Daniel Braum’s new short story collection Underworld Dreams comes equipped with a Story Notes section; within these Notes, the author provides thoughtful reflections on his creative process, narrative intentions, and philosophical interests, among other things. Most prominently, Braum stresses his persisting interest in the ambiguous space between the psychological and the supernatural. Braum’s fiction inhabits this space and engages with the Weird tradition to depict our reality as innately interstitial, slippery, and impervious to “mastery.” By extension, Underworld Dreams repeatedly encourages us to scrutinize the artificial gap between human and nonhuman animals, between subject and world.
This coy, quiet, and unassuming challenge to human exceptionalism resonates throughout. The first story, “How to Stay Afloat When Drowning,” features a disturbing centerpiece in which a group of people brutally torture a shark; later, the story uses its psychological-supernatural ambiguity to blur the distinction between shark and human. “The Monkey Coat” lends attention to the suffering bound up in its titular object (the origin of whose horrors remain unknown).
Braum does not employ this symbolism to bluntly didactic ends; rather, he assesses the artificial divide between human and nonhuman animal to underline broader investigations about the human subject’s relation to the world. For example, the title story sees characters discussing acts of infidelity and dishonesty as reflections of their “monkey in the jungle” selves.
Braum cites Algernon Blackwood’s classic Weird novella The Willows in his Story Notes, and the imprint is visible: Underworld Dreams repeatedly sees its characters encountering eerily numinous spaces and reality-fissures in environments that have evaded global industrialism. Braum finds lots of potential for the ineffable in “natural” spaces, demonstrating a knack for imagery and atmosphere.
There are horrifying moments here (perhaps most notably in the aforementioned “Monkey Coat,” reportedly inspired by advice Braum got from the legendary Jack Ketchum), but this book mostly occupies Weird Fiction’s less macabre terrain. China Melville writes that the “obsession with numinosity under the everyday is at the heart of Weird Fiction,” and this is the obsession that most clearly characterizes Underworld Dreams. For readers seeking fiction with a strong narrative engine and a bold commitment to the unknown, this collection is one to seek out.
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