Reading Rich Hawkins’ novella, Black Star, Black Sun, is a bit like waking up and finding the world has already been consumed by fire, and the final embers are burning the ashen remains. It is a fearless journey into an abyss of despair.
Why would anyone want to read that? Because it’s hauntingly beautiful.
We begin with Ben Ottway returning to his hometown, a small village in England, after the mysterious disappearance of his wife, but this is no thriller with plot twists you can see coming a mile away or that are surprising because they’re utter nonsense. Ben’s wife is gone, and the point is his world has ended, yet he fights it and remains hopeful.
I’ve never been so afraid to feel at home.
As I walked among the cosplayers dressed as slasher idols and evil deadites, the people wearing death metal or obscure B-horror t-shirts, one thought kept going through my mind: These are my people.
For all of the fascination with murder and the macabre and the gore make-up, I don’t know if I’ve ever been to a place where there was more kinship and acceptance, where it didn’t matter who or what you were, just that you shared similar passions. Everyone had come for a single, unified purpose: to have a great time.
It’s been almost a month since I put The King of Clayfield by Shane Gregory down, and it’s lingered with me all this time. I don’t attribute its staying power to any raw emotional experience I had with it, nor do I find its relentless grip in any particular shock or horror. The King of Clayfield sticks with me to this day because I’ve yet to be able to truly pin it down. Certain stories fall clearly within a genre, adhering to established guidelines and rules. The King of Clayfield is somewhat unique in that it flows naturally, as if it were grounded in reality instead of someone’s imagination.
Of course, The King of Clayfield has many imaginative and creative elements, but while it isn’t strictly an epistolary, it reads almost like a journal. Shane’s prose is no-nonsense, written in natural language. At times, it may be reminiscent of Cormac McCarthy. He steps out of the way and lets his character tell the story. What’s notable here is that, in my experience with first-person narratives, I’ve found many writers tend to overdo this. They adopt certain tendencies to attempt to force the voice through. Shane doesn’t. The difference is he seems to trust his story and his characters to be interesting rather than trying to make or contrive intrigue. Continue reading
Amid personal distractions, big events, work, and other happenings, I didn’t get to read as much in 2014 as I would have liked. But I did read some really good books that I connected with in ways that either surprised me or continue to affect me. Please note, I read some really good stuff this year, and these are just the books that struck a personal nerve.
Without further ado, here are my favorite novels that I read in 2014.
When I picked up Autumn Moon by Slade Grayson, I was excited because I couldn’t remember the last time I had read a werewolf novel that I enjoyed. Autumn Moon is enjoyable, satisfying, and so much more. It contains a world full of almost-magical intrigue and allure and a narrative that keeps moving logically and naturally to a fulfilling conclusion.
I think the thing I appreciated most about Autumn Moon is it seems self-aware. I’ve come to this novel with the knowledge that it will contain werewolves, and Slade never is coy with that idea. It might seem disingenuous to treat the revelation of the shapeshifters as some great mystery, and while there is a moderate surprise, it isn’t overdone. Mainly, it seems to be for the characters’ benefit, not for ours, a case of dramatic irony that is handled expertly.
When I finished Deep Black Sea, I found myself dwelling on its strengths. Of course, not many works are without faults, but there are some really powerful elements here that I found creative, interesting, and entertaining.
One of Deep Black Sea’s greatest strengths is its foundation of plausibility. In a nutshell, the United States elects a new president who effectively guts NASA’s funding for a mission to Mars in favor of pursuing deep-water research. While such a broad and far-reaching decree in a democratic society is unlikely, it isn’t an unfamiliar point of consternation in the scientific community: the idea that we should understand our own planet before we explore others, and we still know so little about life at the bottom of the ocean. Continue reading
It’s hard for me to pinpoint the precise moment when Rich Hawkins’ work in The Last Plague won me over, but I know it came within the first fifty pages.
If you took Cormac McCarthy’s The Road and slammed it into 28 Days Later and then opened a trans-dimensional gateway for Cthulu to join the party, you might end up with something like The Last Plague. It begins like any other modern horror story in that we’re presented with a group of friends who go off for a weekend of fun. The difference here is they aren’t going off into the unknown where evil awaits. While they are gone, the world changes, and when they return to it, they find the aftermath of the initial wave of an infection.
The pitch for Joe Hill’s Horns is almost too coy. One morning, Ignatius Perrish wakes to find he has grown horns. Weird. It’s this one strange development that’s supposed to pull you in with mystery, and going into it, I worried it would be a bit too hokey. Having only read Hill’s Heart-Shaped Box before, I just wasn’t sure what kind of mileage was there, and I worried it would flounder and ultimately be unsatisfying. But as I read Horns, I decided this focus on Ig’s sudden and inexplicable “mutation” was deliberate, like a sleight of hand from a magician. Where as Hill’s Heart-Shaped Box is a genuinely good supernatural thriller, Horns brings something entirely new to fiction, and it’s an interesting mixture of the horror and thriller genres.
Like most sequels, it’s difficult to discuss Craig DiLouie’s The Killing Floor without at least mentioning its predecessor, The Infection. Unlike most sequels, however, DiLouie makes it easy to focus on this work by surpassing the original in almost every way.
The Killing Floor picks up right where The Infection leaves us, bringing back all of the characters who survive the first story, even one special character whom we think is doomed when we leave The Infection, and introducing many new characters. Like Infection, itself, DiLouie allows his zombie mythology to evolve and adapt, and therein he finds the central plot of The Killing Floor. It threatens to become hackneyed, but DiLouie jumps in with both feet and develops it enough so that it feels legitimate, natural, and unique.