Full disclosure: I’m friends with the author through Goodreads and Facebook, and am familiar with some of ChiZine’s staff; although I have tried to remain neutral in this review, these circumstances have probably informed my opinion of this book.
Every House is Haunted is a collection of 22 short stories by Ian Rogers. Loosely arranged around the theme of homes – as both places and ideals – each story rubs up against the threshold between the real and the unreal. Although most of these stories are horror stories, they traffic more in the subtle dread of the soul than in gore.
The tales are broken up into five groups that refer to different parts of a house: “The Vestibule,” “The Library,” “The Attic,” “The Den,” and “The Cellar.” Those words alone should give the attentive reader a clue about what to expect, as they aren’t typically associated with modern-day housing. Instead, they make us think of houses that are old, or dark and decrepit – of places where dust and stale air linger.
Every House is Haunted has a few stand-out stories, such as the opener, “Aces,” about a teenage witch and her older brother, and how they each come to terms (or not) with her abilities. Other highlights include:
- “Inheritor,” a mirror version of “Aces” that deals with a much more sinister brother-sister pairing;
- “Cabin D,” about a man planning to destroy a haunted cabin as his heroic last act;
- “The Nanny,” about a psychic investigator helping two murdered children enter the afterlife; and
- “The Tattletail,” a winsome little story about a boy who wants to have a pet demon.
Other stories, like “The Currents” and “Leaves Brown,” are more subdued and could even fit comfortably within the traditional confines of Canadian Literature. “Leaves Brown” in particular is interesting because it’s the second of two stories in this collection (the first one being “Autumnology”) to talk about the impermanence of autumn compared to the other three seasons:
“You can travel to places in the world where it feels like summer all the time…or spring…or winter. But there isn’t any place on the planet where it’s always fall. That’s what makes it special. Fall is meant to be enjoyed in small doses. If the seasons were a four-course meal, then fall would be the dessert.”
Part of me wonders whether this passage should be taken as the book’s manifesto: things fade – especially things like sanity, the sanctity of life, and your ability to protect those you care about. Your choice to take those things for granted only puts you in peril.
Some of Rogers’ stories also contain well-realized characters, like the protagonist’s annoyingly hapless neighbour in “Charlotte’s Frequency” and Soelle, the main character in “Aces.” More often though, the characters remain ciphers and it is the situation itself that contains the story’s meat.
However, one of the main problems with this collection is that many of the story endings are either neutral towards, or in conflict with, the main plots. Sometimes, the tonal shift can be jarring, as at the end of “The Dark and the Young.” At other times, like in the story “The House on Ashley Avenue,” the ending is downright unsatisfactory; it’s open-ended and refuses to answer the questions introduced during the rising action and the climax. Perhaps this open-endedness is an attempt to make the stories sound more literary, but I prefer for these things to be more definitive.
Overall, though, I liked this collection, and was delighted to meet Ian in person at the World Fantasy Convention. I look forward to reading his other recent release, SuperNOIRtural Tales.
Up next: Seraphina, by Rachel Hartman