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Mammoth Book Of Best New Horror 2003 Volume 14 edited by Stephen Jones
01/03/2004 . Source: Pauline Morgan 
pub: Constable Robinson. 590 page enlarged paperback. Price: £ 7.99 (UK). ISBN: 1-84119-794-7. Buy from Amazon US - Buy from Amazon UK
nb: US titles may only be available from Amazon US, and UK titles from Amazon UK. check out website: www.constablerobinson.com
The biggest problem in trying to select the best of anything is that no-one will agree with you. There will always be some who will tell you what you have left out and to argue why their favourites are better than the ones included.
Any 'Best Of...' can only be regarded as what the particular editor considers to be the best. Stephen Jones is a highly respected editor in the horror field and has looked at a vast number of stories in order to make his selection. What can be guaranteed is that all twenty stories will be well crafted, original and meritorious.
The book is not just anthology of one persons preferences, but an overview of horror in 2002 and therefore a valuable handbook. The volume is divided into four parts. The first is styled an 'Introduction'. It is a rundown of everything that was going on in the horror field in that year and, running to 84 pages, it belies the myth that horror is dead.
Unsurprisingly, there were a fair number of Vampire related novels published. Collections, anthologies and magazines also get mentions as well as ups and downs of the publishing houses. In fact, every aspect of the horror field, including TV, film and comics is touched upon.
I have reservations about such a long introduction. There are people who admit to never reading them and to find this at the start of a book may seem daunting. For others, the thought that two or three more stories could have taken its place may seem frustrating.
Yet, for the aficionado who does not have the time to keep up with the field in such detail, it will be invaluable. Should it therefore have been placed later in the book? After the stories themselves, the section 'Necrology 2002' details briefly all those who died during that year.
It is in three parts, 'Authors/Artists', 'Actors/Actresses', and 'Film/TV Technicians' relating to people who worked in the horror field. Again, some readers will object to its inclusion but it is a good, comprehensive, though brief record which others, especially bibliographers, will find useful.
The last section contains addresses of markets, book dealers and organisations for anyone wanting to submit material, find stories to read or contact fans with similar interests. The twenty stories which make up the second section of this volume are what the book will probably be bought for.
The rest of the contents are bonuses or otherwise, depending on the depth of your interest. It is no surprise that the authors of the chosen stories are experienced writers. Introducing each story is a brief run down of their credentials and a quote from the author about the genesis of the following piece.
It is noticeable that in most stories the horror is implied rather that graphic, effectively making them more chilling. The first story, 'October In The Chair' by Neil Gaiman, is a good example of this. Imagine the months of the year personified and meeting to tell stories.
October, who is also has the this chair for this meeting, tells of a boy who runs away from home. The lad meets a ghost child and they have an enjoyable night playing around the cemetery and deserted town. At dawn, the living boy wishes they could stay together. The ghost tells him there is nothing he can do but those in the farmhouse could help. We are left watching the boy walk towards the building. Imagination supplies the rest. October's story relates to his month.
What kind of tale will chilly November produce next time? Stephen Gallagher's 'Little Dead Girl Singing' also sets the imagination working. One year, one of the competitors of a singing competition produces a technically perfect entry, but the child seems to be acting like an automaton, while her brother is a normal, bored youngster with little interest in what his sister is doing - a distinct contrast to the intensity of the mother.
The following year, the girl does not appear, but the boy has replaced her in all respects and you question what has happened in the intervening months. The answer is unlikely to be pleasant. Two of the stories involve real, historical characters. Jay Russell's 'Hides' is perhaps the bloodiest in the book and involves Robert Louis Stephenson in an enforced stop when the carriage he is travelling in across America, breaks both axles.
The other is Paul McAuley's 'Dr Pretorius And The Lost Temple' based on Isambard Kingdom Brunel's problems in driving the Rotherhithe tunnel under the Thames. There are ghost stories, such as Joe Hill's '20th Century Ghost' set in a cinema and a fairy tale (Kelly Link's 'Catskin') in its original meaning ie not a nice comforting story for small children.
Among the other stories are works by Graham Joyce, Nicholas Royle, Ramsey Campbell, Basil Copper and Kim Newman. There are couple of stories that I wouldn't have included. This does not make them bad, it just indicates that I have different tastes to the editor.
Generally, this volume provides a good sample of the horror market of 2002.
Pauline Morgan
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