Orrin is another of the great writers delivering excellent work from the heart of the Great Plains. Skeletons, presumably, don't mind the less than ideal climate in these parts. "Black Hill" is even set in these often bleak, flat plains, and has some echoes of Bierce's "The Damned Thing". I would also place him alongside Kenneth Hite in terms of how broadly and deeply knowledgable he is on a wide array of subjects, so whether its this collection or another, if you come across what appears to be an allusion or obscure reference, its certainly not accidental. "Count Brass" is a good example, with the title being a callout to one of the still living greats of romanticism influenced epic fantasy, and plenty of references throughout to be appreciated by jazz/blues fans. I believe my exact words about him when I had the opportunity to share his work with Patton Oswalt were, 'He's one of the most erudite people working in horror that I've had the pleasure to talk to.' Oh yeah, and he loves his monsters. "A Night for Mothing" and "Goblins" are some great examples in this collection of his unique, sometimes sympathetic, takes on 'monsters'.
I love a good deal with the devil story, and you will definitely find those here, though the devils in question may be varying degrees of literal. This is one the first of Orrin's collections, and you're going to get a pretty wide range here. Whether its the titular fragment, "Never Bet the Devil", or the near novella length mashup of Mike Mignola comics, universal studios horror, and jewish folklore, "The Mysterious Flame" the pacing in tone and length are not what one might expect but rather the ideal rollercoaster of ups and downs to keep the reader moving along without ever knowing what to expect.
As I haven't yet mentioned it, those looking for evidence of broader representation in modern horror will not want for it here. 'Protagonists' are not the authorial clones of the Lovecraft era. Ethnicity, religious belief, gender, and sexual orientation range widely, and are communicated deftly in a way that informs and enriches the work without making itself a dominant theme. The Barker influenced "Devil in the Box" gives us one such protagonist while reminding us of all those creepy jack in the boxes that those in their 40s-60s might remember from childhood. And "The Barghest", well, you decide what the narrator is.
"Nature vs. Nurture" gives us an interesting, and in some ways sympathetic, take on ghouls. I would love to see juxtaposed with some of McNaughton's ghoul stories in a themed collection someday. The atmosphere, as well as the different (though both masterful) ways in which action is depicted would make good side by side.
"The Seventh Picture" lets Orrin play in the world of what I suspect is his greatest love, cinema. I say cinema rather than a particular genre or era of film for two reasons. One, the love and attention paid to the process of film making itself is evident. Two, this brings together cinematic & literary influences as wide ranging as the gothic and found footage films.
"The Reading Room" is an interesting inversion of the relationship between books and the supernatural. It also should hold some appeal for all of us...after all, who loves to read and *doesn't* dream of having an entire floor of their house as dedicated library/reading space? As someone who loves to read, this has the same nightmare feel for someone like me as "Time Enough At Last" from The Twilight Zone.
"Nearly Human" gives us Wuthering Heights (and really, if you haven't, make time to read such a classic ghost story) meets Matheson's "Hell House" (like Orrin, its also one of my favorite haunted house stories). If you love spooky old houses, secret passages, and the forgotten dead, you'll feel right at home here.
I would be remiss if I didn't mention the amazing artwork of M.S. Corley that accompanies each story, at least in the Strix Publishing edition (I'm assuming the original Worde Horde edition as well). Creepy with an edge of humor at times, just like Orrin's writing. ( )