Gemma Files. In That Endlessness, Our End (Review)

Grimscribe Press. 2021. ISBN: 978-0-578-75976-0. Pp., 333.

For over two decades now, Gemma Files has been churning out a consistent body of work focused on all things horrific and macabre. She has become one of the leading writers in horror today, and rightfully so. Over her career, she has proven herself to be an insightful critic of horror films and writing just as much as an accomplished author. Needless to say, when approaching one of Files’ books you are seeing a master of the genre at work.

In her latest collection of short stories In That Endlessness, Our Own End, Files offers up fifteen tales showcasing her fiction writing over the past five years. While it might be difficult to find a common theme linking all the stories in the book, Files’ prose and characters provide a measure of consistency throughout. Her characters after often young, discerning Canadians who are comfortable with iphones and the internet and who are not above snarky comments when called for. One of Files’ principal talents is her ability to locate the horrific in the ordinary modern world we inhabit. In “Bulb,” the transcript of a podcast episode warns listeners of the Lovecraftian terror hidden with the Canadian electrical grid, while in “The Church in The Mountains,” film and real-life blend together to reveal the sinister inheritances that family ties can foster. The milieux that Files creates are populated by Reddit posts, Air B-n-B rentals, internet discussion groups, and modern forms of media, bringing horror into the tech-savvy modern age.

As with most collections, we are given a mixed bag. In stories like “This Is How It Goes,” “The Puppet Motel,” “Sleep Hygiene,” and “Venio,” Files is at her best. She has a knack for playing upon our fears and creating characters that are easy to identify with. The diverse types of relationships she probes—family, romantic, and friendship—are reflective of the twenty-first century, and should be easily recognizable to Gen Xers and millennials. It is, ultimately, this easily recognizable world that gives Gemma Files’ stories such power. We encounter a social and cultural environment that resembles our own yet is nonetheless suffused with dark and menacing forces that defy explanation.

In That Endlessness, Our Own End is certain to please horror fans seeking updated takes on traditional themes such as haunted houses and diabolical cults. For those who might like to sample the work, they can find “Sleep Hygiene” and “Venio” on Pseudopod.

Eric LaRocca. Things Have Gotten Worse Since We Last Spoke (Review)

Weird Punk Books. 2021 ISBN: 978-1-951658-12-0. Pp., 112.

What is it about sadomasochistic relationships that perpetually fascinate modern readers? Perhaps it is the way they invert our commonly understood notions of love and fidelity? Or perhaps it says something of the allure of cruelties we cannot bring our own selves to commit and take pleasure in? These questions have been investigated by luminaries such as the Marquis de Sade and Leopold von Sacher-Masoch, and in Things Have Gotten Worse Since We Last Spoke Eric LaRocca takes up this theme in a short and compact epistolatory novella.

The book offers a collection of emails and chatroom conversations chronicling the story of Agnes and Zoe, two women who meet online and proceed to enter into a contracted sadomasochistic relationship. It is a Venus in Furs for an age of email and the internet. Coming in at a mere 112 pages, LaRocca delivers a powerful punch that keeps readers engaged. Yet at times the narrative style prevents readers from fully understanding the characters and their motives. As a genre, sadomasochistic literature often gets us to think about cruelty, isolation, and the nature of pleasure in new ways. LaRocca offers brief glimpses into these broader themes, but rarely does the book venture into deeper waters. The relationship between Agnes and Zoe develops quickly, and readers may find themselves wanting more as the novella reaches its horrifying crescendo.

Given the book’s brevity, a committed reader can power through it in a single sitting and will surely not feel disappointed by the end. Yet LaRocca misses an opportunity to add something new to the theme he treats. Sadomasochism probes disturbing questions of power dynamics, sexual aestheticism, and what for a better term might be deemed the “art of cruelty.” These elements seem muted in Things Have Gotten Worse Since We Last Spoke, leaving the reader to decide the level of emotional investment they chose to place in the characters.