I didn’t grow up in the sticks, but I wasn’t an urban kid, either. I guess edge of the sticks might be an appropriate descriptor for my neighbourhood: the outside rings of cheap housing on the borders of a bedroom community which was itself on the outside of a mid-sized Cascadian burg. No sidewalks defined our roads, only aged grey asphalt crumbling at the edges into tarry pebbles, scrub pine needles and the discarded rusty skin of arbutus trees. There was a field bordering a line of warehouses near the railroad tracks on the walk to my grade school: older kids would harvest mushrooms in the fall there, and in the summer you could find hobo campsites. Black rings of sodden ash and garbage, the smell of piss steaming off the grass in the morning and discarded porno mags peeking out from under logs.

Above my school, the Sooke Hills bunched up to the north and west. There was a giant cannibal woodpecker that lived up there, in a gully near a clearing where we’d take our air rifles for target practice. Don’t ask why we called it a cannibal woodpecker; it only ate humans, that we knew of. Legends. A high school girl had died up there, in the gully. Overdose on something, on whatever the scary drug of the moment was. Beyond that gully was a make-out spot and smoke pit, and beyond that a rock outcropping where a slow Jehovah’s Witness kid I knew had caused another kid’s Ouija board to levitate and disintegrate itself in mid-air: a dead-easy thing to do, apparently. Just ask the device the true name of God, natch.

And a little farther on was the lake where the Tree lived. It wasn’t even really a lake, more a dirty pond, but it was narrow and boomerang-shaped, you couldn’t see the opposite end of it, so maybe it felt like a lake. Anyway. The Tree was this mostly-dead yellow cedar, fire-blasted and grey but still managing to green up a little each year, though its core had all rotted away into aromatic mulch. The only fish you could catch in the lake were these anaemic sunfish that seemed to especially go for the thick grey wormy pupae-type things that you could only find in that mulch, in that Tree. And the dare we’d always throw at each other, when fishing wasn’t the reason for being there, when new kids needed initiation, or a spot of cruelty was more entertaining than woodsy adventure, was always “go stand inside the Tree”.

Standing inside the Tree was not pleasant. There was something old about it, older than the Tree itself, the wood and skin of it. Something sick and bad. I don’t recall anyone lasting more than three, maybe five minutes in the Tree. Kids, eh? Who knows why they do anything? But that’s what we did. Whatever it was we knew about the Tree, it was unspoken and it was true on a gut level. Instinctual.

I t hought about the Tree while reading The Children of Old Leech, the new Laird Barron tribute anthology from Word Horde. I thought about the Tree a lot. This book really took me back there.

I haven’t read all of Barron’s collected work, but I’ve read enough to dig him, to get where he’s been and where he was at while writing; enough to maybe make a stab at where he’s going, and I’m pleased to report that the authors collected in The Children of Old Leech get him, too, and have riffed on Barron’s grim, muscular worldview with humour, insight, and a great heaving pile of unhealthy shavings from that Tree, or trees like it. This is an anthology to make you squirm, to gasp at the shock of sudden revelation, to think about man’s place in the cosmos (it’s low, so low), and do all this while treating your fiction-appreciation glands to a good massage. It gets right in there, too, and roots around like a sumbitch. Great holes are dug where Earth’s pores ought to suffice, to casually paraphrase old H P. A few highlights, then, since to break down every tale and my reasons for liking them would drag a little…

The Harrow by Gemma Files is the first shot out of the box, and it’s a doozy: poignant and sorrowful before descending to a very dark place, to black spaces in the earth and in the brain. The method of that descent? Oh, just a little bit of auto-surgery the ancients liked to practice. Yeah, trepanning. Goddamn if this isn’t a fascinating subject, with loads of medical, psychological, and spiritual import, and Files uses it to dig deep and deliver some true horror. Loved it. First story, and I was already loving the book.

A little later on came the epistolary Good Lord, Show Me the Way by the always-wry Molly Tanzer. There’s a thing with Barron’s treatment of bad things in the woods and in the holes, and that’s the kind of oblique way he comes at them: a glancing reference here, a bald but vague statement there. Desperate people attempting to get a bead on the unthinkable and unspeakable, only to see their shots ricochet off in useless, misleading directions. The bad thing is always there, in the center, getting worse and worse, defining its boundaries by what-it-is-not, and that suggestion is what makes Barron’s beasties (both real and metaphorical) terrifying. Tanzer here embodies this aspect of Barron’s fiction through a dry e-mail exchange between the professors, adjuncts, and thesis defenders surrounding a talented student who chooses to investigate and write her paper on a little known forest community, a cult, living in the woods near to where she grew up. Tanzer doesn’t show us what happens to the student, but then, she doesn’t have to: the glib, ivory-towered rhetoric and glazed snappiness of her superiors after the reality of her disappearance sinks in (or doesn’t) is terror enough. Masterful.

T. E. Grau’s Love Songs from the Hydrogen Jukebox telegraphs its punches a bit: before you’re a third of the way in, you can see what’s coming, but the trip there is pure amphetamine-fueled beatnik joy. This isn’t the only story in TCoOL to feature a boundary-busting orgy of weirdness (Michael Griffin’s Firedancing does that better, and weirder) but the energy Grau expends getting his proto-Cassady guru and his nebbish-y protégé out of San Francisco and up to the fateful world-ending party in the mountains, and the crunchy imagery he deploys once they’re there with the Truth and the Horrors, is great stuff. A good ride leading into the book’s very satisfying center.

The Old Pageant is another dark little gem in the crown of Richard Gavin. Barron’s crones and powerful, interesting women with connections are a staple of his world, and here Gavin taps into that deep old double-X chromosomal knowledge for another of his trademarked deft characterizations. Read any story by Gavin, and you will feel for his characters, mourn their losses, their catastrophic decisions in the face of the ineffable and deadly. The Old Pageant is no exception, and though it shares the pages with stories just as chilling or more so, the chill at the end of this one is especially unsettling. There’s trees in this one. There’s trees in most every tale here, but Gavin’s grove is creepy plus.

Paul Tremblay’s Notes for “A Barn in the Wild” is a stand-out for a lot of excellent reasons. I’m a sucker for diarist-as-narrator formats (because it can be flubbed so badly, when it goes well it goes really well), and following Tremblay’s narrator as he tracks down a McCandless-style free-spirit who goes missing in Labrador with the aid of a “Black Guide” (a travelogue listing bizarre and powerful places off the beaten path) is an exercise in literary puzzlin’ I loved. Only knowing what you’re being told, but knowing there’s more, much more? Goddamn delicious. Barn in the Wild feels like the first time you saw The Blair Witch Project, in every way that was good, before its sublime effect was watered-down by a decade-and-change of imitators. (An aside regarding the production of TCoOL: I pre-ordered the book early on, and I’m getting the diary, a Blue Notebook, with the entire text of the story, footnotes and scribbles in the margins and everything, written in Tremblay’s own hand, as a special add-on. How’s that for premium? Bam. I’m learning that with Lockhart’s Word Horde, it’s the little things.)

The Last Crossroads on a Calendar of Yesterdays was the only selection that I just couldn’t get into, but this is my own fault; I’ve been told repeatedly that Joe Pulver is “jazz” and is therefore an acquired taste. I’ve yet to acquire it, I guess. There’s a pack of bohunk neo-Nazis in this, and some kind of golem cobbled together out of blood and the text and paper of another Black Guide, but beyond that I couldn’t pull much from this. It’s atmospheric, for sure, and bops along with a sketchy energy I can appreciate, but I could have used some additional straight-up narrative.

John Langan’s Ymir, however, is a wonderful tribute to and continuation of Barron’s Hallucigenia, following Marissa, a private military contractor suffering from PTSD, who’s hired to guard the body of a classic Barron bad-man-with-money-and-time. This fellow is tracking down the vanished (transformed? transubstantiated? in any case, fucked) Wallace Smith and his wife Helen, not so much out of duty or concern, as for the hints regarding the monstrous geniuses of the Choate clan connected with the case. Their sleuthing takes them north, to the Arctic Circle, and a throbbing sore in the skin of our reality buried at the bottom of a mine. When Barron strikes his cryptogenetics chord, prepare to be disturbed, to feel body-horror deeply: his is the long view, a sere chuckling appraisal of our place in the red-fanged grind of Time. Langan here gets that view, and the ending (is there ever a true ending for a Barron protagonist? no) is perfect.

Of A Thousand Cuts is a killer transhumanist gladiatorial gore-fest from Cody Goodfellow. Honestly, I’ve never read anything like this. It was a revelation. Goodfellow gets down into the meat and viscera of what it means to be human, reshapes what he finds there, augments the weak parts with fierce bionics, overclocks the feed into the strong parts, laces the spastic fibres with nano-wires running molten streams of pure love and despair and consuming hate, and when that surgery is through, he sluices what’s left of the human soul through a dark-side-Zen psychical re-programming algorithm. At the other end of this completely transcendent mind-job is a shining, multi-faceted product, an exquisite artefact of a story that you actually hesitate to return and read again, it’s so goddamn sharp. But it’s the hesitation of a moment only. Want to learn how to kill with a poem? Right here, folks.

So, those are my top picks in The Children of Old Leech, but really, there’s not a dud in the bunch here. Each is a class in storytelling, every one is entertaining, and every other one is thought provoking. Lockhart and Steele have a winner on their hands, I think; this is one I’ll keep coming back to, much as I do with Laird’s work. Reading TCoOL was like standing in that Tree beside that lake in the hills, up to my ankles in smoky rot and grey grubs, unable to move, while the sun dipped down to dusk. Recommended.

Edited by Ross E. Lockhart and Justin Steele

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Scott R Jones is the author of the short story collections Soft from All the Blood and The Ecdysiasts, as well as the non-fiction When the Stars Are Right: Towards An Authentic R’lyehian Spirituality. His poetry and prose have appeared in Innsmouth Magazine, Cthulhu Haiku II, Broken City Mag, and upcoming in Andromeda Spaceways Inflight Magazine.