Bentley Little - The Collection

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How far would you go with a hitchhiker who'd left behind an unimaginable trail of horror and destruction?
How would you feel if your father's new bride was something dredged up from the bowels of hell?
What would you do if you discovered an old letter suggesting one of America's Founding Fathers had been a serial killer?
How long would you last in a mysterious border town that promised to let you in on one of its most gruesome secrets?
This is The Collection — thirty-two stories of hot blood and frigid terror that could have come only from the mind of Bentley Little. And that's a scary place to be. 
He's been hailed by Dean Koontz for his "rock-'em, jolt-'em, shock-'em contemporary terror fiction." Now Little presents a 32-story collection that could only have come from an author with "a deft touch for the terrifying" (
).
From Publishers Weekly
Little (The Association) displays his darker side in the 32 mostly memorable stories that comprise this collection of unpublished and previously published stories. Drawing from a bizarre cauldron of influences (cited in brief introductions to each piece), Little tackles some disturbing topics, including pedophilia, family crucifixions, incest and bestiality. Indeed, even fans accustomed to the gore found in Little's novels may be taken aback by the manner in which characters carry out their fetishes and crimes. The main character in "Blood," for example, kills both little boys and grown men without remorse, believing that his macaroni and cheese craves human blood. The supernatural and the unexplained are common themes, but some plot lines are underdeveloped. In "Monteith," readers are left to ponder what would have happened had the main character confronted his wife about a one-word note - written in her hand - that turned his life upside down. Among Little's best offerings are "Bob," a chilling tale of mistaken identity, and "Pillow Talk," a witty yet sad story about bed linens that come to life and ultimately display more human traits than many of the characters in this collection. A fascinating glimpse into how Little's creativity has evolved over the years, this volume is a must-have for the author's fans despite its uneven nature. 
From Booklist
Of the 32 spine tinglers in Little's gathering, some inevitably stand out. In "The Phonebook Man," the guy delivering the directory, once invited into a woman's house, changes his appearance drastically and refuses to leave. "Life with Father," one of the darkest stories in the collection, concerns a recycling obsession that leads to incest and murder. In "Roommates," Ray searches for one, only to get a strange batch of applicants, including a woman who believes her monkey is her daughter, a three-foot-tall albino, and a dirt-obsessed nurse. In "Bob," a group of women cleverly "sell" a young man on the idea of killing the abusive husband of a woman they know. And in "Pillow Talk," a man is shocked to find himself pursued sexually--by pillows. Little introduces each story by briefly explaining his inspiration for writing it. Little's often macabre, always sharp tales are snippets of everyday life given a creepy twist. 

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I stand outside their enclosure and I watch them eat and I watch them play. When I am sure that Father is not around, I pick them up and hold them. Their bodies are cold, their skin slimy, their wings rough. I gave them names at one time, and sometimes I can still call out those names, but I'm ashamed to admit that I no longer know to whom they be­long. Like everyone else, I can't tell The Pets apart.

I do not know why Father keeps The Pets and why he in­sists that they be fed, and that frightens me. Father never does anything without a reason or a purpose.

Every so often, when I'm standing there feeding them, I think to myself that their habitat looks like a pen.

Sometimes I try to tell the kids in my class the horrors of recycling, but I can never seem to find the words to describe what I mean, and they always tell me that they enjoy ac­companying their parents to the recycling center on Satur­day and dropping off their cans, bottles, and newspapers.

Cans, bottles, and newspapers.

Once, during ecology week, I told my teacher that any­thing can be carried too far, even recycling. She tried to explain to me that recycling is important, that it will help us preserve the planet for future generations. I said that instead of recycling everything, maybe it would be better if we used I things that didn't have to be recycled. She said that I didn't understand the concept of environmentalism but that at the end of the week, after I had completed my worksheet and seen all the videotapes, she was certain that I would.

That night I went home and urinated into the blue bucket and defecated into the red.

It is Thursday again, and I know what that means.

I sit quietly on the couch, tearing the sections of today's newspaper into the strips that we will wash and screen and turn into my homework paper. I say nothing as Father enters the living room, but out of the corner of my eye I can see his dark bulk blocking the light from the kitchen.

He walks toward me.

"I feel The Need," he says.

My stomach knots up and I can't hardly breathe, but I force myself to smile because I know that if he can't have me he'll start in on Shari. His seed can't really be recycle (although he tried it once with frozen jars and the micro­wave, using his semen first as a skin lotion and then as a toothpaste), but he does not want it to go to waste, so when he feels The Need he makes sure that he finds a receptacle where it might do some good. In his mind, impregnating me is better than letting his seed go unused.

That's how we got The Pets.

I take down my pants and panties and bend over the back of the couch, and I try not to cry as he positions himself be­hind me and shoves it in.

"Oh God," I say, recycling the words he taught me. "You're so good!"

And he moans.

It has been four days since Shari last spoke and I am wor­ried. Father is not worried, but he is unhappy with me. He felt The Need yesterday, and I let him have me, but I could not pretend that I enjoyed it, the way I usually do. He got angry at me because my unhappiness meant that his emotion was not recycled. He does not want anything to go unrecycled. He feels that, in sex, the pleasure that he feels should be transmitted to me. I am supposed to be happy after he takes me and to utilize that transmitted pleasure, to stay happy for at least a day afterward (although usually I'm mis­erable and sore and feel dirty), and to do something nice for Shari. Shari is supposed to recycle that pleasure again and do something nice for one of The Pets.

But I don't feel happy, and I can't fake it this time.

I tell Shari to lock her door when she goes to bed.

When I come home from school, Shari is crying and strapped to a chair at the dinner table and Father is in the kitchen preparing our meal. I know something is not right, but I say nothing and I wash my hands in last week's dish­water and sit down at the table next to my sister. Already I can smell the food. It is meat of some sort, and I hope Father has not decided to recycle a cat or dog that's passed away.

No matter what type of animal it is, I know that I will have to clean and carve the bones afterward and make them into forks and knives and toothpicks.

I try not to look at Shari, but I notice that her crying ha not stopped or slowed even a little bit and that worries me.

Father comes in with our meal, carrying it on the single large plate that we share in order not to waste water, and is some kind of casserole. He is grinning, and I know that grin: he is proud of himself. I take a close look at the ingredients of the casserole, at the meat. The piece I poke with my fork is strangely white and rubbery. I turn it over and see on its underside a darkened piece of skin.

Slimy, lizard skin.

I throw down my fork and glare at him and Shari is crying even harder.

"You killed one of The Pets!" I scream.

He nods enthusiastically. "In the future, it may be possible for us to be entirely self-sufficient. We may never have to go outside the family for a source of food. We can create our own meat, nurturing it with our own waste. We'll be the prototype of the family of the future." He grins, gesturing toward the casserole. "Try it. It's good." He picks up a fork; spears a chunk of meat, and puts it in his mouth, chewing, swallowing, smiling. "Tasty and nutritious."

I stare at the food and I realize that it has come from my body and will be going back into my body and will come out of my body again, and I suddenly feel sick. I start to gag, and I run out of the room.

"The yellow container!" Father calls. "Yellow is for vomit!"

I can hear Shari crying louder, the legs of her chair making a clacking noise as she rocks back and forth and tries to get away.

As I throw up into the yellow bucket, I wonder if our din­ner is one of The Pets that I had named.

Father is rougher now. He seems crueler than before, and I wonder if it is because I disobeyed him.

I would run away if it wasn't for Shari.

In school we are learning about taking responsibility for our own actions and how we should clean up our own messes without Mommy or Daddy telling us to do so.

It is hard for me not to laugh.

Father says that I have caused him a lot of pain and emo­tional distress, and he beats me as he prepares to mount me from behind. My pants and panties are down and I am bent over the couch as he pulls out chunks of my hair and slaps my back and buttocks with the hard side of his hand. He is making Shari watch and she starts to cry as he shoves it in and begins thrusting.

I scream for him to stop it, that it hurts, not even pre­tending to enjoy it this time, but that seems to satisfy him and I know that he thinks he is recycling his negative emo­tions by imparting them to me.

When he is finished, he hits my face until I am bloody and then leaves the room.

Shari approaches me after he is gone. She stares at me with wide eyes and white face, frightened by what she has seen, and I try to smile at her but it hurts too much.

"Father hurled you," she says. She frowns, thinking for a moment, and she hunkers down next to me. "Is he a vam­pire?" she whispers.

"Yes," I say. "He's a vampire." I don't know why I'm saying this, I don't know what thought process made Shari even think of it, but it sounds good to me.

Her eyes get even bigger. "Then we better kill him," she says.

Kill him.

I smile at her and I force myself to sit up. "Yes," I say nodding at her, wiping the blood from my nose and mouth, "We better kill him."

I make a stake from a recycled piece of broken broomhandle that I find in the tool cupboard next to the wash-bucket. Father has been saving that piece of broom handle for some time now, knowing that it has an untapped usage but not knowing what that usage is.

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