Year's Best Horror Stories XVIII Part 1

THE YEAR'S BEST.

HORROR STORIES: XVIII.

Introduction:.

Horror From Angst.

To Zombies.

Don't let anyone try to tell you that the horror boom is over.

A dozen years back when I started out as editor of The Year's Best Horror Stories, I used to reserve s.p.a.ce on one shelf for genre publications with room for stories of note published outside the horror field. For 1989 hardcover and paperback anthologies alone crammed one long shelf, while small press magazines and booklets filled three Jack Daniels' cartons -- this in addition to the ordered rows of monthly magazines ostensibly devoted to science fiction. This reflects a yearly progression, and there's no sign of things leveling off. While one anthology series dies, another takes its place; when one magazine folds, two more take its place -- rather like the old story about the Hydra.

As a consequence, your overworked editor is being crowded out of his house by tottering stacks of horrors. And you, gentle reader, need only to settle down in your comfy chair and open your copy of The Year's Best Horror Stories: XVIII -- this tidy, compact volume of concentrated horror. Only your dauntless editor, who probably will have to trade in his mirror shades for bifocals, has chosen the best of the best for you from amongst the many hundreds of horror stories of 1989 -- painstakingly and painfully.

Don't think it's all been fun.

Increasingly in recent years as the genre has proliferated the criticism has been leveled that far, far too much current horror fiction is absolute rubbish. This, unfortunately, is all too true. Skipping over the dismal quality of most horror films and novels, the short story has also fallen victim to pure and simple bad writing.

Plots, when present, are too often so obvious and trite that one can only wonder as to why the author is bothering to clone a cliche. Characterization is too often lacking, motivation absent, and writing skills laughable. One piece of evidence of this is the shrinking average word length of the horror story. This reflects a growing trend in horror writing simply to introduce a few faceless expendables and rush them to a grisly end -- the grislier the better. Your editor yawns and turns to the next and similar pointless exercise. How then to explain the increasing popularity of horror fiction? It's a sad combination of diminished expectations on the part of the reader and of limited aspirations on the part of the writer. A readers.h.i.+p grown up on a fast-food diet of stalk-and-slash splatter films expects the same brainless level of entertainment in what it reads. The same generation of writers has never read beyond Stephen King and thinks that expanding the frontiers of horror fiction means going for the grosser gross-out. The result is rather like shoving your basic chainsaw-zombies tape into the VCR and fast-forwarding through all the dull bits between the bare t.i.ts and the exploding heads. No need to think, and no one expects you to. Put your brain in park, and pa.s.s the Twinkies and salsa.

Well, that's enough for the bad news. The good news is that quite a lot of excellent horror fiction manages to get published despite all this. And, if we consider Sturgeon's Law that 90% of everything makes good organic fertilizer, then it follows that there's hope for the remaining 10% -- and thus if there's twice as much horror fiction as before, then that 10% is twice as big. Just a matter of sorting through that twice-as-big 90% to find the good stuff.

There is another positive side to this helter-skelter proliferation. Readers'

tastes mature, become sophisticated. Writers grow up. There will be the inevitable attrition: the kid who isn't all that upset when his mom dumps his comics collection after he gets married; the garage-band star who puts up his K-Mart keyboard at a garage sale. Sturgeon said: 90% ker-flush. The other 10% is in there for the kill.

That's why the horror field is growing stronger and getting better, despite all the c.r.a.p it takes and the c.r.a.p it cranks out.

What bothers me more about the horror genre just now is a frenetic trend toward fragmentation. It's almost as if the genre seems poised on the brink of a Beirut-style civil war -- tolerate no disbelievers, accept no compromises, take no prisoners. Most obvious has been the sniping over the past decade between advocates of "quiet horror" and of (presumably) "loud horror." To an extent this is all merely a continuation of the earlier quarrel between fans of traditional horror and those of contemporary horror. It's all getting to be a bit strident, and the pursuit of excellence is too often abandoned in favor of pointless extremism. Because a story is dead boring dull, it is not necessarily literary horror. Writing about a Roto- Rooter rapist does not necessarily push back the frontiers of horror's future.

Well, each to his own tastes, and I have no problem with magazines and anthologies that are restricted to one given approach to what is actually a highly diversified genre. These basically are further examples of the theme anthologies so popular today: collections devoted to haunted houses, dead rock stars, holiday seasons, zombies, or -- if you will -- dark fantasy or splatter punk.

I do, however, have misgivings concerning a present trend to limit anthologies to special groups of writers. Recently we have seen a good number of by-invitation-only anthologies as well as collections restricted to women writers only or to British writers only. Something doesn't feel right here.

Granted that there is always incentive for an editor to include as many Big Name authors as possible; granted that no one enjoys reading through the slush pile; granted that editors do tend to keep their friends in mind -- but what about the No Name authors who are trying to be heard? If the "Members Only" att.i.tude rankles, then I find those anthologies, which arbitrarily exclude entire groups of writers far more invidious. While this may be considered an approach toward thematic unity, I can imagine the outcry if an editor announced an anthology restricted to male authors only. After that, perhaps, WASP writers only?

As a writer, I like to believe that my stories can stand on his or her own against the compet.i.tion and be judged by their merit. If an editor bounces a story because it isn't good enough or it isn't right for the anthology, that's fair enough.

Every writer deserves a fair chance. As an editor, I've always tried to maintain the same open policy that I'd expect if I were submitting a story to The Year's Best Horror Stories. After all, I used to submit stories to The Year's Best Horror Stories back when Gerald W. Page was editor -- and Jerry bounced as many as he bought.

And now we come to The Year's Best Horror Stories: XVIII.

Once again, you'll find a few big name writers, quite a few who may well become the big name writers of this decade, and quite a few who probably won't.

About a third of these writers are making their first appearance in The Year's Best Horror Stories, proof that new blood is flowing freely.

And this time you have an alphabet of horror -- twenty-six stories and poems ranging from angst to zombies. Regardless of your favorite tastes in horrors, you're going to find plenty to feast on here -- from gothic to gore, from science fiction to surreal, from traditional to experimental, from frisson to fried brains.

Twenty-six. Count 'em. Angst to zombies. In all its many shapes and shades, this is state-of-the-art horror as we closed out the 1980s.

Stay tuned to this channel, and I'll be back to take you on a tour through the 1990s.

-- Karl Edward Wagner Chapel Hill, North Carolina Kaddish.

by Jack Dann.

Born in Johnson City, New York on February 15, 1945, Jack Dann and his wife, Jeanne Van Buren Dann, now live in Binghamton, New York in a large old house with plenty of room for books. Good job that, as Dann has written or edited well over twenty books. Recent books include his mainstream novel, Counting Coup, and an anthology of stories concerned with the Vietnam War, In the Fields of Fire, edited in collaboration with his wife. Dann's latest major project is a novel about Leonardo da Vinci, which, at the start of this decade, was at 400 pages and going strong. Dann's short fiction approaches horror in a quiet, moving style that creates powerful and disturbingly reflective moods. Very often he makes use of Jewish themes and history, as is the case with "Kaddish."

Regarding this story, Dann argues: "It's got to be the only story written this year about Jewish horror! (We should all live and be well!)" Don't know about that, Jack, but it's clear that horror isn't bound by religion or creed -- this story will give everyone a chill.

What ails you, O sea, that you flee?

-- Psalm of Hallel.

Nathan sat with the other men in the small prayer-room of the synagogue. It was 6:40 in the morning. "One of the three professors who taught Hebrew Studies at the university was at the bema, the altar, leading the prayers. His voice intoned the Hebrew and Aramaic words; it was like a cold stream running and splas.h.i.+ng over ice. Nathan didn't understand Hebrew, although he could read a little, enough to say the Kaddish, the prayer for the dead, in a halting fas.h.i.+on.

But everything was rushed here in this place of prayer, everyone rocking back and forth and flipping quickly through the well-thumbed pages in the black siddur prayer books. Nathan couldn't keep up with the other men, even when he read and scanned the prayers in English. Young boys in jeans and designer T-s.h.i.+rts prayed ferociously beside their middle-aged fathers, as if trying to outdo them, although it was the old men who always finished first and had time to talk football while the others caught up. Only the rabbi with his well-kept beard and embroidered yarmulke sat motionless before the congregation, Ms white linen prayer shawl wrapped threateningly around him like a shroud, as if to emphasize that he held the secret knowledge and faith that Nathan could not find. Nathan stared into his siddur and prayed with the others.

He was the Saracen in the temple, an infidel wearing prayer shawl and phylacteries.

A shoe-polish black leather frontlet containing a tiny inscribed parchment pressed against Nathan's forehead, another was held tight to his biceps by a long strap that wound like a snake around his left arm to circle his middle finger three times. But the flaming words of G.o.d contained in the phylacteries did not seem to make the synaptic connection into his blood and brain and sinew. Nevertheless, he intoned the words of the prayers, stood up, bowed, said the kad-dish, and then another kaddish, and he remembered all the things he should have said to his wife and son before they died. He remembered his omissions and commissions, which could not be undone. It was too late even for tears, for he was as hollow as a winter gourd.

And Nathan realized that he was already dead.

A shade that had somehow insinuated himself into this congregation.

But then the service was over. The congregants hurriedly folded their prayer-shawls and wound the leather straps around their phylacteries, for it was 7:45, and they had to get to work. Nathan followed suit, but he felt like an automaton, a simulacrum of himself, a dead thing trying to infiltrate the routines and rituals of the living.

He left the synagogue with the other men. He had an early-morning appointment with an old client who insisted on turning over his substantial portfolio again; the old man had, in effect, been paying Nathan's mortgage for years.

But as Nathan drove his Mercedes coupe down A1A, which was the more picturesque and less direct route to his office in downtown Fort Lauderdale, he suddenly realized that he couldn't go through with it. He couldn't spend another day going through the motions of dictating to his secretary, counseling clients, staring into the electron darkness of a CRT screen, and pretending that life goes on.

He simply couldn't do it....

He made a U-turn, and drove back home to Lighthouse Point. The ocean was now to his right, an expanse of emerald and tourmaline. It brought to mind memories of family outings on the public Lauderdale beaches when his son Michael was a toddler and wore braces to straighten out a birth defect. He remembered first making love to his wife Helen on the beach. The immensity of the clear, star-filled sky and the dark, unfathomable ocean had frightened her, and afterward she had cried in his arms as she looked out at the sea.

But as Nathan drove past the art-deco style pink cathedral, which was a Lighthouse Point landmark, he realized that he couldn't go home either. How was he going to face the myriad memories inhering in the furniture, bric-a-brac, and framed photographs... the memories that seemed to perspire from the very walls themselves? Helen and Michael would only whisper to him again. He would hear all the old arguments and secret conversations, barely audible but there nevertheless, over the susurration of the air conditioner....

He parked his car in the circular driveway of his red-roofed, white stucco home and crossed the street to his neighbor's yard, which had direct frontage on the intercoastal.

He was, after all, already a shade; he had only to make a proper pa.s.sage into the next world.

And with the same calm, directed purpose that had served him so well in business over the years, Nathan borrowed his neighbor's hundred thousand dollar "cigarette" speedboat and steered it out to sea to find G.o.d.

He piloted the glossy green bullet through the intercoastals, motoring slowly, for police patrolled the quiet ca.n.a.ls in search of offenders who would dare to churn the oily, mirrored waters into foam and froth. Yachts and sailboats gently tilted and rolled in their marinas, a gas station attendant with a red scarf around his neck leaned against an Esso gas pump that ab.u.t.ted a wide-planked dock where petroleum drippings s.h.i.+vered like rainbows caught in the wood, and the waterside pools and sun decks of the pastel-painted, expensive homes were empty.

Nathan smelled the bacon and coffee and gasoline, but could hear and feel only the thrumming of the twin engines of the speedboat. The bow reminded him of the hood of an old Lincoln he had loved: expansive and curved and storeroom s.h.i.+ny.

As Nathan turned out of the intercoastal and into the terrifying turquoise abyss of the open sea, he felt that he had escaped the bondage that had been his life.

The calm rolling surface of the sea had become time itself. Time was no longer insubstantial and ineffable; it was a surface that could be navigated. And Nathan could steer this roaring twin-engined speedboat forward toward destiny and death, or he could return to the past... to any or all of the events of his life that floated atop the flowing surface of his life like plankton.

Nathan was finally the engine of his soul.

He opened the throttle, and the "cigarette" seemed to lift out of the water, which slid past underneath like oil, sparkling green and blue in the brilliance of morning.

Dressed in a herringbone blue suit of continental cut, starched white s.h.i.+rt with rounded French cuffs, and maroon striped tie worked into a Windsor knot, he sat straight as a die before the enamel control console of tachometers, clutches, oil- pressure and fuel gauges, compa.s.s, wheel, and throttles.

He felt a quiet, almost patrician joy. He had conquered time and s.p.a.ce and pain and fear.

He didn't care about fuel.

His only direction was the eternal horizon ahead.

It all changed when the engines gave out, coughing and sputtering into a final silence like bad lungs taking a last glottal breath. Nathan felt the constriction of the tight collar of his silk s.h.i.+rt; he was wet with perspiration. The sun burned into his face and eyes, blinding him with white light turned red behind closed eyelids, and wrenching him awake. It was as if he had been dreaming, sleepwalking through all the aching, guilt-ridden days since the death of his family three months ago today.

He loosened his tie, tore open his collar. He felt short of breath. It was blisteringly hot, and there was no protection from the sun in the cigarette speedboat. He pulled off his jacket. He was breathing hard, hyperventilating, thinking that he must somehow get back to sh.o.r.e. What have I done? he asked himself, incredulous. He felt feverish, hot then cold, and his teeth were chattering.

The waves slapped against the hull, which bobbed up and down and to the left and right; and Nathan could feel the sea pulling him toward death and its handmaiden of unbearable revelation.

He looked behind him, but there was not a shadow of land. Just open sea, liquid turquoise hills descending and rising. He tried to start the engines, but they wouldn't catch. The console lights dimmed from the drainage of power. He looked in the sidewells for extra fuel and oars but found only canvas, an opened package of plastic cups, and a very good brand of unblended scotch. No first-aid kit, no flares, for his neighbor was not fastidious, nor did he ever take the boat out of the intercoastal. This was probably the first time that the throttle had ever been turned to full. The boat was a status symbol, nothing more.

The compa.s.s read East, which was impossible, for if that were so, he would see land.

But east was the direction of G.o.d.

And the sea had become a manifestation of that direction.

The swells were higher now, and the boat rose and dipped, each time being pulled farther out, and the hours pa.s.sed like days, and Nathan felt hungry and thirsty and frightened.

He thought he saw something on the horizon and stood up as best he could in the boat; he held tight to the chrome pillar of the winds.h.i.+eld, and yes, there was something out there. A s.h.i.+p, a tanker, perhaps. He shouted into the soughing silence of the sea, but it was futile. It was as if he were being hidden in the troughs of the waves.

Hours later, when he was cried out and hoa.r.s.e, cowed by the infinities of sea and sky and the desiccating heat of the sun, which had transformed itself into a blinding, pounding headache, he turned around. As if he could hide in his own shadow from the sun.

And as if turned to stone, he gazed into the past.

But not far into the past.

Not far enough to savor a moment of comfort before the tsunamis of guilt and grief.

Nathan returns to the morning that burns him still. He is shaving, his face lathered with soap from his chipped shaving mug that had once belonged to his grandfather, when Helen calls him. He can hear the m.u.f.fled argument that has been going on downstairs between his wife and son, but he ignores it for as long as he can.

He simply can't face any more tension.

"Nathan!" Helen shouts, pus.h.i.+ng the bathroom door open. "Didn't you hear me calling you?" She is a tiny woman, slender and heart-faced, with long, thick brown hair. She does not look thirty-eight, although Nathan, who is considered good-looking, if not handsome, because of his weathered, broad-featured face and shock of gray hair, looks every one of his forty years. "Michael's late for school again," she says. "He's missed the bus. And when I told him I'd take him to school, he told me to f.u.c.k off."

"That's not what I said." Michael appears behind his mother; he is sixteen and dressed in baggy slacks and a carefully torn T-s.h.i.+rt. His hair is swept back from his forehead and sprayed to a lacquered s.h.i.+ne. He looks like his mother, and has her temperament. Flushed with anger and frustration, he says, "I told her I'd take the next bus, which I could have taken, if she would have let me out of the house to catch it. Now it's too late."

"Your mother said she'd take you to school."

"I don't want her taking me to school. I can't stand her."

"Well, I am taking you," Helen said, "and as a consequence for what you said to me, you're grounded this weekend."

"I didn't say anything to you!"

"Nathan," she said, turning to him, "he's lying again. He told me to f.u.c.k myself."

"I am not lying," Michael shouts. "And I didn't say 'f.u.c.k yourself,' I said 'f.u.c.k it' because n.o.body can talk sense to you. All you can do is scream and ground me every five minutes. I already bought tickets to The Flack concert," he says to Nathan, "and I'm going, whether she likes it or not. I've tried to be nice to her all week, but it's impossible."

Nathan wipes the soap from his face and, trying to remain calm, says, "We've talked about using that kind of language to your mother. It's got to stop...."

But there can be no quiet and rational resolve, for the family dynamics inevitably overpower him.

The argument gains momentum.

Michael is swearing and crying in frustration. Helen finally grabs him by his T-s.h.i.+rt and pushes him against the hallway wall. "I've got to get to work, and you are coming with me. d.a.m.n you!"

Michael tries to pull away from her, but she won't let him go. He pushes her, defensively, throwing her off balance. Seeing that, Nathan shouts, "G.o.d d.a.m.n you both," and rushes into the hallway. Everything is out of control now; it is all visceral response.

He pushes Helen aside and slaps Michael hard on the side of his face.

Helen screams, "I've told you never to strike him."

But before Nathan can recover and bring himself to apologize, they are out of the house.

By sunset the sky was the color of dull metal and filled with storm clouds.

Only in the west did the sun bleed through the gray as it settled into the sea, which was pellucid and unnaturally clear. Sheet lightning shot through the ma.s.sive cloud countries as the temperature dropped, and the humidity seemed to roll off the sea like mist, soon to be rain.

Nathan's fever thoughts burned like his red, broken skin. There was no food, no water to drink, just the slight smell of gasoline and the salty tang of the sea. It became dark, and still Nathan sat and stared into the transparent depths of the sea, as if he were looking for something he had lost. Sometime during the agony of afternoon, he had stopped thinking about rescue. That idea had become as distant as a childhood dream.

Now, his mind raw from the sun, he watched and waited, and as expected, something was swimming up from the depths. A vague shape rose through veils of green darkness, followed by others. Fins broke the surface of the water, and twenty-foot thresher sharks circled the boat. Then other fish appeared just below the surface: marlin and sea-ba.s.s, dolphin and barracuda, all circling, until the sea in all directions was filled with all manner of fish, from the smallest four-eye to sixty- foot star-speckled whale sharks.

It grew dark, and the water was lit now by moonlight and pocked by the rain that began to fall. The rain was cold on Nathan's raw skin, and it looked as if its own silvery light illuminated each droplet.

And as the rain struck the water, the fish became frenzied. They began to tear at each other, as if in a feeding madness. Huge white sharks snapped and gored the smaller tiger and mako sharks, while the barracuda cut sailfish and cobia and tarpon into b.l.o.o.d.y gobbets of meat.