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It is only natural, then, that his other stories also be used as fertile ground for the imaginations of others. Stephen Jones has commandeered this challenge, corralling an impressive group of authors to edit together homages and emulations to one of Lovecraft's most redoubtable tales, "The Shadow over Innsmouth." The result is much in keeping with Lovecraft's own writings; they are by turns gripping, frustrating, brilliant, and overall, unforgettable.
"The Shadow over Innsmouth" leads off the collection, an atmospheric yarn of a tiny Massachusetts hamlet which harbours a dark secret. Into this town comes a curious young man with an interest in architecture; what he discovers is a village who claims allegiance to the Esoteric Order of Dagon, a strange religion with more than simply surface connections to the sea. In what is essentially a chase novella, Lovecraft weaves an atmosphere so dank and damp, you can practically feel the sea breeze on your skin, and smell the unpleasant aroma of rotting fish.
Lovecraft has penned an exercise in suspense, a unwholesome tale of insanity and beings beyond imagination. It also displays some of Lovecraft's lesser traits; he has a prevailing habit in his writings of describing entities which "cannot be described"; things of such loathsome natures that his protagonists cannot bear to remember their features, much less describe them for the reader. As well, his dialogue, minimal though it is, is rather stilted. Stephen King, in his memoir/treatise ON WRITING, states that, in all the millions of words Lovecraft put to paper, only five thousand or so were spent on dialogue. It shows. (King has also dabbled in Lovecraft's world; see his short fiction "Jerusalem's Lot" in NIGHT SHIFT, and "Crouch End" in NIGHTMARES AND DREAMSCAPES.)
That aside, "Shadow" is a marvellous tale of the macabre, and lends itself easily to other writers's themes and styles. Nonetheless, a severe fault with this compilation is that some author's follow Lovecraft's style too lavishly. Basil Copper's "Beyond the Reef," an almost direct sequel to "Shadow," is rather confusing in its melange of Lovecraftian wordplay and Copper's plot. This is not to mean that it is worthless, far from it. It has moments of true terror and mystery; it simply doesn't hold together in the end. However, Ramsey Campbell's "The Church in High Street" manages the feat of successfully combining both Lovecraft's expressions and Campbell's ideas.
Of the stories that can trace direct themes and atmosphere to "Shadow," Michael Marshall Smith's "To See the Sea" is the most accomplished. Transferring the basic plot to the English shores, Smith tells of a tragic love story, family mystery, and horrors from beneath the waves. It is mesmerizing in its balance of the sanity of an outsider and the insanity that religion can provide. Brian Lumley's "Dagon's Bell" is almost Smith's equal, in its telling of archaeologists, hidden monsters, and local customs for dealing with said monsters. (Lumley has some experience in this area; he's used Lovecraftian themes and characters in his writings for years.)
Despite the inclusive quality of these stories, the least of them suffer somewhat through a necessary knowledge of their forefather. Reading the tales on their own, without the fortuitousness of familiarity of the original, lessens their impact. More striking and memorable are stories which take certain aspects of Lovecraft's prototype, and venture forth into new dimensions of fancy.
Neil Gaiman's entry, "Only the End of the World Again," benefits from his unusual take on the denomination of Dagon. He almost repeats the tale, but adds the unforeseen element of lycanthropy to the mix. Like the best of Lovecraft, it is eerie, confusing, and sticks in the mind long after the pages are closed.
Arguably the most entertaining piece is Jack Yeovil's "The Big Fish," which goes in a direction Lovecraft likely never dreamed of; detective fiction. In Southern California, a private eye gets enmeshed in a case involving a sultry yet off-putting screen siren, a missing child, mobsters, and human sacrifice. Yeovil conjures up a mix of Dashiell Hammett and Poppy Z. Brite, resulting in sheer enjoyment. It would make a good duo with Clive Barker's tales of his supernatural investigator Harry D'Amour.
H.P. Lovecraft is not an author for every taste; his style is far more esoteric than, say, the mundane horror fiction of Dean Koontz or Bentley Little. Yet there's no denying the influence he has had on a generation of authors. SHADOWS OVER INNSMOUTH is a prime starting place for anyone who craves more than Koontz can provide.

Lovecraft's own inspirational story, "The Shadow Over Innsmouth" - curiously, one of his own least favorite, but one of his best - leads off this terrific collection of clever spin-off tales by contemporary authors on the same theme: namely, that there are isolated seaside places around the world where the inhabitants not only pray to, but interact with, ancient subaqueous demon-gods from other worlds.
Many of the tales are more or less sequels to Lovecraft's seminal story, set in and around Innsmouth itself, the fictional Massachusetts town the author first "sailed" the concept in. Each of these reads very well as its own stand-alone piece, successful entirely independent of Lovecraft's story, but all the more entertaining for being one way or another connected to it. Other tales, such as Ramsey Campbell's "The Church In High Street," are set in other locations, like the decayed, dockside areas of Great Britain, where similar interbreeding with noxious hellspawned water-gods also is occurring. One especially good story, Kim Newman's "The Big Fish," actually reads like a credible direct sequel to Lovecraft's original, and is all the more perfect for essentially performing like a 1930s noir-horror film. Even Neil Gaiman gets in on the act, with a skin-crawling little bit of nastiness about an Innsmouth descendant coming to terms with his gruesome genetic heritage.
One thing you can count on, in this collection: something in it will definitely appeal to your Lovecraftian tastes - so long as that taste is for fish.

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Don't spend the money, and if you do, buy it used.


Among the authors represented are Clive Barker, William Hope Hodgson, Manly Wade Wellman, Neil Gaiman, Brian Lumley and Basil Copper. In seventh century Ireland, a rural innkeeper and his wife are being terrorized by unnatural noises. A story set in rural England early in the 1900s has a wonderful title, "The Adventure of the Crawling Horror." What looks like a grandfather clock with four hands, and strange symbols where the numbers should be, actually has a much more hellish purpose. Another story has to do with John Wayne supposedly being buried in a pink dress. Kim Newman contributes a multi-part short novel about a fist-sized ruby with the power to destroy mankind.
I am not much of a mystery or supernatural reader, but I really enjoyed these stories. They work as detective stories, and the occult part is sufficiently strange. This is well worth reading.

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There had to be more people involved.
It all started with the FBI drawings of mystery man number 3, who was described by no more than 3 people to have been with McVeigh. He looked Middle Eastern. Hmmm, nope no terrorist acts would ever occur on American soil right. Then the second little facts that weren't put to light, the bomb making materials that they had receipts for would never have been enough to do that sort of damage. And on it goes.
The interesting thing is that Stephen Jones (the author and McVeighs attorney) even points the finger at Osama Bin Laden back in 1998. Hello is anybody listening. Hindsight is great, but I think we all knew there was more than meets the eye about this ordeal.
The weakest part of the book is that MR. Jones never delves deep enough into why the government cover-up. He barely scratches the surface, but I think that is the real mystery. Why was the government not screaming that we know there was at least one other person involved and we need to find him? Is it simply that Bill Clinton didn't want to rock the boat? Could it have been that he was trying to create a legacy for himself, other than ????gate (you fill in the scandal)? Did he think naming an Arab as a suspect might destroy peace talks with Israel and Palestine? These are all only conjectures but the book should have hit these issues harder.
Overall a good book, especially for the ignorant Americans who are spoon-fed their daily dose of propaganda from CBS, NBC, ABC, CNN, Etc., and think its news.

In his analysis, Jones does raise enough doubt in McVeigh's "direct" involvement in the bombing, and more that one can of worms is opened. For example, an extra leg is found in the Murrah Building rubble that does not belong to any victim. Additionally, several red flags that are discovered by Jones and his team may imply that the bombing was planned from abroad. For example, how can only two men plan and execute such a bombing of such magnitude, something said to be impossible by bomb experts in other countries where this kind of thing is routine? Jones questions Terry Nichols' ignorance of the OKC bombing plans. Nichols made several trips and many telephone calls to the Philippines, a hotbed of terrorist activity -- that's never taken seriously in connecting Nichols, much less in mitigating McVeigh.
Jones' book is also his own biography foray into a high profile case that transformed his life and his beliefs about U.S. justice. His book, as he writes, is not meant to cash in on this case, but to expose the truth. Jones believes McVeigh should have been found not guilty (Read especially the acknowledgements!), and portrays his client as a man, not the demon characterized by the press. Although Jones does not offer why McVeigh was involved at all, this would seem to be covered by attorney-client privilege. Despite this, whether or not Jones convinces the general public of the facts that McVeigh did not receive a fair trial and that the government successfully hid the truth is left for the reader.


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