“There are few English words with as many meanings,” writes editor Russell Smith in his introduction to the anthology Monsters: Unsettling Short Stories. Smith quickly outlines the etymological origins of the word, beginning with the French monstre and the Latin monstrum, but also shows the many multiple meanings in the word’s history: a monster is simultaneously a prodigy, a marvel, a warning, a deformity. In assembling this anthology, Smith has set out to showcase writers who can explore the many facets of the concept. The result is a fairly short (by genre anthology standards) but impressively varied collection of stories.

The writers assembled come from different genres and approaches: literary, crime, and horror, too. Many of the authors explore not only the different possible meanings of the word “monster,” but also task the reader with discerning who the real monster of the story is (if there even is one).

As with any anthology, each reader will connect with different stories, and there are some which rise above the others, but there are no duds here. Each one explores the concept of the monster in a different and satisfying way.

Among the standout stories is “The Lair” by Naben Ruthnum. In it, Mark, now 28 years old and still without direction, has been forced out by his parents. Rather than do what they want and find a job to support himself, Mark talks his grandfather into letting him live in the shed, which he outfits with his computer gear. While spending all his time online, Mark learns about his grandfather’s unhealthy online obsession and begins to indulge it.

In “Judgment Call” by Barbara Fradkin, a story set in the 1960s, Dr. Paul Burgess is assigned by the court to investigate a neurodivergent teen accused of killing a younger boy. The town is all too eager to see the matter put to rest and for all the blame to be laid on the teenager, even if the facts of the case don’t hold up to much scrutiny. Dr. Burgess must grapple with letting the teen be condemned or reopening the wound for the entire town, including the parents of the dead boy.

“The Golem Suit” by Emily A. Weedon is possibly the anthology’s most unsettling story. Felix Gelder is a typical “nice guy.” But when not keeping up this facade, Felix can don a Golem Suit, “sheer, like a snakeskin, or discarded pantyhose. A caul-like Spiderman’s mask.” In this disguise, Felix stalks the night and becomes a predatory abuser of women. The story ratchets up the tension as the reader is pulled along by Felix’s exploits until a conclusion that lands hard and will leave a lasting impression.

But the real showpiece of the anthology is “The Sanctuary” by the late Andrew Pyper. Pyper is likely the most recognizable name on the contributors’ list and also the most firmly planted in the horror genre. While it probably isn’t the “final” published work by Pyper, several of his novels have been published posthumously under the name Mason Coile, including Driven published this September – it is a banger of a story and might very well be among Pyper’s creepiest. The narrator of “The Sanctuary” reminisces, or relives the trauma, of one summer job where he worked as a butler at a retreat for the ultra elite. As will surprise no one, there is something sinister going on under the surface, but the story grows increasingly morally complex as the narrator cozies up to one of the retreat’s guests.

Smith and all the contributors have created something special with this anthology. Because of the breadth of topics and styles, readers will likely find different favourites among the list, but there is definitely something for anyone with darker taste, whether their interest runs to crime fiction, morally complex literary pieces, or out-and-out horror.

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