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Cold Blood
A collection of twenty-five tales blending horror and suspense includes contributions by Chet Williamson, Joe R. Lansdale, William F. Nolan, Ed Gorman, Andrew Vachss, Nancy A. Collins, and Ramsey Campbell
401 pages, Hardcover
First published January 1, 1991
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About the author
Richard Chizmar
252 books3,490 followersRichard Chizmar is a New York Times, USA Today, Wall Street Journal, Washington Post, Amazon, and Publishers Weekly bestselling author.
He is the co-author (with Stephen King) of the bestselling novella, Gwendy’s Button Box and the founder/publisher of Cemetery Dance magazine and the Cemetery Dance Publications book imprint. He has edited more than 35 anthologies and his short fiction has appeared in dozens of publications, including multiple editions of Ellery Queen’s Mystery Magazine and The Year’s 25 Finest Crime and Mystery Stories. He has won two World Fantasy awards, four International Horror Guild awards, and the HWA’s Board of Trustee’s award.
Chizmar (in collaboration with Johnathon Schaech) has also written screenplays and teleplays for United Artists, Sony Screen Gems, Lions Gate, Showtime, NBC, and many other companies. He has adapted the works of many bestselling authors including Stephen King, Peter Straub, and Bentley Little.
Chizmar is also the creator/writer of the online website, Stephen King Revisited. His fourth short story collection, The Long Way Home, was published in 2019. With Brian Freeman, Chizmar is co-editor of the acclaimed Dark Screams horror anthology series published by Random House imprint, Hydra.
His latest book, The Girl on the Porch, was released in hardcover by Subterranean Press, and Widow’s Point, a chilling novella about a haunted lighthouse written with his son, Billy Chizmar, was recently adapted into a feature film.
Chizmar’s work has been translated into more than fifteen languages throughout the world, and he has appeared at numerous conferences as a writing instructor, guest speaker, panelist, and guest of honor.
He is the co-author (with Stephen King) of the bestselling novella, Gwendy’s Button Box and the founder/publisher of Cemetery Dance magazine and the Cemetery Dance Publications book imprint. He has edited more than 35 anthologies and his short fiction has appeared in dozens of publications, including multiple editions of Ellery Queen’s Mystery Magazine and The Year’s 25 Finest Crime and Mystery Stories. He has won two World Fantasy awards, four International Horror Guild awards, and the HWA’s Board of Trustee’s award.
Chizmar (in collaboration with Johnathon Schaech) has also written screenplays and teleplays for United Artists, Sony Screen Gems, Lions Gate, Showtime, NBC, and many other companies. He has adapted the works of many bestselling authors including Stephen King, Peter Straub, and Bentley Little.
Chizmar is also the creator/writer of the online website, Stephen King Revisited. His fourth short story collection, The Long Way Home, was published in 2019. With Brian Freeman, Chizmar is co-editor of the acclaimed Dark Screams horror anthology series published by Random House imprint, Hydra.
His latest book, The Girl on the Porch, was released in hardcover by Subterranean Press, and Widow’s Point, a chilling novella about a haunted lighthouse written with his son, Billy Chizmar, was recently adapted into a feature film.
Chizmar’s work has been translated into more than fifteen languages throughout the world, and he has appeared at numerous conferences as a writing instructor, guest speaker, panelist, and guest of honor.
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Displaying 1 of 1 review
February 12, 2026
Like most short story collections, there were a few hits and a few misses—but overall, this one leaned more toward the misses for me. After finishing it, not much stood out as particularly mind-blowing or truly memorable, though a handful were at least solid page-turners.
Rex Miller’s Trigger Happy and James Kisner’s Swap Meat were especially fun. Bentley Little is usually a favorite of mine, but this particular short felt surprisingly lacking. Ronald Kelly’s Yea, Though I Drove and William Rewling Jr.’s The Phantom of the Freeway were also entertaining.
One thing that did detract from the experience was the frequent use of racial slurs. While some might argue it reflects the era, it often came across as unnecessary—more shock value than meaningful storytelling.
Rex Miller’s Trigger Happy and James Kisner’s Swap Meat were especially fun. Bentley Little is usually a favorite of mine, but this particular short felt surprisingly lacking. Ronald Kelly’s Yea, Though I Drove and William Rewling Jr.’s The Phantom of the Freeway were also entertaining.
One thing that did detract from the experience was the frequent use of racial slurs. While some might argue it reflects the era, it often came across as unnecessary—more shock value than meaningful storytelling.
Displaying 1 of 1 review