Book Review: Empire of the East

Book Review: 'Empire of the East' by Fred Saberhagen

5 / 5 Stars

‘Empire of the East’ (558 pp.) was published by Ace Books in July 1980. The rather mediocre cover illustration is by Enric.

A newer edition was published by Tor Books in 2003

Fred Saberhagen (1930 – 2007) produced a long list of novels and short stories in the genres of sci-fi and fantasy over an interval of more than 35 years, from the early 60s to the late 90s. His best known works – and the ones with which I was most familiar - are those in the ‘Berserker’ franchise.

Much like other writers of the same era, such as Harry Harrison, Mack Reynolds, Keith Laumer, Larry Niven, and David Drake, Saberhagen ‘wrote for a living’, supplying content for the sci-fi digest, and burgeoning paperback, marketplaces. 

While his writing career coincided with the heyday of the New Wave movement, Saberhagen was indifferent towards it, a stance which apparently was reciprocated by the movement’s foremost editors (Saberhagen never appeared in any of Harlan Ellison’s Dangerous Visions anthologies, nor did he appear in any of the 21 volumes of Damon Knight’s Orbit series).  

 

‘Empire of the East’ is my first try at accessing the substantial body of fantasy literature that Saberhagen produced. It’s an omnibus edition containing heavily revised versions of three novels: ‘The Broken Lands’ (1968), ‘The Black Mountains’ (1971), and ‘Changeling Earth’ (1973; retitled ‘Ardneh’s World’ for this omnibus). 

[ Additional entries in the so-called ‘Earth’s End’ franchise include the ‘Book of Swords’ and ‘Book of Lost Swords’ novels and stories, which Saberhagen maintained into the early 1990s. ]

 

‘Empire’ is set in a future America, some 1,000 years after World War Three ended civilization. Magic now is the dominant force in the land, although the few surviving artifacts of the technological age are much prized by the inhabitants of the small settlements that constitute the population of the continent. 

All is not well in this future America. John Ominor, the malevolent Emperor of the East, is intent on conquering the communities of the West Coast and subsuming them into the eponymous Empire. From a redoubt in the Broken Mountains, Ominor's satrap Ekumen dispatches groups of soldiers to rape, pillage, murder, and enslave the free peoples. Unless a resistance can be mounted, the entire West will fall under the sway of the Empire. 

Rolf, a teenager from a small farm in what was California, has personally witnessed the depredations of the Empire of the East, and seeks vengeance. Allying himself with a group of rebels that includes Mewick, the master of combat; Gray and Loford, the most powerful mages of the West; and the single-minded generals Thomas and Duncan, Rolf will take the fight to the Broken Mountains…..the Black Mountains…..and beyond them, on into the East, and against John Ominor himself. 

In my opinion, ‘Empire’ is a five-star omnibus. I went through its 558 pages with unexpected ease. The fact that it was written in the late 60s – early 70s for the paperback sci-fi market means that it avoids the ponderous exposition and extravagant world-building that define modern-day fantasy novels (for example, 2007's The Lies of Locke Lamora, at 736 pages, is but the first of the three volumes, all over 700 pages each, comprising the 'Gentlemen Bastards' trilogy). 

With ‘Empire’, Saberhagen demonstrates that it’s possible to create memorable characters, involved in multiple plot threads, without needing to burden the reader with page after page of dense descriptive text. 

Saberhagen introduces continuous shifts and turns in the plot to keep the action moving. He also keeps the far-future setting of ‘Empire’, with its mixtures of magic and science, exotic and unconventional (for example, the latter chapters of ‘Ardneh’s World’ bring into play ‘cosmic’ entities that are derived from Lovecraftian themes). 

Summing up, ‘Empire of the East’ is an enjoyable example of a well-constructed fantasy adventure, written by an author skilled in storytelling and attuned to the commercial nature of paperback publishing. Not only do I recommend it, but I intend to investigate further the novels in the ‘Swords’ franchise. 

Predator Versus Magnus Robot Fighter

Predator Versus Magnus Robot Fighter

Dark Horse / Valiant Comics

1992

During the Great Comic Book Boom of the early 1990s crossover storylines between companies was a common practice. So it was that in November, 1992, Dark Horse comics, which owned the rights to produce comics based on the 20th Century Fox ‘Predator’ character, teamed up with Valiant comics, which owned rights to the 'Magnus, Robot Fighter' character originally published by Western / Gold Key, to produce a two-issue miniseries, ‘Predator Versus Magnus Robot Fighter’.

The series was written by the then-head of Valiant, former Marvel Comics editor in chief Jim Shooter, with assistance from John Ostrander. Art was provided by comics veteran Lee Weeks, with colors by Rachelle Menashe, and lettering by Pat Brosseau.

There was a considerable delay between the appearance of issue one and issue two (which didn't arrive on shelves until May, 1993) which likely was caused by the Shooter's dismissal from Valiant later in 1992. 

[ For an interesting account of the founding and dissolution of Valiant, from Shooter's point of view, readers are directed to this 1998 interview, conducted by Joe Petrilak. Much Corporate Sleaze going on.............! ]

As a mashup of two iconic pop culture franchises from the 1960s (Magnus first was published in 1963) and the 1980s (Predator), 'Predator Versus Magnus Robot Fighter' is an entertaining comic. Shooter was smart enough to know that a two-issue series lacked the space for the complicated plotting then commonplace in the comic book world, and focused on telling a simple and straightforward story that would be coherent to those readers who were well acquainted with the Predator franchise, but for whom Magnus was not a well-known character. 

Shooter's plot moves swiftly in terms of providing a backstory and setting up the confrontation between Magnus and the Predator, and throws in enough ancillary characters and action sequences to keep the comics from being just 48 pages of punch-trading between the two adversaries.

Where the books suffer is in the color scheme, which reflects the limitations of the color printing processes used for most comics in the early 1990s. There are some eye-straining magenta hues in the pages of 'Predator Versus Magnus Robot Fighter'...........

Summing up, if you're a Baby Boomer who remembers Magnus from the Gold Key days of the 1960s, or a fan of the Predator franchise, then you're going to want to get 'Predator Versus Magnus Robot Fighter'. While there is a trade paperback, published in 1994 by Dark Horse, that compiles both issues, copies in good condition have exorbitant asking prices from speculators (one guy at eBay is asking for $239). 

My advice is to pick up the original comics, which sell for under $5 each.

Mandy by John Workman

'Mandy'
by John Workman

This black-and-white one-pager is chock-full of meticulously rendered textures (including Zip-A-Tone), shadings, and cross-hatchings.

Book Review: Night of the Cooters

Book Review: 'Night of the Cooters' by Howard Waldrop 

1 / 5 Stars

'Night of the Cooters' first was published in hard cover by the small press publisher Ursus Imprints in 1990. This Ace Books paperback version (253 pp.) was issued in July 1993, and features cover art by Don Ivan Punchtaz.

This is one of only three novels / anthologies by Waldrop to see print by a major paperback publisher (the other titles being The Texas Israeli War, 1974, and Them Bones, 1984), as the bulk of Waldrop's fiction pieces have been issued by small press publishers.

[ Copies of 'Cooters', being long out of print, have steep asking prices. I was able to get a battered copy for about $10. ]

The stories in 'Night of the Cooters' saw print previously in magazines like Omni, or other anthologies, such as Wild Cards, over the interval from 1977 to 1990.

My capsule summaries of the contents:

Night of the Cooters (1987): Invading Martians discover: you don't mess with Texas.

French Scenes (1988): in the near future, film school students use special software to create mashups contrived from selected segments of classic films. 'Scenes' is designed more to impress the reader with Waldrop's encyclopedic knowledge of film, than to tell an engaging story..........

The Passing of the Western (1989): an alternate-world treatment of How the West Was Won: in this case, through itinerant rainmakers who made the deserts bloom. Waldrop's decision to present the narrative through snippets of faux film magazine / fanzine interviews, including in-jokes about Forry Ackerman (?!) signals that he was trying too hard, to be too clever.

The Adventure of the Grinder's Whistle (1977): a decent Sherlock Holmes pastiche.

Thirty Minutes Over Broadway (1987): this was an entry in George R. R. Martin's Wild Cards shared-world anthology. In New Jersey in 1946, an Airboy derivative, named Jetboy, contends with unscrupulous men who have come into possession of a remarkably lethal alien weapon. It's competent, if unremarkable, proto-Dieselpunk, from a time when the word had yet to be invented. 

The Annotated Jetboy (1986): an exhaustive listing, with definitions, of the cultural and technological allusions crammed into almost every paragraph of 'Thirty Minutes'. 

Hoover's Men (1988): in an alternate 1929, Herbert Hoover is the head of the federal radio and television authority. A mild example of proto-dieselpunk.

Do Ya, Do Ya, Wanna Dance ? (1988): Frank Bledsoe participates in his 1968 Austin, Texas 20-year high school reunion. This story isn't science fiction, or even speculative fiction. It's  a story about someone's high school reunion. I'm not impressed.

Wild, Wild Horses (1988): In Justinian-era Turkey, Renatus Vegetius strikes an unusual deal in order to get his hands on a most treasured book of knowledge. 

Fin de Cycle (1990): a novelette comprised of vignettes in which various historical personages interact with one another in 1898 Paris. One of the chapters is titled 'We Grow Bored', and thus says all that can be said about this story...........

The verdict ? There's only one good story in this anthology, and it's 'Night of the Cooters'. All the other tales are duds. I can't recommend this book to anyone other than Waldrop fanatics.

Thorgal: The Talisman

Thorgal: The Talisman

from Thorgal: Child of the Stars
Ink Publishing / The Donning Company, 1986

Another early Thorgal adventure, originally published by Lombard as Le Talisman in 1984 in the album de bande dessinee L'Enfant des étoiles. 

The Donning Company republished the story as 'The Talisman' in its English-language reprint volume, Thorgal: Child of the Stars (1986).

[ The initial story from Child of the Stars, 'The Lost Drakkar', is available here. ]

'Thorgal: The Talisman' sets a high bar for artist Grzegorz Rosinski, what with the storyline going from medieval woods to a wasteland to outer space, with some figurative sequences thrown in for good measure. Rosinski not only accomplishes these demands but as always takes care to render faces and expressions with fidelity. Those Eurocomic artists were skilled, no doubt about it........

The Last Wolf: Karl Edward Wagner

The Last Wolf: Karl Edward Wagner

Knight Visions / Yellow Rose, 2020

5 / 5 Stars

I don't usually review videos or movies about sci-fi, fantasy, or horror subjects because there are plenty of blogs that do that very well. 

However, I haven't seen this 2020 documentary (filmed over the space of three years for a cost of only $1,000) given much attention in the blogging sphere I inhabit, so I thought I'd give it some promotion. Because its subject, Karl Edward Wagner, certainly is germane to 'The PorPor Books' blog, which focuses on the field of horror and fantasy fiction produced during the interval from the late 60s to the late 80s.

As a horror and fantasy fan who grew up during the 1970s and 1980s I was well aware of Wagner (1945 - 1994), as both the author of the 'Kane' novels and stories, and as the editor of the DAW Books 'Year's Best Horror Stories' anthologies. But like most of the authors who worked in those genres during that time before the advent of the internet, information about him was not easy to come by, making him a somewhat obscure figure compared to (for example) Stephen King. 

Over its 1 hour and 41 minute running time, 'The Last Wolf' relies on interviews with family members, friends, confidants, his former wife, and well-known authors of horror fiction, to provide a overview of Wagner's life and work. It's consistently interesting and informative, particularly when it turns its attention to the transformation of horror and fantasy fiction from a niche genre in the early 70s to its current-day prominence. 

The documentary covers the advent of the 'Silver Age' of horror, and how Wagner and his fellow authors, such as Ramsey Campbell, Peter Straub, and Dennis Etchison, among others, witnessed - and in some instances benefitted from - this transformation.

A chapter in the documentary titled 'Undone By His Own Bad Habits' offers a straightforward look at the role alcoholism played in Wagner's downfall as a writer (he couldn't meet his contractual obligations), the dissolution of his marriage, and his (gruesome) demise in October 1994.

The closing chapter of the documentary covers the continuing presence of Wagner's works in Europe, even while the U.S. sees a dearth of new editions of his books. According to Wagner's family members, it is difficult to find publishers who are interested in issuing reprints of Wagner's titles, hence, accessing his material remains dependent on e-Books (or, for those with deep pockets, used copies).

I recommend 'The Last Wolf' to anyone who is partial to horror, fantasy, or sci-fi literature, particularly as it was practiced during the 70s and 80s. It can be rented (for 48 hours) from Vimeo for only $3, or purchased for $6.

Young Turks November 1981

Young Turks

by Rod Stewart

November, 1981

November 7, 1981, and Rod Stewart's single 'Young Turks' is at position 25 on the Billboard Hot 100 chart, and in heavy rotation on MTV.

The single, released in October 1981 from Stewart's album Tonight I'm Yours, would eventually peak at No. 5 on the Hot 100 in December.

The video for the song was filmed in Los Angeles in the summer of 1981. It features a dance performance - likely inspired by the 1980 movie Fame -  at a railyard, while Rod and the band mime and lip synch. 

There's also a guy breakdancing, something that was comparatively novel in 1981 (the movie Breakin' didn't appear in theatres until 1984).

Some 80s fashion and flash, from 40 years ago.........

Billy left his home with a dollar in his pocket and a head full of dreams
He said somehow, some way, it's gotta get better than this
Patti packed her bags, left a note for her mama, she was just seventeen
There were tears in her eyes when she kissed her little sister goodbye

They held each other tight as they drove on through the night, they were so excited
We got but one shot at life, let's take it while we're still not afraid
Because life is so brief and time is a thief when you're undecided
And like a fistful of sand, it can slip right through your hands

Young hearts be free tonight
Time is on your side
Don't let 'em put you down, don't let 'em push you around
Don't let 'em ever change your point of view

Paradise was closed, so they headed for the coast in a blissful manner
They took a two room apartment that was jumping every night of the week
Happiness was found in each other's arms as expected, yeah
Billy pierced his ears, drove a pickup like a lunatic, ooh

Young hearts be free tonight
Time is on your side
Don't let 'em put you down, don't let 'em push you around
Don't let 'em ever change your point of view

Come on Billy
Woo

Young heart, be free tonight
Time is on, on your side

Billy wrote a letter back home to Patti's parents tryin' to explain
He said we're both real sorry that it had to turn out this way
But there ain't no point in talking when there's nobody listening, so we just ran away
Patti gave birth to a ten pound baby boy, yeah

Young hearts be free tonight
Time is on your side
Young hearts be free tonight
Time is on your side
Young hearts be free tonight
Time in on your side

Young hearts gotta run free, be free, live free
Time is on, time is on your side
Time, time, time, time is on your side
Is on your side, is on your side
Young heart be free tonight
Tonight, tonight, tonight, tonight, yeah
Ooh, ooh, ooh

Book Review: Far Away and Never

Book Review: 'Far Away and Never' by Ramsey Campbell

4 / 5 Stars

'Far Away and Never' (139 pp.) was published in October, 2021 by DMR Books, a small press publisher specializing in sword and sorcery books. The cover art was done by Stephen Fabian. It's a reissue of a book first published in 1996 by Necronomicon Press, albeit with the inclusion of an additional story, 'A Madness from the Vaults'. [The Necronomicon Press edition, being long out of print, has rather high asking prices by its sellers.]

'Far Away and Never' is print-on-demand, so I got my copy from amazon within three days of ordering.

I have always found Ramsey Campbell's horror stories to be over-praised and unimpressive. That said, I quite liked the sword-and-sorcery stories he wrote during the 1970s, featuring his 'Ryre' character, for Andrew Offutt's Swords Against Darkness anthologies. All four of the Ryre stories from Swords Against Darkness are here in 'Far Away and Never': 

-The Sustenance of Hoak (Swords Against Darkness, 1977)

-The Changer of Names (Swords Against Darkness II, 1977)

-The Pit of Wings (Swords Against Darkness III, 1978)

-The Mouths of Light (Swords Against Darkness V, 1979)

The Ryre stories are a blend of horror and sword-and-sorcery. While they feature the ornate, metaphor- and simile-laden prose style affected by Campbell during the 1970s, they also have functioning plots, something occasionally absent in Campbell's horror stories of that era. 

The landscapes through which Ryre moves are dark and disturbing, and the people he encounters in these landscapes often are abject and helpless in the face of particularly unpleasant breeds of monsters. It's up to Ryre to make a stand, although so doing often leaves him in dire straits. 

I consider 'The Changer of Names', which sets Ryre loose in an entropy-stricken desert city where a sinister magician operates with impunity and mutilated corpses are found lying in the streets, to be one of the best horror stories of the 1970s. The other Ryre tales also present very well in this regard.

[ An article on the Ryre stories, along with illustrations by Jim Pitts done when they were printed in the UK semi-professional magazine Fantasy Tales, can be found here at the Dark Worlds Quarterly website. ]

Also included in the DMR edition of 'Far Away and Never' are three 'Tond' stories from 1964, 1974, and 1975. These are pastiches of the pup-era writings of Clark Ashton Smith. They seemed to me to be competent pastiches. But then, I cheerfully acknowledge that dedicated Clark Ashton Smith fans are better qualified than I to opine on this subject.

Finally, there is a chapter Campbell wrote for a multi-author novel (based on yet another 'fragment' miraculously recovered from Robert E. Howard's personal effects) intended to be published circa 1977 in a short-lived magazine called Fantasy Crossroads.

Summing up, there is enough worthwhile content in this book to justify a solid four-star rating, and with the Swords Against Darkness books long out of print and very expensive, this DMR printing of 'Far Away and Never' is an affordable way to access the Ryre stories. 

If you are a fan of Ramsey Campbell, then 'Far Away and Never' is worth acquiring. But even if you are not a Campbell fan, if you like good sword-and-sorcery tales, then the book will have its appeal.

A Trip to Second Story Books Warehouse

A Trip to Second Story Books Warehouse

A couple of weeks ago it was time for my annual pilgrimage to the Second Story Books warehouse in Rockville, Maryland, on 12160 Parklawn Drive. 

It was a fine day Autumn day, low 70s and clear blue skies, but the drive in was no fun. I-66 into the DC suburbs is a mess due to the construction associated with widening the highway (it's the biggest civil engineering project in the history of the state). Then a serious accident just before the I-495 exit brought six emergency vehicles creeping past on the shoulder, and stopped traffic on I-66 for 45 minutes. In all, it took me over three hours of trip time to arrive at the warehouse. Luckily they have a restroom available for use by customers.......... 

I was able to gather a nice collection of vintage paperbacks, all for a couple of bucks each, in a variety of genres:

These should see me through the upcoming colder months.................I'm just really glad I don't have to commute into DC every day on I-66. It must be hell..........

Book Review: The Year's Best Horror Stories: XX

Book Review: 'The Year's Best Horror Stories: XX' edited by Karl Edward Wagner

2 / 5 Stars

'The Year's Best Horror Stories: XX' (349 pp.) was issued by DAW Books in October 1992. The cover art is by Jim Warren.

Well, here we go with another of the DAW 'Year's Best' anthologies, copies of which have long been out of print and fetch steep asking prices from used book retailers. Is it worth shelling out $20 (or more !) for volume XX ? 

Ermmm........nah.

All of the stories in this anthology saw print in various magazines, digests, and other anthologies during the intervals from 1989 - 1991. I noticed that almost all of the entries in this particular volume are short, i.e., fewer than 10 pages in length, which made getting through its 349 pp. a little easier.

[It's impossible not to evaluate Wagner's performance in assembling stories for this anthology without noting that at this point in his life he was an alcoholic and suffered from myriad health problems (he died in 1994 at age 48).] 

Wagner opens the book with an Introduction, titled 'Garage Band Fiction', in which he complains that selecting the stories in this volume was made very difficult by the need to wade through piles of artless Serial Killer tales. 

(As pointed out by Grady Hendrix and Will Errickson in Paperbacks from Hell, the publication of Thomas Harris's novel The Silence of the Lambs in 1988 triggered an early 90's boom in paperbacks dealing with serial killers, a development that curtailed the appearance of new horror fiction). 

Why are these people writing the same bad stories over and over ? wails Wagner. Ahhh, the indignities one must endure in the course of selecting The Year's Best.........

Anyways, my capsule summaries of the contents:

Ma Qui, by Alan Brennert: in combat in Vietnam, a U.S. soldier discovers the ghostly world that underpins 'reality'. Competently written, and imaginative.  

The Same in Any Language, by Ramsey Campbell: by the late 1980s Campbell belatedly realized that his magniloquent prose style had long since turned into unintentional self-parody, and he began to adopt a more coherent approach to his wordsmithing. This story is gratifyingly simple and direct in its recounting of a visit by an English boy, his father, and Dad's new girlfriend, to a Greek Isle. The story seems to be as much about the British as awful tourists, as anything else......

Call Home, by Dennis Etchison: the obligatory Etchison entry. Surprisingly, this one isn't that bad. It's about a man who aids a person in crisis. But sometimes being the good guy has its drawbacks......

Root Cellar, by Nancy Kilpatrick: a man returns to the home where he grew up, under trying circumstances. The ending is too vague to be effective.

An Eye for An Eye, by Michael A. Arnzen: this story first appeared in Outlaw Biker's Tattoo Revue (?!). It's a well-told tale of a vagrant who pesters a tattoo shop owner for an unusual piece of 'skin art'.

The Picnickers, by Brian Lumley: strange things are happening in the graveyard of a Welsh coal-mining village. This is one of the best stories in the anthology; it takes its time getting underway, but has an imaginative premise and delivers a creepy ending.

With the Wound Still Wet, by Wayne Allen Sallee: a short-short tale about witnesses to a traffic accident. It's more coherent than Sallee's usual entries in the 'Year's Best' anthologies. 

My Giddy Aunt, by D. F. Lewis: in his Introduction to this story, editor Wagner informs us that author Lewis has published over 300 short stories in the 'small press' over the interval from 1987 - 1991, an average of about 60 stories per year. I was alarmed by this statistic. Still, 'Giddy Aunt' has a quirky sense of black humor to it. I did notice one sentence read: 

Bill stirred the stew, discovering tiny succubic faces staring up at him from the configurations of the mince. 

Baseball Memories, by Edo van Belkom: Sam Goldman likes to make bets with strangers about baseball statistical minutiae, a field in which Sam excels. But there's always someone, somewhere, who knows more than you think you do........

This story, which first appeared in 'Aethlon', a journal of sports literature published by East Tennessee State University, has no horror content. Its inclusion likely was a reflection of Wagner's desire to showcase his masterful awareness of the presence of 'weird' fiction in non-genre outlets.  

The Bacchae, by Elizabeth Hand: in a decaying near-future America, women have gained mysterious, and deadly, powers. Surrealistic imagery and sharp episodes of violence make this one of the better stories in the anthology. 

Common Land, by Joel Lane: Rosalind goes to live in a depressing Birmingham suburb where her boyfriend Steven shares a squat with people suffering from an unusual ailment........ 

This is an early 'weird fiction' tale and shares the affectations of that sub-genre: the plot is cursory, with the narrative emphasizing the relentless use of figurative language, and empty sentences, to impart an atmosphere of Strangeness. It is stylistically inspired by the stories  Ramsey Campbell wrote in the 70s and 80s. The ending has a perfunctory quality.

An Invasion of Angels, by Nina Kiriki Hoffman: in a particularly warped version of Purgatory, people do unpleasant things to hapless messengers from Heaven. There is a Clive Barker-ish vibe to this story that makes it one of the best in the anthology.

The Sharps and Flats Guarantee, by C. S. Fuqua: yet another story of old black bluesmen and the supernatural.

Medusa's Child, by Kim Antieau: a young artist living in New York City takes in a Bag Lady, who turns out to be someone unique. The horror content is mild.

Wall of Masks, by t. Winter-Damon: a pervert obtains a mask steeped in Evil. This story is so overwritten, and so plodding, it was a chore to finish.

Moving Out, by Nicolas Royle: the first-person narrator likes to scare his girlfriend. This story tries too hard to be clever, and I suspect most readers will see the denouement coming well in advance.

Better Ways in a Wet Alley, by Barb Hendee: two teenage prostitutes struggle to survive on the Mean Streets of the Uncaring City. The denouement is so cryptic that I couldn't tell if this was a horror story, or simply an examination of existential despair. Probably the latter.

Close to the Earth, by Gregory Nicoll: Tacker, driving late on a cold Winter night, decides to stop at the diner in the hamlet of Maryswood, Virginia. It's never a good sign when the waitress seems more than a little.........odd. One of the better stories in the anthology.

Churches of Desire, by Philip Nutman: Meredith, a dissipated Englishman, wanders the night-time streets of Rome in search of louche pleasures; the reader is made to understand - in laborious fashion - that the seedy vistas Meredith encounters are external manifestations of his own moral and psychological rot. After some inconclusive lumbering about, the narrative devolves into gay porn (?!). 

This is the worst story in the anthology. Surely, even one of the Serial Killer stories editor Wagner had to wade through to assemble this collection could have possessed greater merit ?

The anthology includes two stories molded around the classical English ghost story. 'The Lodestone', by Sheila Hodgson, features M. R. James as a character and introduced me to the gerund 'invigilating' (to supervise test-taking). 'Carven of Onyx', by Ron Weighell, attempts to give an edgy sensibility to its recounting of the travails of a convent whose nuns have come into possession of an evil artifact. 

The verdict ? There are too few good stories to justify picking up a copy of 'The Year's Best Horror Stories: XX' for the high prices being asked by those few sellers offering the book. Unless you are adamant about collecting every volume of 'The Year's Best', you can pass on this entry.