com
Scott Thomas is my kind of writer.
I have a particular fondness for quiet, atmospheric fiction: stories that rely on suggestion instead of an overload of exposition. I enjoy fiction that allows me to participate in the story, to give me the freedom to fill the dark places with my own horrors. When I find that quality in an author, that ability to evoke unease solely through implication, there’s nothing better. Over the Darkening Fields has that quality, but it also has so much more.
In true weird fiction fashion, it is the hint of horror that is most disconcerting. To me, that is a sure sign of a writer confident in their abilities. Throughout this collection, Scott trusts us to draw our own conclusions, letting us place our ear against a door to decide for ourselves if there is anything waiting on the other side. Very often, there is.
While I am tempted to give my impression of each story – and believe me, every tale is absolutely worth your time – part of the joy of reading this collection involves not knowing what to expect beforehand. Too much detail would be a disservice to both the stories and your experience, so instead I’ll simply mention a few to give you a small taste.
"The House of Murals" opens the collection, a story that does a fantastic job of introducing you to Scott’s use of description and delicate word-choice. This story also gives you an excellent sense of his fondness for architecture and antiquity. It is a wonderfully strange tale about disconnection and loneliness, and a man with a peculiar fondness for visiting an old house late at night.
"A Certain Gravity" is a thoughtful story about horror that lurks beneath the surface. It has a Twilight Zone-esque feel to it, utilizing the shows strangeness without mimicking its usual dramatic endings. Every event in the story leads to a climax that, while surreal, feels oddly applicable to contemporary perceptions of gender and beauty.
The final story I’d like to mention is "The Girl in the Attic," and for a very specific reason. Up to this point, I’ve commented on Scott’s use of subtlety to communicate his unique brand of quiet horror. This story on the other hand uses a very different approach, one that relies on a quick pace and a heightened focus on physical horror. The writing style is intentionally less languid here, and Scott enters some pretty dark territory. While it does diverge from his usual slow-burn method of storytelling, it in no way feels out of place in the collection. In fact, I’d say it serves as a great example of his ability to shift gears depending on what the story calls for.
When it comes to writing ability Scott is a natural. He knows how to construct a beautiful sentence, and does so only in service to the story. On several occasions I re-read entire paragraphs in an attempt to glean just how he pulled something off so eloquently. One gets the feeling that Scott is very meticulous about his word-choice, or perhaps he simply plucks poetic phrasings from the ether while he dreams. Neither would surprise me.
I think what I find most alluring about Scott’s work is how focused it is on communicating his deep affection for autumn. Many of the stories in this collection occur during the fall months, yet not once does that feel tedious or overused. Instead, it allows the reader to glimpse the many facets of the season, proving there is still much fertile ground to be explored when coupling autumn with the weird tale. I can think of no other writer who even comes close to painting the beauty and mystery of the season on a page.
With a confident yet unassuming voice, Scott masterfully articulates his love for nature and the inevitable change of seasons. This collection is an invitation to wander old forest paths, to listen to the voice of the wind on barren branches, to step gingerly through puddles of fading autumn light. It is a gathering of stories that celebrate the warmth of tradition and the deep mystery that lingers wherever shadows touch the ground.
Scott Thomas is my kind of writer.
I have a particular fondness for quiet, atmospheric fiction: stories that rely on suggestion instead of an overload of exposition. I enjoy fiction that allows me to participate in the story, to give me the freedom to fill the dark places with my own horrors. When I find that quality in an author, that ability to evoke unease solely through implication, there’s nothing better. Over the Darkening Fields has that quality, but it also has so much more.
In true weird fiction fashion, it is the hint of horror that is most disconcerting. To me, that is a sure sign of a writer confident in their abilities. Throughout this collection, Scott trusts us to draw our own conclusions, letting us place our ear against a door to decide for ourselves if there is anything waiting on the other side. Very often, there is.
While I am tempted to give my impression of each story – and believe me, every tale is absolutely worth your time – part of the joy of reading this collection involves not knowing what to expect beforehand. Too much detail would be a disservice to both the stories and your experience, so instead I’ll simply mention a few to give you a small taste.
"The House of Murals" opens the collection, a story that does a fantastic job of introducing you to Scott’s use of description and delicate word-choice. This story also gives you an excellent sense of his fondness for architecture and antiquity. It is a wonderfully strange tale about disconnection and loneliness, and a man with a peculiar fondness for visiting an old house late at night.
"A Certain Gravity" is a thoughtful story about horror that lurks beneath the surface. It has a Twilight Zone-esque feel to it, utilizing the shows strangeness without mimicking its usual dramatic endings. Every event in the story leads to a climax that, while surreal, feels oddly applicable to contemporary perceptions of gender and beauty.
The final story I’d like to mention is "The Girl in the Attic," and for a very specific reason. Up to this point, I’ve commented on Scott’s use of subtlety to communicate his unique brand of quiet horror. This story on the other hand uses a very different approach, one that relies on a quick pace and a heightened focus on physical horror. The writing style is intentionally less languid here, and Scott enters some pretty dark territory. While it does diverge from his usual slow-burn method of storytelling, it in no way feels out of place in the collection. In fact, I’d say it serves as a great example of his ability to shift gears depending on what the story calls for.
When it comes to writing ability Scott is a natural. He knows how to construct a beautiful sentence, and does so only in service to the story. On several occasions I re-read entire paragraphs in an attempt to glean just how he pulled something off so eloquently. One gets the feeling that Scott is very meticulous about his word-choice, or perhaps he simply plucks poetic phrasings from the ether while he dreams. Neither would surprise me.
I think what I find most alluring about Scott’s work is how focused it is on communicating his deep affection for autumn. Many of the stories in this collection occur during the fall months, yet not once does that feel tedious or overused. Instead, it allows the reader to glimpse the many facets of the season, proving there is still much fertile ground to be explored when coupling autumn with the weird tale. I can think of no other writer who even comes close to painting the beauty and mystery of the season on a page.
With a confident yet unassuming voice, Scott masterfully articulates his love for nature and the inevitable change of seasons. This collection is an invitation to wander old forest paths, to listen to the voice of the wind on barren branches, to step gingerly through puddles of fading autumn light. It is a gathering of stories that celebrate the warmth of tradition and the deep mystery that lingers wherever shadows touch the ground.
November 7, 2019
Scott Thomas publicó esta colección de historias el mismo año que Midnight in new England, que tanto me gustó el año pasado. Incluye historias escritas ese mismo año y bastantes publicadas anteriormente (incluso de sus comienzos, en los años 90).
Salvo unas pocas excepciones, la mayoría son extremadamente cortos, entre dos y seis o siete páginas. Está dividido en 3 partes pero es una separación un poco extraña. La primera son historias en época actual, la segunda en el pasado, y la última es un único relato largo, el de mayor extensión del libro. Pero el total son 26 historias, en apenas 190 páginas.
Part 1
- The house of murals 4.5/5
- The august ritual 4/5
- The virgin 3.5/5
- Westermead manifestation 3/5
- Bag of hell 5/5
- The storm horses 2.5/5
- A certain gravity 4/5
- Three-legged stool 4.5/5
- Cabin 13 4/5
- Thin walls 4.5/5
- Halloween tea 3.5/5
-The girl in the attic 3/5
-Milton Crane's collection 2/5
-The doll 3/5
-Winter census 3/5
-The Sarah 3.5/5
-The crippled gate 5/5
-The september fair 4/5
-Shadow painting 4.5/5
-Over the darkening fields 3.5/5
-Hindenburg Kiss 3/5
-The wickhampton bleeding 3/5
Part 2
-A mishap and its aftermath 3/5
-The nyssa 3.5/5
-Julia's Fancy 2.5/5
Part 3
-The cinnamon mask: un trabajo muy en su linea de "The puppet and the train" o la novelilla "The Sea of Ash", de 25 páginas. Fabuloso. 5/5
No me atrevo a comentar cada una porque no acabaría nunca. Creo que es un pelin mas irregular que Midnight in new england, probablemente por la longitud y diferentes tonos de las historias. Hay varias que no son historias de terror, sino agradables cuentos otoñales (the august ritual, the storm horses, Halloween tea...) o pequeños relatos fantásticos.
El mas "lovecraftiano" de todos probablemente es The crippled gate, que es estupendo. Destaca, junto a The cinnamon mask, Thin walls, The three legged-stool (que es ligeramente humorístico), The house of murals, o el sugerente Bag of Hell como lo mejor del volumen. No obstante, hasta los relatos menos conseguidos se leen con agrado. Thomas tiene una prosa muy atractiva siempre.
Salvo unas pocas excepciones, la mayoría son extremadamente cortos, entre dos y seis o siete páginas. Está dividido en 3 partes pero es una separación un poco extraña. La primera son historias en época actual, la segunda en el pasado, y la última es un único relato largo, el de mayor extensión del libro. Pero el total son 26 historias, en apenas 190 páginas.
Part 1
- The house of murals 4.5/5
- The august ritual 4/5
- The virgin 3.5/5
- Westermead manifestation 3/5
- Bag of hell 5/5
- The storm horses 2.5/5
- A certain gravity 4/5
- Three-legged stool 4.5/5
- Cabin 13 4/5
- Thin walls 4.5/5
- Halloween tea 3.5/5
-The girl in the attic 3/5
-Milton Crane's collection 2/5
-The doll 3/5
-Winter census 3/5
-The Sarah 3.5/5
-The crippled gate 5/5
-The september fair 4/5
-Shadow painting 4.5/5
-Over the darkening fields 3.5/5
-Hindenburg Kiss 3/5
-The wickhampton bleeding 3/5
Part 2
-A mishap and its aftermath 3/5
-The nyssa 3.5/5
-Julia's Fancy 2.5/5
Part 3
-The cinnamon mask: un trabajo muy en su linea de "The puppet and the train" o la novelilla "The Sea of Ash", de 25 páginas. Fabuloso. 5/5
No me atrevo a comentar cada una porque no acabaría nunca. Creo que es un pelin mas irregular que Midnight in new england, probablemente por la longitud y diferentes tonos de las historias. Hay varias que no son historias de terror, sino agradables cuentos otoñales (the august ritual, the storm horses, Halloween tea...) o pequeños relatos fantásticos.
El mas "lovecraftiano" de todos probablemente es The crippled gate, que es estupendo. Destaca, junto a The cinnamon mask, Thin walls, The three legged-stool (que es ligeramente humorístico), The house of murals, o el sugerente Bag of Hell como lo mejor del volumen. No obstante, hasta los relatos menos conseguidos se leen con agrado. Thomas tiene una prosa muy atractiva siempre.
Displaying 1 - 3 of 3 reviews