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JC BRATTON'S THINGS THAT GO BUMP IN THE NIGHT

VOLUME ONE: URBAN LEGENDS

A flawed but inventive selection of four creepy stories.

Bratton collects four previously published horror stories in one chilling volume.

Urban legends inform these four spine-tingling tales, each of which works as a stand-alone story even as their characters and frights occasionally intersect. The lengthy opener, “Who’s at the Door,” riffs on the familiar sleepover legend of Bloody Mary. Following a car accident that breaks her foot, a 17-year-old girl stays home in suburban Ohio while her parents fly off on a two-week Hawaiian vacation. As an added measure of security, her father has installed a motion sensor on the front porch before leaving; using an app, the girl can check to see who’s at the door without having to walk downstairs. But what happens when the sensor starts going off every day at the same time—when, according to the camera, there’s no one there? In “Parasomnia,” a woman has trouble sleeping after the death of her father and the dissolution of her marriage. One night, after a mere five hours of slumber, she experiences a strange hallucination: “Upon waking, something very bizarre happened—before my closed eyes were a series of rapidly moving images in succession: crisp, high-resolution stills of unrelated people and places moving quickly along my field of vision.” One of these images is of a perfectly handsome man—so perfect that the woman tries to solve the mystery of his identity. It turns out he’s dead…and his intrusion into her life may be the opposite of perfect. “Dollhouse” concerns a man’s ill-fated purchase of a handmade Japanese dollhouse and its three toy occupants. His wife is not amused by the acquisition, and she’s thoroughly unnerved by the handwritten book that accompanies the house, which details the alarming backstories of each of the dolls. The culminating “Who’s Back at the Door” is a sequel to the first story, picking up seven years later, featuring disappearances, murders, role reversals, and more, further building on the legend of Bloody Mary.

Bratton’s prose is conversational and breezy, moving the narratives quickly from scene to scene. This approach sometimes prevents the tension that fuels these stories from fully developing, leading to moments that aren’t quite as scary as they should be, such as this passage from the collection’s first entry: “I looked at my phone. It was 3:33 AM, and there was a message saying there was motion at the door. I played the video, and I screamed in terror! There was someone at the door…” It’s a shame, because the premises are usually solid ideas that would benefit from a bit more space to breathe, particularly “Parasomnia” and “Dollhouse,” which construct intriguing worlds that don’t fully pay off. The balance feels wrong; each plot complicates itself with unnecessary exposition when it should linger in its ambiguity. The book lives up to its urban-legends theme, however, with the stories capturing the unsettling familiarity of tales passed through multiple tellers. Fans of quick, efficient thrills will likely enjoy Bratton’s collection and will anticipate the promise of future volumes to come.

A flawed but inventive selection of four creepy stories.

Pub Date: Oct. 17, 2023

ISBN: 9781736771532

Page Count: 182

Publisher: Blue Milk Publishing

Review Posted Online: Jan. 9, 2024

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TO DIE FOR

Fast-moving excitement with a satisfying finish.

The feds must protect an accused criminal and an orphaned girl.

Maybe you’ve met him before as protagonist of The 6:20 Man (2022): Ex-Army Ranger Travis Devine, who’d had the dubious fortune to tangle with “the girl on the train,” is now assigned by his homeland security boss to protect Danny Glass, who's awaiting trial on multiple RICO charges in Washington state. Devine has what it takes: He “was a closer, snooper, fixer, investigator,” and, when necessary, a killer. These skills are on full display as the deaths of three key witnesses grind justice to a temporary halt. Glass has a 12-year-old niece, Betsy Odom, and each is the other’s only living relative—her parents recently died of an apparent drug overdose. The FBI has temporary guardianship of Betsy, who's a handful. She tells Travis that though she’s not yet 13, she's 28 in “life-shit years.” The financially well-heeled Glass wants to be her legal guardian with an eye to eventual adoption, but what are his real motives? And what happens to her if he's convicted? Meanwhile, Betsy insists that her parents never touched drugs, and she begs Travis to find out how they really died. This becomes part of a mission that oozes danger. The small town of Ricketts has a woman mayor who’s full of charm on the surface, but deeply corrupt and deadly when crossed. She may be linked to a subversive group called "12/24/65," as in 1865, when the Ku Klux Klan beast was born. Blood flows, bombs explode, and people perish, both good guys and not-so-good guys. Readers might ponder why in fiction as well as in life, it sometimes seems necessary for many to die so one may live. And what about the girl on the train? She's not necessary to the plot, but she's a fun addition as she pops in and out of the pages, occasionally leaving notes for Travis. Maybe she still wants him dead. 

Fast-moving excitement with a satisfying finish.

Pub Date: Nov. 12, 2024

ISBN: 9781538757901

Page Count: 432

Publisher: Grand Central Publishing

Review Posted Online: Sept. 14, 2024

Kirkus Reviews Issue: Oct. 15, 2024

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THE SILENT PATIENT

Amateurish, with a twist savvy readers will see coming from a mile away.

Awards & Accolades

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A woman accused of shooting her husband six times in the face refuses to speak.

"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.

Amateurish, with a twist savvy readers will see coming from a mile away.

Pub Date: Feb. 5, 2019

ISBN: 978-1-250-30169-7

Page Count: 304

Publisher: Celadon Books

Review Posted Online: Nov. 3, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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