In That Familiar Darkness: David Surface’s THE THINGS THAT WALK BEHIND ME

“I remember feeling shocked that there was still so much sunlight outside, that the sky hadn’t turned black already.” There are uncountable undercurrents of illumination within David Surface’s stories, moments where rippling light penetrates disfigured shadows, affording readers a reflective glimmer before the glow dims, obliging itself to darkness.

Lethe Press, 2024

These Things That Walk Behind Me (Lethe Press, 2024), his second, may serve as an ideal entry point for Surface’s evolving body of work. There’s a continued reliability in quality his fans can trust—a trust that has been fostered following praise of his 2020 collection, Terrible Things (Black Shuck Books), not to mention the literary fidelity of his newsletter project, Strange Little Stories. As a tale-teller, his dependability and writerly precision is why we come here to his work—“to be focused. And to be haunted.” (I’ve appropriated the previous line from his story, “The Man Outside,” which, in its climactic scene, contains an unsettling sequence, a depiction that lingers with electric irreality.)

With an introduction by John Langan, the fourteen pieces within These Things That Walk Behind Me are a stylistic and compassionate dissection of loss, duality, severance, and responsibility. And though Surface’s stories certainly compel readers to glance over their own shoulders—a curious inspection at the things that walk behind each of us in that familiar darkness—it’s best to keep one’s eyes on the page. 

Hellnotes Review of AMERICAN CANNIBAL

Praise continues for the Rebecca Rowland project, American Cannibal (Maenad Press, 2023). Over at Hellnotes, Elaine Pascale extends some generous sentiments in her review of the anthology, wherein my story, “Mastication Station,” receives a nod.

“[‘Mastication Station’] really grew on me,” writes Pascale. “It had a slow burn and some thoughtful prose that made me want to take my time reading. For example, Smith writes, ‘Nature possesses a signature creativity when devising her demises, with how she crafts her cataclysms. But what had occurred at Johnstown had purely been an exhibition in the artistic incompetence of man.’ The story is set immediately after the flood, and the main character is on a heroic journey. He eventually learns that there are creative twists to the narrative of life and death.”

Read more of Pascale’s review at Hellnotes.