From a tale one expects a bit of wildness, of exaggeration and dramatic effect. The tale has no inherent concern with decorum, balance or harmony. ... A tale may not display a great deal of structural, psychological, or narrative sophistication, though it might possess all three, but it seldom takes its eye off its primary goal, the creation of a particular emotional state in its reader. Depending on the tale, that state could be wonder, amazement, shock, terror, anger, anxiety, melancholia, or the momentary frisson of horror.
With American Morons, Glen Hirshberg confidently shoulders his way through the generational pack to claim his rightful place on the summit. These stories are smart, challenging, ripe with feeling, expansive in every way: Horror as it should be writ, and as only the best and most expressive can write it.
I was once told by a very well-respected editor, "Category horror is about good vs. evil, that's all it is." And I thought, "That's why it's no good. That's why I find that stuff unreadable." One is looking for something that's a little more emotionally complex and nuanced.
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