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Conference with the Dead
Terry Lamsley has long been regarded as one of the most compelling and important authors in the horror and ghost fiction genres, but his work has been extremely difficult to find – until now. This collection brings together ten stories; all of them set in and around the author’s hometown of Derbyshire. In Terry’s fiction, the world we know and the world of something else exist side by side with only the thinnest of lines between them. The characters that inhabit Terry’s work often inadvertently discover that this line is all too easily crossed.
Originally published in a 500 copy edition by Ash-Tree Press, Terry Lamsley's Conference with the Dead has long remained almost unobtainable until now.
A nominee for the World Fantasy Award, and winner of the International Horror Guild Award, this chilling collection of ghost stories set in England has remained out of print for far too long.
Originally published in a 500 copy edition by Ash-Tree Press, Terry Lamsley's Conference with the Dead has long remained almost unobtainable until now.
A nominee for the World Fantasy Award, and winner of the International Horror Guild Award, this chilling collection of ghost stories set in England has remained out of print for far too long.
243 pages, Hardcover
First published January 1, 1996
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Displaying 1 - 14 of 14 reviews
May 5, 2018
Only thing of Lamsley’s that I’ve read prior to acquiring this volume was the titular tale from his debut collection, “Under The Crust“, reprinted in some anthology or other. It sort of stuck with me: Lamsley depicted its unpleasant setting so well that you felt the grime sticking on you afterwards. Then there was the depiction of its protagonist‘s mental state, or the way in which Lamsley blurred the line between SF and the supernatural (what was going on in that story was almost like the motifs from fairy lore, so morphed as to be the perfect fit for the story’s dirty, oily, ruinous modern setting).
Anyhow, this collection is just as good as I hoped it‘d be based on that one story. It isn’t more of the same, by any stretch of imagination, tho. It is surprisingly varied. Herein, one finds stories that draw on M.R. James-ish interest in history and antiquarian details, with tainted antiquities and ancient tragedies whose effects still echo: such are „Blade and Bone“, featuring one remarkably terrifying haunt (I also appreciated the manner in which its lonely hiking protagonist‘s stumbling into abandoned village feels fittingly like a passage away from the ordinary world), or the relentlessly brutal, relentlessly tragic „The Toddler“. Then we have the shorter pieces, like the tragic „Someone To Dump On“, or the uncomfortable „Inheritance“. Then there‘s “Walking The Dog“, with its critter that may be alien, demonic, or something else altogether (as if the distinction matters, in cases such as this one) and its rather clever and layered, if at least partially predictable, twist (and, once again, memorable depicted passage from the everyday to the uncanny, with the protagonist‘s encounter with his employer – the gentleman in question, and his house, both leaving the sense of badly constructed masks).
Best stories here, in my opinion, are „Screens“ and „The Break“. Both are, actually, based around certain common denizen(s) of horror fiction, tho Lamsley‘s take is nothing if not original and striking, as well as very different in each of these tales. I shan't spoil the exact identity, but it will be obvious by the end of each story (and I reckon that their readers will be equally impressed by how Lamley managed to depict them as terrifying and truly Other). Former story draws on more esoteric tradition concerned with the entity in question, while the latter employs more conventional imagery. „Screens“ features slow and effective build-up, leaving you on your toes until the very end. In „The Break“, things are simply slightly odd, slightly off, at the start. But, the odd incidents keep piling up, keep growing in their scope and effect, environments and characters becoming less solid, more ominous. Eerie dream transforms into this full-fledged nightmare. „Screens“ uses the psychology of its protagonists, isolated outsider, to great effect, while „The Break“ employs the trope of child perceiving what adults can't, while being unable to communicate it it and seek help from them. Latter also deals with transitions from one stage to another, even initiations of sort.
Both of these are close to being small masterpieces and would, on their own, justify the price of admission.
Anyhow, this collection is just as good as I hoped it‘d be based on that one story. It isn’t more of the same, by any stretch of imagination, tho. It is surprisingly varied. Herein, one finds stories that draw on M.R. James-ish interest in history and antiquarian details, with tainted antiquities and ancient tragedies whose effects still echo: such are „Blade and Bone“, featuring one remarkably terrifying haunt (I also appreciated the manner in which its lonely hiking protagonist‘s stumbling into abandoned village feels fittingly like a passage away from the ordinary world), or the relentlessly brutal, relentlessly tragic „The Toddler“. Then we have the shorter pieces, like the tragic „Someone To Dump On“, or the uncomfortable „Inheritance“. Then there‘s “Walking The Dog“, with its critter that may be alien, demonic, or something else altogether (as if the distinction matters, in cases such as this one) and its rather clever and layered, if at least partially predictable, twist (and, once again, memorable depicted passage from the everyday to the uncanny, with the protagonist‘s encounter with his employer – the gentleman in question, and his house, both leaving the sense of badly constructed masks).
Best stories here, in my opinion, are „Screens“ and „The Break“. Both are, actually, based around certain common denizen(s) of horror fiction, tho Lamsley‘s take is nothing if not original and striking, as well as very different in each of these tales. I shan't spoil the exact identity, but it will be obvious by the end of each story (and I reckon that their readers will be equally impressed by how Lamley managed to depict them as terrifying and truly Other). Former story draws on more esoteric tradition concerned with the entity in question, while the latter employs more conventional imagery. „Screens“ features slow and effective build-up, leaving you on your toes until the very end. In „The Break“, things are simply slightly odd, slightly off, at the start. But, the odd incidents keep piling up, keep growing in their scope and effect, environments and characters becoming less solid, more ominous. Eerie dream transforms into this full-fledged nightmare. „Screens“ uses the psychology of its protagonists, isolated outsider, to great effect, while „The Break“ employs the trope of child perceiving what adults can't, while being unable to communicate it it and seek help from them. Latter also deals with transitions from one stage to another, even initiations of sort.
Both of these are close to being small masterpieces and would, on their own, justify the price of admission.
April 15, 2022
Review 6: Conference with the Dead by Terry Lamsley
1. Walking the Dog
Steve is looking for a job, and the mysterious Mr. Stook has one for him: take Stook's "dog" out in the moors every night to roam. Steve is to be accompanied by the equally mysterious Amanda, whom Steve perceives to be a reluctant, perpetually cynical, and sad woman. Afterward, Steve feels something is wringing his neck, something as mysterious as the "dog" he has to walk every night.
I was not expecting this from Lamsley; I was under the impression this short would have been more ambiguous with its horrors and left more to the imagination. But it does deliver the goods, and you'll never guess what the "dog" is. Lamsley writes clearly and unobtrusively; it feels like reading a movie.
Appears in: The Mammoth Book of Best New Horror, #8
2. Blade and Bone
Ogden Minter is spending his vacation doing on-site visits to the historic 17th Century structures of Peak District. He does this to satisfy the antiquarian fancies of his currently-injured wife. But when a sudden downpour forces Ogden into an unoccupied and decrepit cottage, he soon stumbles on something unnatural in a graveyard. But that won't be the worst thing to happen to him today.
Lamsley's second story, as remarked by many, is done in the tradition of M.R. James, with the protagonist discovering a seemingly innocuous item only to regret it later. Lamsley adds his exciting, clear prose and a knack for dark, gut-wrenching endings. Also, good pacing and a sense of what makes a supernatural event even more horrifying make Lamsley's tale memorable. When Ogden discovers what's coming for him, your feet want to join the race for survival.
Appears in: Best New Horror 6
3. The Break
Danny is spending his week-long holiday with his grandparents in a seashore hotel in Tideswell. But what was to be a boring and uneventful experience soon turns horrific for Danny. First, what is the man in the jetty up to pushing that mysterious box slowly? Second, why are all the guests of the hotel old? And finally, why are there mysterious people (that only Danny can see) so intent on taking his Grandpa away? Is Danny losing his mind, or is there truth to these things?
"The Break" is a paradox. One of its themes is about the horror of old age, but it's filtered through the perspective of a young boy. This contradiction reveals the question: is this all a product of an overactive imagination, or are the oldies acting strange due to mental deterioration? This dichotomy, in light of recent horror films and books, is a bit boring, and I am glad that Lamsley adds a third option: what if there was another element in the play? Anyway, if you love the twist or not, the way Lamsley slowly builds the dread is amazing, from the closing threat of the box to devilish seagulls, and the strange thing that comes out of the beach at night. I may have conflicted feelings about the ending, but the whole experience was weird, unique, and unpredictable.
Appears in: The Mammoth Book of The Best Of Best New Horror
4. Someone to Dump On
Jean Feltham doesn't appreciate having her husband's cousin, Neville, around. For her, Neville is a childish and child-like buffoon who is "obsessed" with children. Robert, her husband, doesn't think much about it and considers him a harmless burden. But while camping near their home, Robert receives a disquieting letter from Neville's mother, positing the physical impossibility of Neville's presence with them. But they have bigger problems, as Neville and their children have gone out somewhere.
Short, shocking, and effective. These are the perfect words to describe this chilling masterpiece; this would make for a perfect story to read on those cold, gloomy nights. Lamsley's talent shines in relatively shorter fiction, too.
Appears in: 100 Fiendish Little Frightmares
5. Running in the Family
"I understood that our house was haunted right from the start when I was very young"
The unnamed Narrator and her younger brother, Christopher, live a typical well-off life. All of that starts to fall apart when certain truths about their family resurface, each as devastating as they are shocking. But despite all of this, Unnamed Narrator has something that occupies her imagination (?): a ghost of a woman running in their house. The identity of this woman will soon lead to tragedy, heartbreak, and even peace.
Lamsley's next tale is a saga of the nuclear family falling apart and the supposedly-supernatural entity that might save it or destroy it even further. The scares and the dread are minimal, but the human emotions conveyed by Lamsley ring true: this seems to be how humans would act and respond under the present circumstance. More drama than horror, but at least it's good drama.
6. Screens
Andrew Colvin shouldn't have asked if something notable happened in his village of Langton while he was gone, for the answer would involve Kate Shaster, his widowed neighbor who was romantically linked to him by the locals. The rumors indicate that she has not been too well; she would often stay out of plain sight and hide in her house. Andrew is concerned and seeks to surprise her with a gift. But he soon discovers that the rumors were under-exaggerated, for Kate has turned into a pale, zombie-like version of herself, not even caring that her beloved dog had disappeared. Andrew decides to leave it be until the police arrive with news of a missing girl, a girl he spotted the first time he went to Kate's house. Is there a connection between Kate and the girl? What happened to Kate?
Lamsley returns to the creepy and the mysterious with the superb "Screens." Superb since the element of surprise is present: in our present culture where every horror trope has been dissected, I could not pinpoint what was causing the trouble, and after reading the story, I am still in the dark as to the true nature of the forces at play that orchestrated the events. Also, I love how Lamsley realistically portrays the progression of the protagonist, as he evolves from enthusiastic and love-sick, to terrified and hopeless. No spoilers as to how it all ends, but it reminds me of a similarly-themed Richard Matheson story.
Appears in: Dark Terrors: The Gollancz Book of Horror
7. The Toddler
16th century Haddon Hall was not a good place for a woman, especially if the irredeemably evil knight, Sir Rufford De Quintz, has set his eyes on you. He sires a baby with one of the staff (against her will, of course), and soon the child is made a pariah by the entire manor. Centuries later, Myra Cooper is tasked with the restoration and renovation of Haddon Hall. One day, the staff accidentally unearths a mysterious container hidden in a cupboard. Soon, Myra (who recently lost her child and her husband) feels as if a baby is following her around.
"The Toddler" is another triumph for Lamsley: from its shocking and grotesque beginning to its final bone-chilling reveal. The mingling of a grotesque tall tale with the modern world is done with a sure hand, and it is even better than the previous "Blade and Bone" To say more would diminish the story's power.
Appears in: Best New Horror 7
8. The Outer Darkness
Melissa may be dead and buried, but Maynard, her sometime lover, has other plans. After attending her funeral, Maynard calls for a meeting with Clive Fletcher, Melissa's last lover before her gruesome demise (she threw herself in front of a train.) Maynard explains to Clive they have both been used and manipulated by Melissa, along with a dozen other men. This revelation damages the already emotionally fragile Clive so much that he dies later, a broken man. Just as Maynard starts living his life again, he receives a phone call, and it's from someone he didn't expect.
If this story were separated from the book, nobody would know that it came from a horror anthology, at least until that phone call. And everything after that turns into a surreal nightmare that would make Guillermo del Toro proud. Oh, and that ending is one of the bleakest conclusions I have read. (and I've read a lot of cosmic horror stories)
By the way, how come this story was never in any horror anthologies? I'm sure it's miles better than most "word salad" offerings from "horror" anthologies.
9. The Inheritance
Eric believes his dad is haunting him. He believes that his father's phantom is trying to communicate a message to him. But instead of clear information, Eric gets nothing but sounds from inanimate objects. To add to his troubles, he also has to contend with letters coming from his mother's former friend-now cult leader-about him being haunted by an "unholy ghost." Will Eric get the message?
"The Inheritance" is another short and sad story. It could have been creepier, more haunting, and even more poignant. But it's not a bad story by any means. For this tale, I was hoping (anticipating) for some ambiguity about the supernatural occurrences, but I guess that's just me anticipating a Ramsey Campbell-ish "it's a character's experiencing mental breakdown" kind of story. Also, I felt that the cult angle added nothing good at all.
10. The Extension
Oliver is taking a break from his business to go back to Cramby, the village where his parents used to live. During one of these back-and-forth trips, he comes across a decrepit hotel. The hotel is not the weirdest thing, though, as he discovers that it has an extension: a bar for non-residents. Oliver enters out of curiosity (and wanting to rest) and discovers that the place is devoid of people despite having available drinks as if the owners were inviting people to steal. Oliver then experiences the uncanny: sounds of people "dancing" on the rooftop, an adult and child peering from one of the roofs, and dead animals. He leaves for his parent's house. He soon finds out he can never be truly free of the extension's influence.
The final tale is a knockout. Who knew it would venture into folk horror territory? To add to the surprise, I would not mention how it goes in that direction. For relatability, it brings back memories of good folk horror movies like Wake Wood (2009) and even Hereditary (2018).
Again, why was this never made available in other anthologies? This is a fine horror tale with a truly nightmarish ending.
I wish Terry Lamsley were still writing short stories. And can any publisher make his other books available? To grab one of them is to give up food for two months.
1. Walking the Dog
Steve is looking for a job, and the mysterious Mr. Stook has one for him: take Stook's "dog" out in the moors every night to roam. Steve is to be accompanied by the equally mysterious Amanda, whom Steve perceives to be a reluctant, perpetually cynical, and sad woman. Afterward, Steve feels something is wringing his neck, something as mysterious as the "dog" he has to walk every night.
I was not expecting this from Lamsley; I was under the impression this short would have been more ambiguous with its horrors and left more to the imagination. But it does deliver the goods, and you'll never guess what the "dog" is. Lamsley writes clearly and unobtrusively; it feels like reading a movie.
Appears in: The Mammoth Book of Best New Horror, #8
2. Blade and Bone
Ogden Minter is spending his vacation doing on-site visits to the historic 17th Century structures of Peak District. He does this to satisfy the antiquarian fancies of his currently-injured wife. But when a sudden downpour forces Ogden into an unoccupied and decrepit cottage, he soon stumbles on something unnatural in a graveyard. But that won't be the worst thing to happen to him today.
Lamsley's second story, as remarked by many, is done in the tradition of M.R. James, with the protagonist discovering a seemingly innocuous item only to regret it later. Lamsley adds his exciting, clear prose and a knack for dark, gut-wrenching endings. Also, good pacing and a sense of what makes a supernatural event even more horrifying make Lamsley's tale memorable. When Ogden discovers what's coming for him, your feet want to join the race for survival.
Appears in: Best New Horror 6
3. The Break
Danny is spending his week-long holiday with his grandparents in a seashore hotel in Tideswell. But what was to be a boring and uneventful experience soon turns horrific for Danny. First, what is the man in the jetty up to pushing that mysterious box slowly? Second, why are all the guests of the hotel old? And finally, why are there mysterious people (that only Danny can see) so intent on taking his Grandpa away? Is Danny losing his mind, or is there truth to these things?
"The Break" is a paradox. One of its themes is about the horror of old age, but it's filtered through the perspective of a young boy. This contradiction reveals the question: is this all a product of an overactive imagination, or are the oldies acting strange due to mental deterioration? This dichotomy, in light of recent horror films and books, is a bit boring, and I am glad that Lamsley adds a third option: what if there was another element in the play? Anyway, if you love the twist or not, the way Lamsley slowly builds the dread is amazing, from the closing threat of the box to devilish seagulls, and the strange thing that comes out of the beach at night. I may have conflicted feelings about the ending, but the whole experience was weird, unique, and unpredictable.
Appears in: The Mammoth Book of The Best Of Best New Horror
4. Someone to Dump On
Jean Feltham doesn't appreciate having her husband's cousin, Neville, around. For her, Neville is a childish and child-like buffoon who is "obsessed" with children. Robert, her husband, doesn't think much about it and considers him a harmless burden. But while camping near their home, Robert receives a disquieting letter from Neville's mother, positing the physical impossibility of Neville's presence with them. But they have bigger problems, as Neville and their children have gone out somewhere.
Short, shocking, and effective. These are the perfect words to describe this chilling masterpiece; this would make for a perfect story to read on those cold, gloomy nights. Lamsley's talent shines in relatively shorter fiction, too.
Appears in: 100 Fiendish Little Frightmares
5. Running in the Family
"I understood that our house was haunted right from the start when I was very young"
The unnamed Narrator and her younger brother, Christopher, live a typical well-off life. All of that starts to fall apart when certain truths about their family resurface, each as devastating as they are shocking. But despite all of this, Unnamed Narrator has something that occupies her imagination (?): a ghost of a woman running in their house. The identity of this woman will soon lead to tragedy, heartbreak, and even peace.
Lamsley's next tale is a saga of the nuclear family falling apart and the supposedly-supernatural entity that might save it or destroy it even further. The scares and the dread are minimal, but the human emotions conveyed by Lamsley ring true: this seems to be how humans would act and respond under the present circumstance. More drama than horror, but at least it's good drama.
6. Screens
Andrew Colvin shouldn't have asked if something notable happened in his village of Langton while he was gone, for the answer would involve Kate Shaster, his widowed neighbor who was romantically linked to him by the locals. The rumors indicate that she has not been too well; she would often stay out of plain sight and hide in her house. Andrew is concerned and seeks to surprise her with a gift. But he soon discovers that the rumors were under-exaggerated, for Kate has turned into a pale, zombie-like version of herself, not even caring that her beloved dog had disappeared. Andrew decides to leave it be until the police arrive with news of a missing girl, a girl he spotted the first time he went to Kate's house. Is there a connection between Kate and the girl? What happened to Kate?
Lamsley returns to the creepy and the mysterious with the superb "Screens." Superb since the element of surprise is present: in our present culture where every horror trope has been dissected, I could not pinpoint what was causing the trouble, and after reading the story, I am still in the dark as to the true nature of the forces at play that orchestrated the events. Also, I love how Lamsley realistically portrays the progression of the protagonist, as he evolves from enthusiastic and love-sick, to terrified and hopeless. No spoilers as to how it all ends, but it reminds me of a similarly-themed Richard Matheson story.
Appears in: Dark Terrors: The Gollancz Book of Horror
7. The Toddler
16th century Haddon Hall was not a good place for a woman, especially if the irredeemably evil knight, Sir Rufford De Quintz, has set his eyes on you. He sires a baby with one of the staff (against her will, of course), and soon the child is made a pariah by the entire manor. Centuries later, Myra Cooper is tasked with the restoration and renovation of Haddon Hall. One day, the staff accidentally unearths a mysterious container hidden in a cupboard. Soon, Myra (who recently lost her child and her husband) feels as if a baby is following her around.
"The Toddler" is another triumph for Lamsley: from its shocking and grotesque beginning to its final bone-chilling reveal. The mingling of a grotesque tall tale with the modern world is done with a sure hand, and it is even better than the previous "Blade and Bone" To say more would diminish the story's power.
Appears in: Best New Horror 7
8. The Outer Darkness
Melissa may be dead and buried, but Maynard, her sometime lover, has other plans. After attending her funeral, Maynard calls for a meeting with Clive Fletcher, Melissa's last lover before her gruesome demise (she threw herself in front of a train.) Maynard explains to Clive they have both been used and manipulated by Melissa, along with a dozen other men. This revelation damages the already emotionally fragile Clive so much that he dies later, a broken man. Just as Maynard starts living his life again, he receives a phone call, and it's from someone he didn't expect.
If this story were separated from the book, nobody would know that it came from a horror anthology, at least until that phone call. And everything after that turns into a surreal nightmare that would make Guillermo del Toro proud. Oh, and that ending is one of the bleakest conclusions I have read. (and I've read a lot of cosmic horror stories)
By the way, how come this story was never in any horror anthologies? I'm sure it's miles better than most "word salad" offerings from "horror" anthologies.
9. The Inheritance
Eric believes his dad is haunting him. He believes that his father's phantom is trying to communicate a message to him. But instead of clear information, Eric gets nothing but sounds from inanimate objects. To add to his troubles, he also has to contend with letters coming from his mother's former friend-now cult leader-about him being haunted by an "unholy ghost." Will Eric get the message?
"The Inheritance" is another short and sad story. It could have been creepier, more haunting, and even more poignant. But it's not a bad story by any means. For this tale, I was hoping (anticipating) for some ambiguity about the supernatural occurrences, but I guess that's just me anticipating a Ramsey Campbell-ish "it's a character's experiencing mental breakdown" kind of story. Also, I felt that the cult angle added nothing good at all.
10. The Extension
Oliver is taking a break from his business to go back to Cramby, the village where his parents used to live. During one of these back-and-forth trips, he comes across a decrepit hotel. The hotel is not the weirdest thing, though, as he discovers that it has an extension: a bar for non-residents. Oliver enters out of curiosity (and wanting to rest) and discovers that the place is devoid of people despite having available drinks as if the owners were inviting people to steal. Oliver then experiences the uncanny: sounds of people "dancing" on the rooftop, an adult and child peering from one of the roofs, and dead animals. He leaves for his parent's house. He soon finds out he can never be truly free of the extension's influence.
The final tale is a knockout. Who knew it would venture into folk horror territory? To add to the surprise, I would not mention how it goes in that direction. For relatability, it brings back memories of good folk horror movies like Wake Wood (2009) and even Hereditary (2018).
Again, why was this never made available in other anthologies? This is a fine horror tale with a truly nightmarish ending.
I wish Terry Lamsley were still writing short stories. And can any publisher make his other books available? To grab one of them is to give up food for two months.
August 20, 2019
A friend loaned me this. An impressive horror collection I was never going to be able to afford owning.
June 7, 2018
Two stories in, I have to say I like the ideas, but the treatments are unbearably longwinded. Kind of how I feel about the lesser, more recent Ramsey Campbell (who wrote the glowing introduction). An example:
None of these food items have any further role in the narrative. And did we need to be told that the sandwich is "comfort food"? No, the secret cholesterol lust is not mentioned again either.
Then immediately after:
Like a toddler? Really?
... he selected tea, an egg and bacon sandwich (comfort food: he secretly lusted after cholesterol), and cake, which the beaming woman went to fetch.
None of these food items have any further role in the narrative. And did we need to be told that the sandwich is "comfort food"? No, the secret cholesterol lust is not mentioned again either.
Then immediately after:
So sudden had been his transference from a plane of terror to one of deep domestic peace that Ogden sat gaping gawkishly for some time, like a toddler in a toffee shop.
Like a toddler? Really?
November 9, 2022
Good collection of ghost stories, well-written and Lamsley was strong at setting up a situation in which believable characters face the supernatural. It's interesting that most of these stories deal in some way with family relationships, many of which are sour if not broken. It's a collection that suggests a future reread is in order, that a reread might unearth more thematic connections between stories than a first read will note.
September 22, 2011
The author of this book is one of the leading lights among the proponents of the kind of darkness (rather oxymoronic statement, I am afraid) that is envisioned by the followers of M.R. James. The stories are of a very high quality, and they are so polished that you would feel rather disheartened if you try to detect the tell-tale signs of craftwork in these stories (for that, you may go back to his first collection: "Under The Crust"). The contents are: -
(*) Introduction by Ramsey Campbell
1) Walking the Dog
2) Blade and Bone
3) The Break
4) Someone to Dump On
5) Running in the Family
6) Screens
7) The Toddler
8) The Outer Darkness
9) Inheritance
10) The Extension
Among all these stories, the most 'Jamesian' kind would be "Blade and Bone", while all others are of the most superior quality. BUT, I was rather stunned to find that in all these stories the protagonists, without doing anything wrong, kept coming to most unsavoury ends at the hands of the nasties, without any chance of retribution in sight. Some of these stories also veered towards Lucius Shepard territory, where you know that something horrifying is going to take place, but neither you nor the author nor even the protagonist shows the inclination to save himself/herself. Pretty frustrating in the end, and hence one star knocked off! Otherwise, a very good collection of horrifying stories, with emphasis upon the inflicting of pain & sorrow, and NOT on the supernatural.
(*) Introduction by Ramsey Campbell
1) Walking the Dog
2) Blade and Bone
3) The Break
4) Someone to Dump On
5) Running in the Family
6) Screens
7) The Toddler
8) The Outer Darkness
9) Inheritance
10) The Extension
Among all these stories, the most 'Jamesian' kind would be "Blade and Bone", while all others are of the most superior quality. BUT, I was rather stunned to find that in all these stories the protagonists, without doing anything wrong, kept coming to most unsavoury ends at the hands of the nasties, without any chance of retribution in sight. Some of these stories also veered towards Lucius Shepard territory, where you know that something horrifying is going to take place, but neither you nor the author nor even the protagonist shows the inclination to save himself/herself. Pretty frustrating in the end, and hence one star knocked off! Otherwise, a very good collection of horrifying stories, with emphasis upon the inflicting of pain & sorrow, and NOT on the supernatural.
October 17, 2015
Introduction by Ramsey Campbell
Walking The Dog
Blade and Bone
The Break
Someone to Dump On
Running in the Family
Screen
The Toddler
The Outer Darkness
Inheritance
The Extension
I obtained this book from the Chicago Public Library. This is a collection of supernatural/weird fiction. Ramsey Campbell relates, in the Introduction to this book, that he first came across the fiction of Terry Lamsley as a self-published book from the author. This was a find! Campbell brought Lamsley's fiction to the attention of the horror community.
Some of the stories in the book are ghost stories, such as the M.R. James-style "Blade and Bone". "The Toddler" is another ghost story where the results of sixteenth-century licentiousness manifest themselves today.
I found that the stories had unconventional plots, even for speculative fiction stories. While reading the stories "The Break" and "The Extension" I felt that there was an ambiguity: strange persons, things, and events would be related and it was not clear to me, the reader, what the reason behind the strange stuff was, until the end of the story.
Walking The Dog
Blade and Bone
The Break
Someone to Dump On
Running in the Family
Screen
The Toddler
The Outer Darkness
Inheritance
The Extension
I obtained this book from the Chicago Public Library. This is a collection of supernatural/weird fiction. Ramsey Campbell relates, in the Introduction to this book, that he first came across the fiction of Terry Lamsley as a self-published book from the author. This was a find! Campbell brought Lamsley's fiction to the attention of the horror community.
Some of the stories in the book are ghost stories, such as the M.R. James-style "Blade and Bone". "The Toddler" is another ghost story where the results of sixteenth-century licentiousness manifest themselves today.
I found that the stories had unconventional plots, even for speculative fiction stories. While reading the stories "The Break" and "The Extension" I felt that there was an ambiguity: strange persons, things, and events would be related and it was not clear to me, the reader, what the reason behind the strange stuff was, until the end of the story.
August 5, 2025
Here's an excellent review that pretty much sums up my impressions from this story collection:
https://www.goodreads.com/review/show...
https://www.goodreads.com/review/show...
May 5, 2012
Just started; I'd read a couple of these before, but long enough ago that I decided it was worth a reread. The ones that are new to me seem plain--not in a bad way, but plain in the way M.R. James is quiet.
The later stories in the book are slightly weirder; there's the same calm explanation as always, it's just relating how reality is doing a quiet little fever-dream melt and slip. They never quite end up portraying the misunderstandings of a character as reality, though--it's something I associate very much with Ramsey Campbell, and with him writing the introduction, I was a bit anxious about the possibility. (Please understand; I like Campbell's writing, but I'd settled into the quiet ghost story mood of he collection, and I don't think the style would have fit.)
The later stories in the book are slightly weirder; there's the same calm explanation as always, it's just relating how reality is doing a quiet little fever-dream melt and slip. They never quite end up portraying the misunderstandings of a character as reality, though--it's something I associate very much with Ramsey Campbell, and with him writing the introduction, I was a bit anxious about the possibility. (Please understand; I like Campbell's writing, but I'd settled into the quiet ghost story mood of he collection, and I don't think the style would have fit.)
June 1, 2023
Not my favorite batch of Lamsley stories but that’s okay, they’re still wonderful and wonderfully engrossing tales. And that says a lot about Lamsley. I have a feeling I’ll be coming back to these time and again, finding something new each time. Highly recommended.
Walking the Dog - okay, weird monster story. A pet sitter finds his new clients—and especially their animal—strange.
Blade and Bone - reminds me of Paul Finch. A man is on holiday exploring a strange fairway place, and find the wrong kind of shelter from the rain.
The Break - strike 1) kid protagonist; strike 2) long; but it was okay, wish there were less unanswered questions. A young boy goes to the seaside with his deteriorating grandparents; he doesn’t have a good time.
Someone to Dump On - good, strange, creepy. A vacationing family is dreading having to abide the company of the family weirdo.
Running in the Family - sad, gothic; I don’t like to read depressing things and I see no reason to ever read this story again but it was okay otherwise. A sister and her brother have really horrible parents.
Screens - a proper weird story. Very Lamsley. What the hell was that all about? Strange in a good way. A man arrives home from a work trip to find his next-door neighbor is suffering from some kind of mysterious happening.
The Toddler - creepy. A bastard of a warlock treats women like garbage and one of them gets her revenge. Although her revenge finds the wrong person. Sad ending.
The Outer Darkness - Melissa is dead and her two rivals wonder who sue “chose.” Good until the very end where it kind of petered out into… the outer darkness. Whatever that may be. Hell? Limbo? The void? What would earn someone a trip there?
Inheritance - this is the story of a weirdo, or a schizophrenic maybe, haunted by and obsessed with his own painful childhood. Either/or, it’s about a maladjusted man who had really shitty parents. But maybe so did they. Comical, then creepy, then sad.
The Extension - another story about family; another story about a man clearing out his dead parent’s house. This one got more interesting as the story unfolded from “man in strange place” to “man from strange place.” This is one of those Lamsley stories that makes me wish there was a place for readers to discuss them. Share theories. Work out what happened. What is was all about. It’s a creepy story, with a creepy ending. As usual, it leaves the reader with more questions than answers.
Walking the Dog - okay, weird monster story. A pet sitter finds his new clients—and especially their animal—strange.
Blade and Bone - reminds me of Paul Finch. A man is on holiday exploring a strange fairway place, and find the wrong kind of shelter from the rain.
The Break - strike 1) kid protagonist; strike 2) long; but it was okay, wish there were less unanswered questions. A young boy goes to the seaside with his deteriorating grandparents; he doesn’t have a good time.
Someone to Dump On - good, strange, creepy. A vacationing family is dreading having to abide the company of the family weirdo.
Running in the Family - sad, gothic; I don’t like to read depressing things and I see no reason to ever read this story again but it was okay otherwise. A sister and her brother have really horrible parents.
Screens - a proper weird story. Very Lamsley. What the hell was that all about? Strange in a good way. A man arrives home from a work trip to find his next-door neighbor is suffering from some kind of mysterious happening.
The Toddler - creepy. A bastard of a warlock treats women like garbage and one of them gets her revenge. Although her revenge finds the wrong person. Sad ending.
The Outer Darkness - Melissa is dead and her two rivals wonder who sue “chose.” Good until the very end where it kind of petered out into… the outer darkness. Whatever that may be. Hell? Limbo? The void? What would earn someone a trip there?
Inheritance - this is the story of a weirdo, or a schizophrenic maybe, haunted by and obsessed with his own painful childhood. Either/or, it’s about a maladjusted man who had really shitty parents. But maybe so did they. Comical, then creepy, then sad.
The Extension - another story about family; another story about a man clearing out his dead parent’s house. This one got more interesting as the story unfolded from “man in strange place” to “man from strange place.” This is one of those Lamsley stories that makes me wish there was a place for readers to discuss them. Share theories. Work out what happened. What is was all about. It’s a creepy story, with a creepy ending. As usual, it leaves the reader with more questions than answers.
October 30, 2009
This book was great. Really intense, nightmarish horror with a low-key subtle style of events. The stories do not beat you over the head with anything Definitely the first time in a while that anything I was reading before bed disturbed me enough so that when I woke up to take a pee, I would be terrified.
Occaionally Lamsley's writing is really clumsy, but it kind of adds to the charm of his direct writing style
Occaionally Lamsley's writing is really clumsy, but it kind of adds to the charm of his direct writing style
July 31, 2011
Very impressive collection of weird fiction by a (relatively) new writer. One hopes he does not fall into the trap of grinding out 400-page would-be-bestsellers, which has squandered the talent of so many of his peers.
September 30, 2015
a lot of these are weird stories, in the original meaning of the phrase. They're strange, unsettling and original. I'll eventually have to read this again, to decide how I feel about it; I didn't enjoy the read, exactly, but I was able to appreciate the originality.
July 18, 2019
Great 2nd supernatural tales book by this author!
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