![]() ![]() The two-page story goes on to describe a girl whose head has been half-swapped with the head of another. Or perhaps a horror so unsettling as to necessitate laughter. There was hair in front and hair in the back-only saying which was the front and which was the back was impossible.” This opening reads like a joke too unsettling to laugh at. The first lines of the lead story state that, “No matter which way we turned the girl, she didn’t have a face. ![]() His face had simply been burned away.”īrian Evenson’s latest story collection, Song for the Unraveling of the World, begins Crane-like. Henry’s injuries are described with a deadpan dread that perfectly channels Crane’s knack for bleak simplicity: “His body was frightfully seared, but more than that, he now had no face. ![]() The townspeople think that Henry, badly burned, will surely die, but he lives to become the titular “monster,” deformed and feared. Stephen Crane’s 1898 novella The Monster depicts a fictional town whose residents shun Henry Johnson, a man who is disfigured when he attempts to save a child from a burning house. ![]()
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