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The standout story was Monsters, by Ray Garton. Its a scathing critique of religious zealotry and repression. The critique veers into the pretentiously-hamfisted near the end, especially during the terminally-ill friends Im better than them because Im not controlled by doctrine and ritual smugfest, and the protagonist, Roger, is a tool with the unmistakable waft of eau de douche, but hes sympathetic all the same. Its hard not to sympathize with someone persecuted by zealots for the sin of daring to write books with which they disagree.The other stories were okay, but curiously fatuous, devoid of substance. I know that on the surface, horror isnt a serious genre; were treating with monsters and bogies, for Christs sake, with tropes that necessarily carry a patina of the absurd, but there is often a very serious foundation underpinning the huggermugger. There are werewolves, zombies, ghosts, demons, and worms with sentience and the capacity for organization and cooperation, but the story isnt really about them. While the story is pointing them out to us with the bombastic glee of the carnival barker, its also whispering unpleasant secrets into our unwilling ears. Everything is not okay. The world is not kind. Sometimes you lose even when you try. Horror is the ultimate scolding mother, wagging its fleshless finger at us and reminding us what happens when we do bad things. When were not paying attention. When we dismiss the warning from the crazy old coot who lives down the road and wears pee-stained overalls.These stories, for the most part, were just there, competent proofs of the hypothesis that someone could write. Well, fine. Now what? So your bogey had unearthly, glowing red eyes. And? Why is that scary? Because the standard cliches in your horror handbook say they should be? Try harder. Maybe they would be if your characterization and prose werent as dull and lifeless as the dead garden requested by the mysterious, wealthy client.Anthologies are a mixed bag. If there are a dozen stories, two or three will be excellent, double that number will be mediocre, and the rest will be absolute dogs, unrepentant blights upon the genre that make you wonder when sedated chimpanzees learned to operate typewriters, or just how desperate the editor was to be shut of the project and pay his light bill. Feelings and Monsters were excellent, Faces is unremarkable, and The Gardener is a bland snorefest. Perhaps the latter would have had more impact if the protagonist had been as dastardly as the writer would have us believe, but he was simply a garden-variety tool, and his supposed harsh treatment of his spurned paramour was relatively inoffensive? Hes a terrible cad deserving of a terrible death because Ilinina failed to make her cultures customs about sex abundantly clear before they had sex? And because he didnt love her forever and ever after a few short months? Mmmkay. Hes a jerk, sure, but that hardly warrants a death sentence, especially when the author falls to give any content for their relationship beyond they had dinner and sex. There was no manipulation, no broken vow, just a sheltered girl having a strop because her first relationship ended. Because the supposed villain of the piece had committed a cardinal sin only in the mind of the author, there wasnt even the shameful, vicarious thrill of just desserts deliciously served. It was a pointless exercise in the act of writing, and a waste of time.

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