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Municipal Gothic: 13 ghost stories
Council estates, motorway underpasses, bypass hotels, concrete cathedrals and run-down pubs. Places we all know, that we see where we live in suburbs and towns. Why shouldn’t they be haunted? In these thirteen stories you’ll meet a demonic black dog tasked with administering a lineal curse in the age of sperm donation, a witch’s familiar forced to live off fried chicken bones, an architect whose buildings can drive you mad, headless villains and more. It includes the acclaimed ‘Modern Buildings in Wessex’ and ‘An Oral History of the Greater London Exorcism Authority’, both of which put the ghost story into new forms.
- GenresShort StoriesHorror
176 pages, Paperback
Published January 2, 2022
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Displaying 1 - 13 of 13 reviews
September 28, 2024
Why did I wait so long to read this? A book called Municipal Gothic is, based on the title alone, right in my wheelhouse. And in fact, I loved it even more than I’d imagined I would.
For me, a ‘good opening story’ for a collection isn't just about the story actually being good: it should tell you something about both the writer’s preoccupations and the collection’s; the whole project of the book. By all measures, ‘The Curse Follows the Seed’ is a perfect opening story. A woman is approached (in a supermarket car park) by a spectral black dog who tells her she’s doomed to die because of her bloodline. She greets this portentous encounter with incredulity and a no-nonsense attitude, and immediately sets about researching the curse. It’s funny and touching, a great portrait of its protagonist Sally’s life as well as an excellent ghost story. It’s clear from this story that Newman values occupations and places (and lives) thought of as ‘ordinary’; that the stories will have humour threaded through them; and that this is a very British – to be more specific, very English – book.
These concerns are carried through the next story, ‘Modern Buildings in Wessex’, a travelogue that focuses on the work of a fictitious architect, Hälmar Pölzig. As the narrator (an architectural critic) describes the buildings, his observations become more disturbing and abstract. Again, this works in more than one way. It’s not only a compelling and inventive way of telling a story; the descriptions of buildings are fantastic in themselves, and made me want to see them.
Another standout is ‘Protected by Occupation’, in which our down-on-his-luck narrator agrees to help out his dodgy uncle by acting as caretaker to a derelict building. The place has a unique quirk: it’s full of elaborate (and legally protected) murals. Investigating the place’s history, he learns of a haunting that took place there. Sense of place is a major strength of Municipal Gothic throughout, and is at its most effective here. Such an original setting, and I loved the insertion of a historical account.
The book is so strong that it’s difficult to choose a personal highlight, but if pressed, I might go for ‘Director’s Cut’. (My notes say both ‘LOVED THIS’ and ‘loved it, loved it’.) A film buff (and self-styled expert on British cinema) gets talking to a pub regular who claims he starred in a host of unreleased British films. At first sure it’s a lie, the writer is then confronted with irrefutable evidence, but terrible accidents seem to follow the films around. I adore a lost film story, and this is a brilliant one – wonderful idea, great characters.
The stories I’ve mentioned above are not just my favourites from Municipal Gothic, but among the very best short stories I’ve read in the past few years. It’s a remarkably coherent piece of work: a book full of excellent ghost stories that is also so clear in its aims and thesis. My comparison points would be Gareth E. Rees’ Terminal Zones, Daniel Carpenter’s Hunting by the River and Glen James Brown’s Ironopolis. I could point to other things I loved here – the eerie atmosphere of ‘Alice Li is Snowed Under’, the lived-in texture of ‘Who Took Mary Cook?’, the way ‘An Oral History of the Greater London Exorcism Authority’ feels like it contains enough material for a whole novel. But instead of rambling too much, best just to say: I absolutely adored Municipal Gothic, and can’t recommend it enough.
For me, a ‘good opening story’ for a collection isn't just about the story actually being good: it should tell you something about both the writer’s preoccupations and the collection’s; the whole project of the book. By all measures, ‘The Curse Follows the Seed’ is a perfect opening story. A woman is approached (in a supermarket car park) by a spectral black dog who tells her she’s doomed to die because of her bloodline. She greets this portentous encounter with incredulity and a no-nonsense attitude, and immediately sets about researching the curse. It’s funny and touching, a great portrait of its protagonist Sally’s life as well as an excellent ghost story. It’s clear from this story that Newman values occupations and places (and lives) thought of as ‘ordinary’; that the stories will have humour threaded through them; and that this is a very British – to be more specific, very English – book.
These concerns are carried through the next story, ‘Modern Buildings in Wessex’, a travelogue that focuses on the work of a fictitious architect, Hälmar Pölzig. As the narrator (an architectural critic) describes the buildings, his observations become more disturbing and abstract. Again, this works in more than one way. It’s not only a compelling and inventive way of telling a story; the descriptions of buildings are fantastic in themselves, and made me want to see them.
Another standout is ‘Protected by Occupation’, in which our down-on-his-luck narrator agrees to help out his dodgy uncle by acting as caretaker to a derelict building. The place has a unique quirk: it’s full of elaborate (and legally protected) murals. Investigating the place’s history, he learns of a haunting that took place there. Sense of place is a major strength of Municipal Gothic throughout, and is at its most effective here. Such an original setting, and I loved the insertion of a historical account.
The book is so strong that it’s difficult to choose a personal highlight, but if pressed, I might go for ‘Director’s Cut’. (My notes say both ‘LOVED THIS’ and ‘loved it, loved it’.) A film buff (and self-styled expert on British cinema) gets talking to a pub regular who claims he starred in a host of unreleased British films. At first sure it’s a lie, the writer is then confronted with irrefutable evidence, but terrible accidents seem to follow the films around. I adore a lost film story, and this is a brilliant one – wonderful idea, great characters.
The stories I’ve mentioned above are not just my favourites from Municipal Gothic, but among the very best short stories I’ve read in the past few years. It’s a remarkably coherent piece of work: a book full of excellent ghost stories that is also so clear in its aims and thesis. My comparison points would be Gareth E. Rees’ Terminal Zones, Daniel Carpenter’s Hunting by the River and Glen James Brown’s Ironopolis. I could point to other things I loved here – the eerie atmosphere of ‘Alice Li is Snowed Under’, the lived-in texture of ‘Who Took Mary Cook?’, the way ‘An Oral History of the Greater London Exorcism Authority’ feels like it contains enough material for a whole novel. But instead of rambling too much, best just to say: I absolutely adored Municipal Gothic, and can’t recommend it enough.
August 17, 2022
When it comes to ghost stories, none were more effective at telling them than MR James, and in this anthology, it’s like he has possessed Ray Newman and relocated to the concrete lands of the 70s.
Like any anthology, this is a mixed bag, but with the worst criticism being that some tales feel too short and promise more. Those that do land (Modern Buildings in Wessex, Red Hill, Who Took Mary Cook?), land with aplomb. There isn’t just tension being built, but an unnerving atmosphere that like any good spooky yarn, delivers a sharp barb at the end.
Overall, a good read and one that has put Ray Newman on my watch list for good, old fashioned horror.
Like any anthology, this is a mixed bag, but with the worst criticism being that some tales feel too short and promise more. Those that do land (Modern Buildings in Wessex, Red Hill, Who Took Mary Cook?), land with aplomb. There isn’t just tension being built, but an unnerving atmosphere that like any good spooky yarn, delivers a sharp barb at the end.
Overall, a good read and one that has put Ray Newman on my watch list for good, old fashioned horror.
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April 5, 2022A smart move to stake a claim to your own preferred subgenre in the title of your first collection; steers clear of that whole unedifying spectacle where writers or bands get dropped in a given pigeonhole by critics and then spend their careers grumbling about it. And certainly 'municipal gothic' is preferable to 'urban wyrd', the slightly try-hard city counterpart to folk horror, not least because so many of the spooky bits of cities aren't strictly urban, are they? The Kill List territory, the suburbs, retail parks and estates that seem like nowhere in particular when you pass through, but whose eerie specifics loom large for those who live there, and even more so those who grow up there – which is most of us. Not that these are exclusively stories of the edgelands; there are poltergeists in inner London flats, and family curses finding their prey in the heart of Exeter just as they would have done centuries back, only with a little more roundabout a route thanks to the complications of modern life. And the familiar living on discarded chicken will give any city-dweller a little extra shudder the next time something rustles near a bin at night. Hell, even the countryside (for now) gets its turn in the haunting Thou Knowest My Sword, which has more than a little Nigel Kneale about it, not to mention Modern Buildings In Wessex, though in the latter case I have to be a terrible arse and say that for those of us lucky enough to have read the story in its original incarnation as a lovingly faked artefact, seeing it in plain black and white inevitably saps a little of its power. Which minor cavil aside, one could only wish that our urban and suburban spaces were constructed with the same intelligence and care as these tales woven around them.
February 25, 2025
4.6.
What ghosts has modernity silenced, and which has it born? Municpal Gothic gets (it), and I think I could fill my year with books like this and of this quality.
If I find myself getting frustrated with the horror genre, or more specifically "the weird" fiction I read, it is that it puts limitations and boundaries on its curiosity and themes. Horror can act as a great balance to many indulgences of humanity. Our desire to declare our authority over people or places. Our view of human evolution as a constant, if slow, line of enlightenment and progress. It can also be a means of social articulation and exploration. "Horror" is a great unifying descriptor. The "horror" of puberty, the "horror" of public speaking, the "horror" or war and poverty... Horror is a vital and necessary check to our humanity.
Municipal Gothic takes seriously the presence of the supernatural in modern society. Both as what we choose to ignore and deny, and what we cannot. The ghosts of these stories definitely exist, the question is in what form? Is it the work of poverty and social indifference that create these manifestations? Modern hubris that invoke a necessary response from a discarded history? The work of forces beyond human comprehension that result in human actions we cannot explain?
Again, I can only reiterate how I could live in this genre...sub-genre and, in the best examples of this type of literature, I find a much needed space to examine my own experiences and observations in a world that feels like it moves far too fast for me to feel much beyond its movement.
Mainly for my own future use, my ranking of the short stories. I would say the top 7 of these are fighting for the first spot...The Afterward mainly because I think it ties the whole project together beautifully:
1. Red Hill
2. The Curse Follows the Seed
3. Modern Buildings in Wessex
4. Protected by Occupation
5. Blow Up
6. An Oral History of the Greater London Exorcism
7. Afterword: Council houses - haunted by something
8. Ten Empty Rooms
9. Rainbow Pit
10. Alice Li is Snowed Under
11. Director's Cut
12. Thou Knowest My Sword
13. Who Took Mary Cook
14. Imp Adrift
What ghosts has modernity silenced, and which has it born? Municpal Gothic gets (it), and I think I could fill my year with books like this and of this quality.
If I find myself getting frustrated with the horror genre, or more specifically "the weird" fiction I read, it is that it puts limitations and boundaries on its curiosity and themes. Horror can act as a great balance to many indulgences of humanity. Our desire to declare our authority over people or places. Our view of human evolution as a constant, if slow, line of enlightenment and progress. It can also be a means of social articulation and exploration. "Horror" is a great unifying descriptor. The "horror" of puberty, the "horror" of public speaking, the "horror" or war and poverty... Horror is a vital and necessary check to our humanity.
Municipal Gothic takes seriously the presence of the supernatural in modern society. Both as what we choose to ignore and deny, and what we cannot. The ghosts of these stories definitely exist, the question is in what form? Is it the work of poverty and social indifference that create these manifestations? Modern hubris that invoke a necessary response from a discarded history? The work of forces beyond human comprehension that result in human actions we cannot explain?
Again, I can only reiterate how I could live in this genre...sub-genre and, in the best examples of this type of literature, I find a much needed space to examine my own experiences and observations in a world that feels like it moves far too fast for me to feel much beyond its movement.
Mainly for my own future use, my ranking of the short stories. I would say the top 7 of these are fighting for the first spot...The Afterward mainly because I think it ties the whole project together beautifully:
1. Red Hill
2. The Curse Follows the Seed
3. Modern Buildings in Wessex
4. Protected by Occupation
5. Blow Up
6. An Oral History of the Greater London Exorcism
7. Afterword: Council houses - haunted by something
8. Ten Empty Rooms
9. Rainbow Pit
10. Alice Li is Snowed Under
11. Director's Cut
12. Thou Knowest My Sword
13. Who Took Mary Cook
14. Imp Adrift
February 5, 2025
The subtitle of Ray Newman's collection – “Thirteen Ghost Stories” – is somewhat misleading insofar as it suggests a traditional collection of ghostly tales. There are some spectres which behave as one would expect them to – the story Protected by Occupation, for instance, which is also probably one of the scariest in the volume, relies on some fairly standard “haunted house” tropes. But Newman’s gritty, urban Gothic creations are generally much stranger and play around not just with narrative but also with form.
A case in point is Modern Buildings in Wessex, a fictitious monograph about modernist architecture, with a particular emphasis on buildings designed by one Hälmar Pölzig. At first there seems to be nothing wrong with this pastiche architectural study. However, the narrator’s comments become increasingly ominous, suggestive of a disturbing obsession. Similarly, An Oral History of the Greater London Exorcism Authority presents a creepy account of poltergeist activity clothed in the formal style of an official report.
What is particularly surprising is the streak of dark humour which runs through the collection, starting from the opener – The Curse Follows the Seed. This is not “horror for laughs” in the style of the Scream franchise. It’s genuine, atmospheric horror fiction which manages to contemporaneously elicit a smile and a shudder. And a nightmare or two.
https://endsoftheword.blogspot.com/20...
A case in point is Modern Buildings in Wessex, a fictitious monograph about modernist architecture, with a particular emphasis on buildings designed by one Hälmar Pölzig. At first there seems to be nothing wrong with this pastiche architectural study. However, the narrator’s comments become increasingly ominous, suggestive of a disturbing obsession. Similarly, An Oral History of the Greater London Exorcism Authority presents a creepy account of poltergeist activity clothed in the formal style of an official report.
What is particularly surprising is the streak of dark humour which runs through the collection, starting from the opener – The Curse Follows the Seed. This is not “horror for laughs” in the style of the Scream franchise. It’s genuine, atmospheric horror fiction which manages to contemporaneously elicit a smile and a shudder. And a nightmare or two.
https://endsoftheword.blogspot.com/20...
March 21, 2025
This is the most original collection of ghost stories I've read since Leanne Shapcott's 'Guest Book'. It's formally inventive and politically savvy, imbuing commonplace everyday settings with real menace and showing impressive characterisation skills and flashes of humour into the bargain. A lot of the stories deserve a 5* rating, notably the brilliant 'Modern Buildings in Wessex' in which an architectural critic, a sort of Ian Nairn, catalogues the works of a mysterious post-war architect and becomes...well, I won't spoil a subtle and entertaining story. 'Director's Cut' is a terrific 'lost film' tale with pitch-perfect details that made me wish these films were real and that I can see them (perhaps they are available to a fortunate few). 'Who Took Mary Cook?' has a basic plot reminiscent of Leslie Thomas's 'Dangerous Davies, The Last Detective' but overlays it with supernatural elements which update a familiar trope, while 'Thou Knowest My Sword' juxtaposes a civil war battle and a wartime radio engineer to produce a memorably innovative ghost story/timeslip. A couple of the baker's dozen here lag behind the best tales, but there's a lot to admire and the collection as a whole is far more original than the work of better known contemporary figures. Impressive (shame I can't give it 4.5).
August 11, 2025
Spotted these recommended on social media and saw that they were on Kindle Unlimited.
I wanted some ghost stories to read but wasn’t much in the mood for the more traditional stuff.
Terrific start with a whimsical tale of a child of sperm donor discovering she is the object of an ancient curse on her donor’s family and how she tries to outwit the demon.
Even better is the second story told as a guide to post-war architecture that gradually becomes more and more peculiar. It’s a brilliant idea and use of an unusual format.
In fact, I really enjoyed these gothic and strange tales taking place in mundane settings. Perfect ghost stories for a member of the haunted generation
I wanted some ghost stories to read but wasn’t much in the mood for the more traditional stuff.
Terrific start with a whimsical tale of a child of sperm donor discovering she is the object of an ancient curse on her donor’s family and how she tries to outwit the demon.
Even better is the second story told as a guide to post-war architecture that gradually becomes more and more peculiar. It’s a brilliant idea and use of an unusual format.
In fact, I really enjoyed these gothic and strange tales taking place in mundane settings. Perfect ghost stories for a member of the haunted generation
October 3, 2024
Definitely a mixed bag, with much less focus than I originally assumed from the title, but the good stories were good. The author is much better at creating new and interesting “ghosts” than he is at borrowing from overused tropes I feel (the first story in particular is quite excellent and unique, while still using existing ideas). The prose was at times beautiful and at times really annoying (for lack of a better word). Will definitely check out other stories from this author but wasn’t particularly impressed with this as a whole.
April 19, 2025
There were three really bright spots in an uneven collection.
Modern Buildings in Wessex is a five-star piece of found footage architectural horror. Worth the price of admission alone.
An Oral History of the Greater London Exorcism Authority was another highlight - a very fun take on an alt-history of a municipal ghost-hunting service.
The Afterword, Council Houses Haunted by Something, was also very interesting, setting the oral history piece in actual historical context.
Modern Buildings in Wessex is a five-star piece of found footage architectural horror. Worth the price of admission alone.
An Oral History of the Greater London Exorcism Authority was another highlight - a very fun take on an alt-history of a municipal ghost-hunting service.
The Afterword, Council Houses Haunted by Something, was also very interesting, setting the oral history piece in actual historical context.
September 16, 2025
This one was recommended to me by an author that I respect and I am so glad he gave me the tip.
All the works in here were very well done and executed. I think there was only one that was a wee flat for me but the rest were hidden gems. One of the parts even reminded me of the recommending author and I thought that was very cool.
All the works in here were very well done and executed. I think there was only one that was a wee flat for me but the rest were hidden gems. One of the parts even reminded me of the recommending author and I thought that was very cool.
July 19, 2024
2.5 Stars - Some stories felt bland, others had their interesting moments but none could really reel me in as I hoped. A shame as I had high hopes for this one.
September 27, 2024
Like any short story collection, I liked some stories better than others. The writing is good - different, but good.
October 10, 2025
Modern day ghost stories set in decaying urban spaces. Haunting, funny, sharply written and expertly evoking place and feeling. Newman also plays in interesting ways with form and perspective.
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