Grief does not follow a single set of rules in Holes in the Somewhere. It can emerge through a mysterious wall, accompany strangers confronting a fungal pandemic, or sit beside college students preparing for the extinction of the Sun. Richard R. Brown gathers those unsettling possibilities around something considerably more personal: his own experience of grief and loss following his father’s death from cancer. The result is a collection where speculative fiction and horror provide unusual shapes for recognizably human fears, losses, and impossible decisions—and where the distance between the normal and paranormal can become disturbingly thin.
Holes in the Somewhere
by Richard R. Brown
Genre: Speculative Fiction, Horror Stories
Holes In The Somewhere is a collection of short works, anchored by a personal memoir of the author's own experience with grief and loss after the passing of his father from cancer, by speculative fiction author Richard R. Brown.
A single mother encounters insanity in the worst possible person; an estranged parent loses his reunited family to a mysterious bathroom wall; a group of strangers come together to fight a fungal pandemic; college students prepare for the extinction of the Sun... these are a few of the challenges faced by the desperate characters in Holes In The Somewhere. The choices they make, the dilemmas they wrestle with, all have very supernatural consequences, but are felt with very human emotions.
These stories will tug at strings your heart thought were too well-hidden for anyone to know about, and cause the mind to probe the gray areas between wrong and right. Between normal and paranormal. Behind what's real and only to the side of what's unreal. A perfect mix of quick, unsettling reads, and longer, heart-wrenching escapes.
What readers are saying:
"The debut is speculative fiction in form: weird, unsettling, occasionally cosmic. But it reads less like a genre exercise than like grief that has been given permission to take unusual shapes." - Justine Castellon, Author/Reviewer
"I guarantee there is a 'gotcha' story in there for just about anybody, and if you don't find at least one that bothers you just as you're about to fall asleep, you're made of sterner stuff than I am." - Kenneth Crist, editor-in-chief, Black Petals Magazine
“These stories are weird and creepy and heart-wrenching in all the best ways. If you enjoy fiction that makes you question everything and wrecks you emotionally, this is for you!” – Valerie S., 5 star Amazon Review
Holes in the Somewhere uses speculative situations to approach emotions that are considerably less imaginary. A mysterious bathroom wall, an approaching solar catastrophe, and a fungal pandemic may belong to horror and speculative fiction, but the people facing them are still negotiating grief, fractured families, fear, responsibility, and choices without comfortable answers.
The inclusion of Brown’s personal memoir gives that approach additional context. Rather than keeping lived loss separate from the collection’s stranger stories, the book places the author’s experience following his father’s death alongside fictional characters confronting their own versions of disappearance, upheaval, and mortality. That combination makes the collection especially interesting for readers who appreciate horror that uses the impossible to examine emotions that are entirely real.
This collection should be particularly interesting to readers who prefer horror that unsettles emotionally as well as supernaturally. Its scenarios range from intimate family terror to large-scale catastrophe, allowing the stories to approach dread from different directions rather than relying on a single kind of monster or threat.
Short-fiction readers who enjoy moving between quick disturbances and longer narratives will also find that variety built into the collection. The recurring attention to grief and difficult moral territory makes it a stronger match for those who like speculative fiction that leaves uncomfortable questions behind after the immediate danger has passed.
Excerpt from ‘A Hole In The Somewhere’, a story in ‘Holes In The Somewhere’
When he hung up, he saw the answer to his problem of Tony’s dead body. He picked Tony up and wrestled him into the wall where the blurred patch was. Pieces seemed to fall off into the wall, but that just made Tony easier to handle. He just had time to change into a clean shirt and slide the gun back under the couch before there came a soft knock on his door.
Jack wiped sweat from his forehead and opened the door. Before him stood the same little girl who held his hand twenty years ago and asked him, “Why, Daddy?” about absolutely everything. Only now she had green eyes when she used to have brown eyes.
“Mommy says you’re my grandpa,” she said to him now. “Why is your door all bubbly and brown, Grandpa?”
Jack looked up and past his granddaughter at Mary, who was smiling anxiously at both of them.
“Hi, Daddy,” was all she said. It was enough.
Jack burst into tears, picked his granddaughter up in his left arm, and trotted down the steps to embrace his daughter with his right arm. They hugged for several moments before a muffled, “Why are you crying, Grandpa?” came from his shoulder.
Jack laughed, and put her down on the ground again. “I’m crying because I’m so happy to meet you!” he said.
“Oh. My name’s Emily, but you can call me Emmy. Why do you live by the train tracks, Grandpa?”
“Actually, Dad, I’m curious, too. This address came up as ‘Condemned.’ How is it that you live here?”
Jack led them inside and told them his story, forcing himself to be honest about his decisions and his reasons. Recent events disappeared from his awareness as the last twenty years enveloped him. He told them about his depression and anger from the divorce, and how losing everything seduced him into giving up everything. He hadn’t wanted to try to replace what he had lost because that would be admitting that he had lost it to begin with. After a few minutes, Emmy wanted to explore, so Jack gave a tour while he talked. It only took a minute.
In the bathroom, Mary shot him an alarmed look when she saw the cracked mirror. “Oh! It was like that when I found this place. I got a new one last month. I just forgot about hanging it up.”
“Let’s do it now, Daddy. I don’t like that crack, for some reason. It creeps me out.”
They hung the new mirror while Jack entertained them with stories from his train-hopping days. Mary leaned the cracked mirror against the wall below the new one, stood up, and proclaimed, “Much better!”
Jack and Mary returned to the main room. Mary told Jack about her short, failed marriage to Emmy’s father, her job at CyberSolutions, and her academic career. “Where is Emmy?” Jack wondered aloud.
“She was fascinated by that old mirror, so I leaned it against the wall so she could look at it.”
Jack felt a moment of unease at this, but had no ready explanation for it, so he let it go. “Are you hungry, kiddo?” he asked Mary. “I’m sure Emmy probably is. Want to go to lunch?”
“Sure, but I’m pay-“Mary was interrupted by a tremendous whipcrack coming from the bathroom.
The gun!, Jack thought, and leapt to his feet as Mary called out, “Emmy? Emmy!” They both ran into the bathroom, only to find it empty. There was nothing to hide behind, but Mary made a close search of every corner, anyway, all the while calling her daughter’s name, “Emmy! Emmeeee!”
Richard R. Brown is a legally-blind author of speculative fiction, horror, and thrillers. He writes from experience, having lived through paranormal events, alien attacks, and cosmic horrors -- at least, in his mind and in the books he listens to. He and his Guide Dog live in the Pacific Northwest. Richard is between Guide Dogs at the moment as Edison retired last summer. Edison was at Richard's side through every story in his book. Richard has no such guidance for his current novel, but will likely have one for editing help.
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The title Holes in the Somewhere suits a collection concerned with the places where ordinary explanations stop working. Brown’s characters encounter impossible intrusions into recognizable lives, but the emotional consequences remain grounded in things people understand all too well: losing someone, recovering a relationship, confronting mortality, and wondering which choice can still be called right when every option carries a cost.
That connection between grief and the uncanny may be the collection’s most intriguing proposition. Horror can give fear a monster, a pandemic, a cosmic catastrophe, or even a hole where no hole should exist. Grief is harder to contain. Here, the strange things lurking around the edges of reality offer another way to look directly at it.
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