Although Among the Shadows: Tales From the Darker Side ranks amongst my favourite of the Rea Wilmshurt thematic L.M. Montgomery short story collections, like with ALL such compilations, there are inclusions that I have absolutely loved, some that I have only mildly appreciated and even a select few stories that I have personally rather majorly despised (and no, Among the Shadows: Tales From the Darker Side is not really in any manner a collection of mostly horror tales either, although there are indeed a number of ghost and a few stories I have found a bit strange and creepy, including the longest tale, Some Fools and a Saint even though in that story, ALL of the weird and freakily creepy, unnerving goings on have actually and in fact been caused not by the unnatural, not by departed spirits but by a deranged and manipulative middle-aged woman bent on revenge for her supposedly neglected childhood, for being raised by her cousin's family as a so-called charity case).
Showing a combination of sadness, eeriness and at times downright nastiness (but often also mitigated with and by both humour and gentleness, sweetness), in Among the Shadows: Tales from the Darker Side, L.M. Montgomery presents and features the kinds of negative themes and issues that one would probably not generally look for all that much in her fiction as a whole (although if one digs a bit deeper into the latter, one does have to come to the conclusion that this so-called darker side is in fact often present even in Montgomery's most optimistic seeming novels as well, for let us be honest, there is for example in the Emily of New Moon series a constant undercurrent of potential sadness, tragedy and Emily's occasional second sight does also often leave the reader with the proverbial shivers, as it also does for her for that matter). And thus, while in this collection, while in Among the Shadows: Tales From the Darker Side, there is indeed an actual and palpable concentration by L.M. Montgomery on darker thematics present throughout, it is not as though this is in any way a rarity in her fiction, but simply that in Among the Shadows: Tales From the Darker Side, there is more of an overt and deliberate emphasis on the darker elements of life and culture that in much of L.M. Montgomery's fiction is actually always there and present to be seen and experienced but often more below and between the lines and not directly at the surface.
And to point out examples of negative cultural thematics, two of the featured tales of Among the Shadows: Tales From the Darker Side specifically deal with rampant drunkenness, with the gross overconsumption of alcohol. But although in The Deacon's Pain Killer, there is also very much depicted and described humour, as the oh so prim and proper anti any alcohol consumption, period, deacon is made wildly intoxicated by naively and trustingly imbibing a patent medicine left by a to him likeable and respectable artist and is then helped out of his predicament of having been roaringly drunk in public by his daughter's love interest (whom the deacon despises and has refused to let his daughter marry simply because of some minor and youthful transgressions Anthony Boyd had with alcohol, and the hypocrisy and dual-standard of Montgomery's expressive and entertaining rendition of the deacon in his own drunkenness grossly misbehaving in church shines amazingly and laugh-out-lound hilariously), in The Martyrdom of Estella it is a drink-addicted woman who causes most Estella's Bowes' grief, although personally, I absolutely do not at all like this story (and it is probably my least favourite in Among the Shadows: Tales From the Darker Side and the only one that I have always rather despised and hated and generally do not even bother to reread, as Montgomery seems to place ALL of the blame for Estella's problems with her fiancé on Vivienne LeMar and none really on Spencer Morgan, who is and disgustingly in my humble opinion portrayed as a total victim as well, even though it takes two to tango and he sure does pursue Vivienne LeMar and actively casts his affections for Estella aside for the latter's more dashing and flaunting ways).
Alongside of the traditional and sadly painful tales of men who destroy their lovers' lives (and even a rather Gothic and more than a bit overwrought depiction of a wife killing her husband in a fit of rage in The Red Room) we as readers also meet a number of criminals and/or potential criminals (murderers, thieves, embezzlers), and while these individuals are indeed depicted as negatively, there are also generally many positives portrayed by the author, as for example the murderer presented in The Man on the Train is definitely drawn and conceptualised by L.M. Montgomery not simply as a hardened and vile criminal and degenerate, but also as a true gentleman, who helps Grandma Sheldon when she misplaces her train ticket and even guides her to her final destination when no one meets her at the train station, even though he is on the run from the law, even though he is a fugitive from justice (and in both The Redemption of John Churchill and Miss Callista's Peppermint Bottle, the ending is also very much optimistic, with ex-con John Churchill having decided to not abandon his young son and go to the West upon his releases from prison after he has overheard young Joey defending him and Miss Callista giving Chester a second chance, as she realises that it was primarily everyone in town not trusting him due to his family background that has caused Chester to out of financial necessity turn to thievery). But then conversely and sadly, with Detected by the Camera, I do have a bit of an issue with the holier than thou and superior attitude of the narrator and how her suspicions of Ned Brooke end up being so conveniently and one-sidedly justified (as the text really and frustratingly reads as though Amy Clarke is totally tooting her own horn and boasting and that the entire Brooke family is simply depicted as inherently negative and up to no good by nature, not perhaps all that unrealistic, but Amy's narrational superiority is indeed rather majorly aggravating and annoying).
Now with regard to the tales of a more supernatural bent, The Girl at the Gate I have always absolutely loved, and I have indeed and never been either frightened or creeped out by it, by the spirit of Mr. Lawrence's long deceased sweetheart coming to him on his deathbed to ease his passing as he had done for her when she lay dying (or by Davenport's Story which reads like a typical deceased family member warning of potential mayhem type of tale). However, and even though I have always massively liked both The Closed Door and The House Party at Smoky Island, I do find these two stories rather psychologically upsetting and uncanny (and so strange that I do not as a rule read them before going to bed lest I will have dreams about them). Highly recommended is Among the Shadows: Tales From the Darker Side, especially for those readers who want to experience L.M. Montgomery as not only an author of light, love and sweetness (but with the caveat to consider not reading Rea Wilmshurst's excellent introduction until AFTER having perused the nineteen tales, so as to avoid possible spoilers). And yes, I still have shelved and will continue to shelve Among the Shadows: Tales From the Darker Side as a "favourite" even if I have rated it with "only" three and a half (rounded up to a somewhat inflated and generous four) stars.