Book – King’s most recent novel has been hailed as a return to classic form, closer to a real horror novel than he’s written in a while. If you go into it looking for that, you might be disappointed, but that doesn’t mean it’s not fascinating. The story follows two men, narrator Jamie Morton and the man he refers to as his “fifth business,” the catalyst to all the really important events of his life, Reverend Charles Jacobs. Charlie (as he prefers to be called) is fascinated by “special electricity” all his life, but his interest takes a darker turn when his wife and son are killed in a car crash. After that – well, a horror novel called Revival with a lightning bolt on the cover does evoke a certain famous Doctor F., after all.
Revival isn’t as focused as the classic King novel it most evokes, Pet Sematary, and dealing as it does with similar themes and ideas, it suffers by the comparison. Where the plot meanders, though, the characters pick up the slack, and a few genuinely creepy moments (Jamie’s birthday-party nightmare sticks in the mind) carry you through rapidly to the end. The ending is, at least, classic Stephen King – sprawling, grotesque, and a little out of left field.
Book – I didn’t love every story in this collection, but I loved the collection as a whole. There’s an art to putting together a short story collection, and most collections just don’t quite make it. 20th Century Ghosts flows smoothly from one story to the next, sometimes featuring a kind of free-association logic that’s downright humorous in effect. A mention of Kafka in the end of “Pop Art” ties into “And You Will Hear the Locust Sing,” a story about a boy who wakes up one morning having turned into a giant insect, and the Biblical overtones in that story give you completely the wrong impression of “Abraham’s Boys” until you finally learn the good doctor’s surname. It’s a little thing, a fun trick, but I enjoyed it.
I’m having a hard time picking a favorite story, to be honest. The opener, “Best New Horror,” is a fairly predictable sort of “but it was all really true!” story about a horror writer and an editor, but the self-awareness of the story raises it to a new level. “The Black Phone” is a terrific anti-serial-killer story (as opposed to all the stories in which the serial killer is the star of the show), “The Cape” features a very convincing creeper of the sort you’d hate to meet on a dark sidewalk but probably already have, and “Voluntary Committal” is both the scariest and the most heartwarming story in the book (and won a well-deserved World Fantasy Award).
Book – House of Leaves is the scariest book I have ever read. It’s not gory or gross or even immediately frightening – there are no monsters or demons or serial killers. It’s just completely terrifying.
The story takes place in several layers. Johnny Truant is our primary narrator, telling us about this manuscript he was helping his neighbor Zampano write. Then there’s the film Zampano is writing about, a documentary made by world-famous photographer Will Navidson about the house he and his family have moved into. At first the house seems perfectly normal, and then one day they discover a hallway doesn’t seem right. They double-check the blueprints, they measure the house inside and out with a laser sight, and there’s no way around it – the house is three-quarters of an inch larger on the inside than it is on the outside.
And then it gets bigger.
I think it’s the different levels of narrative that make House of Leaves so effectively terrifying. In trying to figure out whether or not the film is real in Johnny’s world, you start to forget that Johnny’s world isn’t necessarily your own, and everything seems to bleed together around the edges. House of Leaves isn’t the kind of book you can read all at once and get it over with; even if you could get through it in one sitting, it’ll haunt you later.
Book – David Moody’s Hater isn’t really a zombie novel, but it’s got a lot of similar trappings: friends and strangers turning on one another, individual survival becoming much more important than the trappings of modern life. It’s firmly in the “survival horror” genre, of which zombie novels are only the most popular form. The point of a survival horror story has nothing to do with what the monster is or why it’s dangerous, only whether or not the main characters are going to survive.
Moody’s concept is original and interesting. Instead of turning into zombies, people just become murderously violent, for no reason at all. We eventually find out that the “Haters,” as they’ve been dubbed by the media, aren’t driven by hate at all but by fear – a sudden, crippling fear that they’re going to be attacked and they have to defend themselves first. “Haters” can’t deal with normal people, but when they get into a group of their own they’re perfectly fine, because they know they’re among their own kind. It makes more sense than zombies, to be perfectly honest, and has the added benefit that the Haters are intelligent and can be interesting point of view characters.
I can’t uncritically recommend Hater. I thought the writing was stilted and the characters predictable. If you are looking for something to indulge a survival horror buzz, though – for instance, if you’re going into withdrawl from The Walking Dead – Hater will keep it going for you.
Book – I came across this book through Tor.com’s Summer of Sleaze, a series of reviews of old horror novels, where the writers refer to Tryon’s work as “a third of our horror roots,” along with Rosemary’s Baby and The Exorcist. I’d never heard of Tryon before, so I was intrigued. And I was not disappointed. In fact, I’d say my expectations were set unfairly low – after all, the review series is called “Summer of Sleaze.” There’s nothing sleazy about The Other. A little purple, maybe, but not sleazy.
Holland Perry is not a nice little boy. In fact, he’s downright sinister, pulling pranks that are more vicious than funny. (We find out on page three that he killed an old woman’s pet cat.) His twin, Niles, is a much friendlier young man, but he makes plenty of excuses for Holland’s increasingly outrageous behavior. This is a slow-building novel; we spend lots of time with the characters where nothing particularly awful happens, until quite suddenly it does. And although The Other was billed as horror when it came out, it’s much less supernatural than the other evil-child stories of its day. In fact, I’d call it a psychological thriller instead, with as much in common with Gone Girl or The Dinner as with more traditional horror novels.
Book – On one fateful day, four planes fall out of the sky. Among the four crashes there are only three survivors, all of them children. It’s this fact – along with a rambling recording made by one of the passengers in the last moments of her life – that spawn conspiracy theories, widespread paranoia, and eventually a massive doomsday cult with connections in the highest levels of politics. What really happened on Black Friday? And could the doomsayers be right?
The Three is a book inside a book: most of the story is the fictional non-fiction account written by Elspeth, an investigative journalist, of the aftermath of Black Friday and the cults that rose up in its wake. In the end, we switch back to Elspeth’s point of view as she decides to follow up on what happened after the end of her book. I thought that some of the characters’ voices tended to blend together, but the overall pace of the narrative kept pulling me through the book anyway. I stayed up late to finish it, which turned out to be a mistake – this book has one seriously creepy ending.
Book – Johannes Cabal has a problem with his soul. Namely, he doesn’t have it – he sold it to Satan some time ago in exchange for the secrets of necromancy. He’s decided that it was a bad deal, and he wants his soul back. Satan, of course, isn’t letting any souls go that easily, so he proposes a challenge: if Cabal can acquire 100 souls within a year, he can have his soul back. The Devil will even throw in a diabolical carnival to help. It’s not a great deal, but it’s the only one on offer, so Cabal enlists the help of his estranged brother and sets out across the countryside, carnival in tow, to race against the clock. Er, hourglass.
For the first fifty pages or so I kept trying to figure out what time period and what country this book was set in; eventually I realized that it just doesn’t matter, and I settled back to enjoy the ride. Johannes Cabal is delightfully deadpan and almost entirely unconcerned with the fates of other people. It’s the almost that makes it great: he shows flashes of humanity at the most inopportune times. This is the first in a series; the latest, Johannes Cabal: The Fear Institute, was published in October.
Book – Although my favorite books by Steven Brust are his Vlad Taltos series (ongoing, catch up now before Hawk comes out next year!), there’s no denying that his stand-alone novel Agyar is a remarkable piece of work. It’s also hard to review and hard to recommend, because the thing that you would usually use to describe it is the thing you can’t know ahead of time without completely changing your experience of reading it. Let’s just say it’s a truly spectacular example of what a talented writer can do with an ambiguously reliable narrator.
On the face of it, Agyar is the diary of a disillusioned, hedonistic young man, a classic anti-hero. It’s a very period novel, originally published in 1993, and it does kind of reek of that early nineties goth chic. That’s part of it’s charm, and I don’t think it would work nearly as well updated to the present day. But if the face of it was all there was to it, I wouldn’t be writing this incredibly roundabout review, would I? Brust plays with the reader’s expectations, and he knows exactly what to do with them. So here’s my recommendation: if you like urban fantasy, clever writing, or fascinating if unlikeable characters, pick up Agyar and start at page one. Do not read the back cover copy. Just trust in the author. He’s worth it.
Movie – It may not have anything supernatural about it, but Stoker is definitely a monster movie. It’s also a coming-of-age story, following eighteen-year-old India, played exquisitely by Mia Wasikowska. In the wake of her father’s death, India’s home is invaded by her father’s brother, Uncle Charlie (Matthew Goode), who is determined to make his new place in their home permanent, no matter what.
If you’ve seen Alfred Hitchcock’s Shadow of a Doubt, this might sound a little familiar, and with good reason. The similarities extend beyond the plot as well. Director Park Chan-wook, an acclaimed Korean director who makes his English-language debut with Stoker, is a master at creating tension out of tiny things, and the whole film is made up of tiny things that slowly piece together to become one big, horrifying thing. This is a disturbing movie, definitely not for everyone, but fans of dark psychological horror should love it.