—certainly prove both her prowess with longform fiction and her knack for crafting memorable, engrossing characters who can endure across hundreds of pages, but there’s something else lurking in the prose of that books that suggests Harrison is just as gifted with less room to run.
As she sketches out her characters through narratives that often unfold in the first person, Harrison reveals an astonishing knack for conveying a great deal about a person with a single clever observation.
Each story allows Harrison to explore a different realm of horror fiction—cursed objects, physical manifestations of trauma, strange rituals—and each allows her to plumb the depths of those horrors through the eyes and mind of a particular woman at a particular tipping point in her life.
First-person narration allows the auuthor to dig deep into each character’s worldview with the same sense of immediacy and personality that we see in her novels. But what’s especially striking aboutis how well the stories serve as a unified piece of work while also standing on their own.
They’re all distinct, from the jokes they tell to the way they respond to the horrors around them, and yet every story still feels distinctly like a Rachel Harrison story. Her voice is so strong that it threads through each personality inhabiting the worlds of, and that’s a trick that’s hard to pull off for even the most seasoned of short fiction writers.
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