The Children’s Horror reminded me of the incredible power of a child’s mind to steamroll borders … All in all, it’s a fantastic collection, and I think very promising step up for Patrick Barb.

In All the Fiends of Hell, Nevill launches his horror show on page one, spending little time on the events that preceded the apocalypse in either reference or return. The new world is ominous and still, and those that dwell in it are ill-equipped to parse the mysterious dangers that confront them. Nevill's hallmarks are here: the steady, introspective, reflective nature of his protagonist; the immutable and almost incomprehensible creatures that defy ready visualization; the escalating helplessness of those pitted against them…

The Rain Artist excels in juxtaposing a horrific vision of the future with instances of resonant beauty that serve to keep the story interesting and showcase the author’s impressive and instinctive understanding of human experience. The writing is strong enough to outpace the imperfect plot, effectively drawing the reader into its unique perspective until the world of The Rain Artist feels dangerously close to our own.

While there are some stylistic and depth choices I’m not a fan of, Pre-Approved for Haunting is a very good collection, and a wonderful introduction to the work of Patrick Barb. Most of the stories are mature, effective works that linger long in the memory, particularly when their real-world inspirations are familiar. Despite not loving the particular story, I’ll never look at a black crayon the same way again. Barb is an excellent writer with a strong editorial eye, and as a reader, I’m eager to see what he does next.

‘Collage Macabre is an elegant and incisive anthology that showcases some of the best young talent in speculative fiction today. Spanning eighteen stories and as many authors, the collection tries on all manner of form and circumstance with the only true unifying element being that each tells the story of a creator.’

‘Jiang has done something truly masterful here in that she leaves just enough blank space on the pages, and just enough secrets in the novella, for the curious reader to seek layers of meaning which may have not been intended or expected. This is a line only the best authors can walk, and it imbues their fiction with a timelessness and sense of resonance that many readers will find affecting, and the right reader might just call perfect.’