by Eleanor Gold

The Vine That Ate the South – J.D. Wilkes

THE VINE THAT ATE THE SOUTH is more conversion narrative than odyssey, and more tall tale than either, filled with a twisty, tongue-in-cheek lyricism that calls to mind a Weird Twain.

Powers of Darkness – Bram Stoker & Valdimar Ásmundsson

MAKT MYRKRANNA is not precisely a translation of Dracula; or at least, it’s not what could be termed a good translation of Dracula.

Moshi Moshi – Banana Yoshimoto

Grief is a full-body experience, but so too is joy.

The Xenotext: Book 1 – Christian Bök

The Xenotext feels like nothing so much as high-tech genetic graffiti: “Christian wuz here” in microbial verse.

Three Moments of an Explosion – China Miéville

Miéville has always been interested in more than simply making us shiver.

The Vorrh – Brian Catling

Dreamlike and horrifying, The Vorrh is permeated with an ominous power.

Haints Stay – Colin Winnette

Haints Stay is dark, and bloody, and violent: raw and cutthroat and still capable of reducing you to helpless snickers.

The Guild of Saint Cooper – Shya Scanlon

The Guild of Saint Cooper feels less like Twin Peaks fanfiction than a novel written for an audience that will understand the joke.

The Absolution of Roberto Acestes Laing – Nicholas Rombes

When we are increasingly concerned about documentary technologies’ capacity for truth, it makes sense that the stories we tell might be concerned with the horror of too much truth, or of truth stripped bare.

The Maggot People – Henning Koch

Serious, grotesque absurdity: The Master and Margarita as written by William Burroughs, a politico-religious sci-fi thriller with talking dogs and immortal maggot people.