The Best of Richard Matheson: Maybe not “the best,” but still plenty good

The Best of Richard Matheson by Richard Matheson fantasy book reviewsThe Best of Richard Matheson by Richard MathesonThe Best of Richard Matheson by Richard Matheson

Almost precisely two years ago, I had some words to say about a then-new anthology that had been released by Penguin Classics: Perchance to Dream, a 300+-page collection of short stories by the author Charles Beaumont. Flash forward two years, and I am now here to tell you of a 2017 Penguin release that almost serves as a companion volume to that earlier book: The Best of Richard Matheson, a generous, 400+-page whopper that should come as a welcome treat for fans of the late, great author. I say “companion volume” for several reasons. The authors were good friends, for starters, and both are popularly known for their screenplays for episodes of the cult TV program The Twilight Zone (Beaumont contributed 22 such scripts; Matheson, 15; and host Rod Serling, an astounding and practically superhuman 89, of the five seasons’ 151 episodes). Plus, of course, the fact that both authors wrote in a bewildering number of genres, as both anthologies make abundantly clear.

So is the new volume “The Best” of this beloved author? Naturally, opinions will always vary. Personally, I feel that any “Best of Matheson” that fails to include his uber-scary story “Slaughter House,” as well as the sci-fi masterpiece “Steel” (later adapted as one of those 151 TZ eps) cannot fairly claim that title, although I will admit that the book’s editor, Victor LaValle, had his work cut out for him in winnowing down Matheson’s lifetime output to the 33 stories presented here. Regardless, what we have been given is a generally pleasing and wide-ranging collection, and I was happy to note that only three stories overlap with another Matheson collection that I had recently enjoyed, The Shores of Space.

As for the stories here themselves, let’s deal first with those you may be familiar with, by dint of their later adaptations as various television entertainments. Four of those TZ adaptations are here in their original forms. There is “Death Ship,” in which the three-man crew of a space vehicle lands on an unknown world and discovers a wrecked craft containing … their own corpses; the tension-filled “Nightmare at 20,000 Feet,” a marvelously ambiguous story in which a man sees (or seems to see) a gremlin perched on the wing of his airplane in flight (readers will marvel at the ease with which the tale’s protagonist, Wilson, manages to bring a gun aboard that plane!); “Third From the Sun,” which gives us two families attempting to steal a spaceship and fly to another planet, capped by a wonderful twist ending; and “Mute,” a beautifully written, moving tale — the longest in this anthology — about a 7-year-old boy who has been raised by his scientist parents to be a telepath, and what happens when those parents suddenly perish.

Also included here is the frightening tale “Prey,” in which a woman does battle with a grim-visaged, knife-wielding Zuni fetish doll in her locked apartment; a tale that was later adapted by Matheson as the third chapter in the fondly remembered TV movie Trilogy of Terror, starring Karen Black. And then there’s the remarkably suspenseful story “Duel,” in which a driver does battle on the open road with a maniac trucker; a story that was later turned into another TV movie, this one directed by some first-timer named Steven Spielberg. All six of these tales should surely prove of great interest to fans of those later TV incarnations.

For the rest of it, I suppose the Horror category comprises the largest segment of the remaining stories. In “Blood Son,” a strange young boy wishes that he were a vampire, with unfortunate (?) results. (I must deduct a few points from this story for the egregiously misplaced modifier in the sentence “An only child, they noticed his flaws quickly.”) “Where There’s a Will” is a deliciously morbid tale of premature burial, wrapping up with a conclusion straight out of the old EC Comics. In “Button, Button,” a married couple is told that a strange gizmo that they are given, if pressed, will result in a stranger’s death somewhere in the world … and $50,000 for them. What would you do? “Day of Reckoning” gives us the truly unpleasant story of a young mother’s revenge on her unwanted child, while “Haircut” depicts the plight of a zombie who just happens to need a little taken off the top. And then there’s “Long Distance Call,” in which a spinster invalid keeps getting hang-up phone calls that grow increasingly frightening in nature. In “Deus Ex Machina,” a man cuts himself while shaving one morning, only to discover that he’s actually a wire-filled robot! And in the remarkably clever “No Such Thing as a Vampire,” the wife of a 19th century Transylvanian doctor is slowly being drained by one of the living dead. (Trust me, you’ll want to reread this story as soon as you finish it, to better appreciate its ingenious qualities.) And finally, there is “Shock Wave,” the collection’s last offering, in which a church organ rouses to malicious life.

Matheson, of course, was a celebrated author of science fiction novels as well as horror, and this collection gives us a good half dozen in the sci-fi vein. In “Shipshape Home,” a young wife discovers that her building’s super has an eye in the back of his head, and that the entire building itself is actually a rocket ship! “Dance of the Dead,” surely one of the more disturbing tales here, written in a hyper-stylized, beboppish lingo, tells of two couples on a double date in a post-apocalyptic society, and of the very bizarre nightclub entertainment that they witness. The humorous “Man With a Club,” told via heavy Brooklyn slang by its narrator, deals with an Alley Oop-sort of caveman who is inexplicably dumped into the heart of Times Square. “The Prisoner” is another time-travel story, in which a nuclear physicist from the 1940s is somehow catapulted a decade forward, and into the body of a convict on Death Row. Some predicament! “The Last Day” is a wonderfully moving tale of Earth’s final 24 hours, and one man’s attempt to see his mother and sister in Brooklyn one more time. And then there’s “One For the Books,” in which a university janitor discovers himself absorbing the knowledge of every volume that he comes in contact with … automatically! But how much knowledge can this poor man take, and why is this happening, anyway?

The Best of Richard Matheson also offers the reader three tales in the category of Suspense. In “Dying Room Only,” a young couple stops at a lonely diner in the desert Southwest; when the husband enters the Men’s Room to freshen up and then promptly disappears, his wife is thrust into a virtual nightmare amongst that eatery’s creepy inhabitants. In the strangely titled “Now Die In It,” the husband in another youngish couple is told by a mystery phone caller that he is about to be murdered … only to have that caller show up at the house a few minutes later. And in the tense “A Visit to Santa Claus,” an unhappily married man (named Ken Burns!) plots to have his wife killed while he and his son are visiting St. Nick in a department store. (Unfortunately, most readers will have anticipated a more clever ending than the one that Matheson actually gives us here.)

The collection also offers up two tales of outright Humor. In the short short “Counterfeit Bills,” a ribald bit of cloning culminates in a pun of excessive groanability. And in “The Funeral,” a vampire organizes a service for himself at a staid mortuary, with hilarious results. And there is also one decidedly Western story presented here, “The Conqueror;” a tale so well told that it has made me want to seek out Matheson’s Western novel Shadow on the Sun one day.

Anyway, that’s the good news, all 27 pieces of it. This collection, unfortunately, also contains a half dozen tales that just did not work for this reader, either because they were too skimpy to make any genuine impact, or too ambiguous for a full comprehension, or just too lightweight and inconsequential in general. Thus, we have the slim “Born of Man and Woman,” in which a mutant baby tells of his rage in semiliterate fashion. “Witch War” gives us seven little girls with peculiar mental abilities who are used by one country’s army in its military battles; another very brief tale that might have been expanded for better impact, I feel, and yet is, strangely enough, editor LaValle’s favorite in this anthology. “Dress of White Silk” is also narrated by a very strange youngster, and is a story that, I have to confess, I could not understand at all. Likewise, “The Holiday Man” gives us a character who either causes and/or merely observes all the fatalities during a U.S. holiday weekend. Again, ambiguousness reigns here. In “Big Surprise,” a young boy’s digging for gold leads to another EC Comics-type of ending, in this little piffle of a tale. And finally, in “Finger Prints,” a man is sexually molested on a bus (I think) by a lonely and frustrated woman, in still another story that will make the reader think, “Yeah, so what? What’s the point?”

Still, six clinkers out of 33 isn’t exactly a bad ratio, is it? If only three of those clinkers had been excised completely, and the other three substituted with “Slaughter House,” “Steel” and perhaps “Little Girl Lost” (another future TZ adaptation), this volume really might be The Best of Richard Matheson, rather than A Whole Lot of Great Stuff and a Few Bombs by Richard Matheson. Nevertheless, this new collection from Penguin does come highly recommended by yours truly…

Published in October 2017. The definitive collection of terrifying stories by “one of the greatest writers of the 20th century” (Ray Bradbury), edited by award-winning author Victor LaValle. Among the greats of 20th-century horror and fantasy, few names stand above Richard Matheson. Though known by many for novels like I Am Legend and his sixteen Twilight Zone episodes, Matheson truly shines in his chilling, masterful short stories. Since his first story appeared in 1950, virtually every major writer of science fiction, horror, and fantasy has fallen under his influence, including Stephen King, Neil Gaiman, Peter Straub, and Joe Hill, as well as filmmakers like Stephen Spielberg and J.J. Abrams. Matheson revolutionized horror by taking it out of Gothic castles and strange cosmos and setting it in the darkened streets and suburbs we recognize as our own. He infused tales of the fantastic and supernormal with dark explorations of human nature, delving deep into the universal dread of feeling alone and threatened in a dangerous world. The Best of Richard Matheson brings together his greatest hits as chosen by Victor LaValle, an expert on horror fiction and one of its brightest talents, marking the first major overview of Matheson’s legendary career.

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SANDY FERBER, on our staff since April 2014 (but hanging around here since November 2012), is a resident of Queens, New York and a product of that borough's finest institution of higher learning, Queens College. After a "misspent youth" of steady and incessant doses of Conan the Barbarian, Doc Savage and any and all forms of fantasy and sci-fi literature, Sandy has changed little in the four decades since. His favorite author these days is H. Rider Haggard, with whom he feels a strange kinship -- although Sandy is not English or a manored gentleman of the 19th century -- and his favorite reading matter consists of sci-fi, fantasy and horror... but of the period 1850-1960. Sandy is also a devoted buff of classic Hollywood and foreign films, and has reviewed extensively on the IMDb under the handle "ferbs54." Film Forum in Greenwich Village, indeed, is his second home, and Sandy at this time serves as the assistant vice president of the Louie Dumbrowski Fan Club....

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6 comments

  1. Matheson is one of those writers who almost never gets named as “an influence” and is one of the most influential writers in the genre, in part because, as you point out, he was everywhere! I remember “Prey” being the first horror story that I read that, somewhere along the way, I realized, “This is how you tell a horror story.”

    It sounds like LaValle was drawn to some of Matheson’s more experimental work as well as the old favorites. And experimental does not always mean successful, at least not for all readers. You’ve made me want to track down “Witch Wars” and give it a read.

    • Sandy Ferber /

      If I were in a mood to be cynical, I might suggest that LaValle only used the stories that he could obtain permission to use here, as he supposedly reread all of Matheson’s short works preparatory to making his choices. Don’t know why the book couldn’t have been another 75 pages longer, and thus include some more of Matheson’s great shorter stories. As for “Witch Wars,” give it a try, Marion. Maybe you’ll like it. It seemed like a great idea for a story, to me…just not fleshed out enough, for my tastes….

      • I think you are right about this, Sandy. He probably could not get permission for some of those stories, maybe because they’ve been reprinted recently elsewhere (e.g., “Steel” was reprinted in Steel and Other Stories from Tor in 2011).

        I love Richard Matheson’s work!

        • Sandy Ferber /

          I guess LaValle did as well as he could, Kat. And if you love Matheson, as I do, then this book will surely be right up your alley…as it was mine….

  2. I have a few anthologies with Matheson stories in them, but I really do need to add this volume to my collection. Great review, Sandy!

    • Sandy Ferber /

      Gee, Jana, thanks for the kind words! Much appreciated! This particular Matheson anthology has two things going for it right now: It is probably the largest collection of his short stories to date, and it happens to be in the stores right now. Hope you do get to enjoy it one day….

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