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Two bodies (seemingly unrelated) are discovered after a fire of dubious origin. One is an eleven-year-old cold case from Kevin Kerney's past. His estranged son is the primary for the other victim.
The plot follows the pair of investigations that eventually uncover a huge ring of gambling, prostitution, drugs, money laundering and politicians. The villains are high-ranking politicos, plus one evil gunsel.
A credible resolution that opens the possibility for continued pairing of Kerney and his son.
This seventh book in the Kevin Kerney series is just as fresh as the first---one reason being that Kerney has held various positions in New Mexico law enforcement in different locales.
Great series by a most under discovered writer.

I also get the feeling that as McGarrity continues to write, Clayton Istee is going to come to the forefront of his New Mexico mysteries and Kerney will take a "back burner" position. While I find Istee an intriguing character, and worthy of being the focus of a great read, I hope Kevin Kerney continues to inhabit Michael McGarrity's fictional world.

McGarrity's stories are not hidden clue mysteries a la Poirot; rather they are dogged police procedurals firmly driven by vivid local color. Here Kerney and Istee must tread carefully, from opposite ends, through personal, ethnic, and political, as well as gambling, sexual, and jurisdictional, minefields. It is McGarrity's ability to write believable plots and personalities that "feel real and right" that makes him a master, and this may be his best. It's curious how some publishers overly rely on spell checkers and miss homonyms; here Dutton drops occasional prepositions.

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And so, New Traditions In Terror delivers sixteen stories and one poem, by authors the readers of Horror-Wood may not be familiar with. Seventeen fresh voices accepting the daunting challenge of writing tales containing characters that are increasingly looked down upon in the field as being passé.
For the most part, the authors vindicate themselves extremely well. While admittedly, few stories really do break any new ground (a story concerning a cyber werewolf is a notable exception), as a whole the stories are well-written, and do manage to sweep the reader up and carry them along for a short, but enjoyable ride. Many evoke a well-defined and appropriate atmosphere, almost tangible, as well as creating developed characters that I came to care about, hoping they would come to a good - or deceivingly bad - end. On at least one occasion I compared a story (favorably) to some classics I fondly remember from my decades of reading.
A few stories in this collection deserve mention. "Afraid Of The Water", by Robynn Clairday, does such a good job of evoking concrete images in her tale, that it brought back some very unpleasant memories of my own fear of water as a young child. "Monster", by Peter N. Dudar, is a great example of a tale that can build suspense and keep a reader on edge through merely hinting at the horror, rather than through any blatant or graphic depiction of it. A wonderful example of "less is more." The ending has a wonderful, Lovecraftian/Cthulhu feel to it. Lastly, there is "Kiowa Wells", by R. A. Cox. The highlight of the book, Cox's tale takes an old idea (vengeful Indian spirit), and weaves it into an enthralling classic. Heavily atmospheric, well-developed and written, perfect pacing, ever-increasing chills. I predict a deserved, enduring popularity for this one.
The only aspect of the book that I feel doesn't work is one story, only because it reads more like a "The Shadow"-type detective tale, with a monster casually thrown in at the end because one was needed, than as a horror story. It's a good tale, mind you, but definitely feels out of place with respect to the rest of the collection.
That said, New Traditions In Terror is a fine read, and a welcome addition to a horror fiction library. A collection of well-crafted and entertaining tales, from 17 talented writers from whom I hope we'll be fortunate enough to hear from again. It's encouraging to know that the future of horror fiction is in such capable hands.

Personal favorites: "Cargo" by Sean Logan, "Kiowa Wells" by R. A. Cox, "The Last Wolf" by Lester Thees and "Dogs" by Michael Beai.
If you are a fan of the old monsters, buy this book. If you are a fan of current horror, buy this book. If you are a fan of both, I envy you. (Oh, and buy this book.)


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The layout of the book adds to its effectiveness. Sections of the book are labeled much like a basketball season...with the preseason, season, postseason, and all year. When he puts his leadership tactics in this layout, it helps everyone whose role as a leader changes focus throughout the year.


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(Note: This review is for Vol 1, not Vol 2. For some reason, it shows up under both)

You'll have trouble finding a more colorful and bizarre collection of popcorn-science-fiction concepts in any novel or collection of stories; not in comics, not in Larry Niven or in Isaac Asimov, none of those guys. The characters and dialog may seem awkward and stilted (even by the standards of 1960's comics writing), but the inherent weirdness and originality blazes right on through.
With the possible exception of Stan Lee, Gardner Fox is the single most influential writer in American comics. In addition to the Justice League, he created The Flash, The Atom, Hawkman, and the 1940's Justice Society of America (and numerous others I can't think of right now). Along with editor Julius Schwartz, he revamped most of those characters in the late 1950's to create what we call the Silver Age of comics. A list of Fox's literary successors includes comics writers Cary Bates, Mark Waid, and Grant Morrison.
Mike Sekowsky's artwork is perfectly suited to represent the various alien worlds and super-science characters that recur throughout the stories, even if his superheroes usually look a little off (except Wonder Woman).

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