Logan’s style of horror fiction has its roots in the eeriest of folk stories. “My wife is not my first reader any more… She hasn’t heard anything I’ve said for a long time.” “I don’t know what I was trying to say, but whatever it was, I tried my best to say it,” she writes, in what feels like a trite insight into her writing process – before it is revealed that this voice, too, is a strand of Logan’s fictional horror. Set in between each story are italicised segments of another narrative, told by an author who is in Iceland to write horror stories, and who, in turn, becomes haunted herself. Unusually, Logan’s is a collection that rewards sequential reading. Its eccentric accounts of the supernatural, the dystopian and the outright horror-filled require an agile reader willing to dive deep into numerous, unthinkably strange worlds for just a few pages at a time, hardly coming up for air in between. Kirsty Logan’s new collection, Things We Say in the Dark, asks a lot of its readers.
If ever there was a collection to disprove the idea that the short story is the literary form for an age of dwindling attention spans, this is it.
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