From high fantasy to monsters to (literally) Hellboy, something for everyone who digs things that go bump in the night.
Nineteen eerie short stories from an award-winning writer who clearly embraces literary horror fully.
No lie: The Cabin at the End of the World (2018) was a tough read because it's terrifying in an unusual way, so it’s not a surprise that these frighteningly imaginative slices of horror are often far more chilling than their relatively mundane inspirations. Tremblay, like Joe Hill, Chuck Wendig, Richard Kadrey, and their ilk, is among the best in the literary business but chooses to play in a fairly specific genre, which is pretty much horror taken to another plane. Well-written, yes. But scary as hell, which is an equally admirable trick to accomplish. The title story shows up first, depicting a slow apocalypse via invasive plants not as a panorama but as one family’s bitter end. It also contains the book’s most frightening line: “There are no more stories.” Next is “Swim Wants to Know If It’s as Bad as Swim Thinks,” portraying a junkie—SWIM is a cipher for “someone who isn’t me”—who’s trying to describe her addiction online even as some monster might be nearby. We get a couple of hardcore crime stories in “The Getaway,” in which a knockoff artist is struggling to escape his brother’s shadow, and “Nineteen Snapshots of Dennisport,” which might as well have been a deleted scene from Scorsese’s The Departed. The best, most challenging stories are completely meta. “Notes for ‘The Barn in the Wild’ ” details the Blair Witch Project–esque journey of someone trying to get to the bottom of a story while “Something About Birds” finds a writer launching a zine delving into the mysterious history of a famous writer, all structured in unexpected ways. The rest are creepfests inspired by everything from Poe to Lovecraft to King. There’s a little fan service as well—a character who seems to be Karen Brissette from Tremblay’s A Head Full of Ghosts waxes eloquent about the horror genre in the extended “Notes From the Dog Walkers” while the memorable Merry from the same earlier book anchors the equally creepy “The Thirteenth Temple.”
From high fantasy to monsters to (literally) Hellboy, something for everyone who digs things that go bump in the night.Pub Date: July 2, 2019
ISBN: 978-0-06-267913-0
Page Count: 352
Publisher: Morrow/HarperCollins
Review Posted Online: June 30, 2019
Kirkus Reviews Issue: July 15, 2019
A charming and persuasive entry that will leave readers impatiently awaiting the concluding volume.
Book 2 of Hearne's latest fantasy trilogy, The Seven Kennings (A Plague of Giants, 2017), set in a multiracial world thrust into turmoil by an invasion of peculiar giants.
In this world, most races have their own particular magical endowment, or “kenning,” though there are downsides to trying to gain the magic (an excellent chance of being killed instead) and using it (rapid aging and death). Most recently discovered is the sixth kenning, whose beneficiaries can talk to and command animals. The story canters along, although with multiple first-person narrators, it's confusing at times. Some characters are familiar, others are new, most of them with their own problems to solve, all somehow caught up in the grand design. To escape her overbearing father and the unreasoning violence his kind represents, fire-giant Olet Kanek leads her followers into the far north, hoping to found a new city where the races and kennings can peacefully coexist. Joining Olet are young Abhinava Khose, discoverer of the sixth kenning, and, later, Koesha Gansu (kenning: air), captain of an all-female crew shipwrecked by deep-sea monsters. Elsewhere, Hanima, who commands hive insects, struggles to free her city from the iron grip of wealthy, callous merchant monarchists. Other threads focus on the Bone Giants, relentless invaders seeking the still-unknown seventh kenning, whose confidence that this can defeat the other six is deeply disturbing. Under Hearne's light touch, these elements mesh perfectly, presenting an inventive, eye-filling panorama; satisfying (and, where appropriate, well-resolved) plotlines; and tensions between the races and their kennings to supply much of the drama.
A charming and persuasive entry that will leave readers impatiently awaiting the concluding volume.Pub Date: Feb. 4, 2020
ISBN: 978-0-345-54857-3
Page Count: 592
Publisher: Del Rey/Ballantine
Review Posted Online: Nov. 24, 2019
Kirkus Reviews Issue: Dec. 15, 2019
BOOK REVIEW
BOOK REVIEW
It's being called a novel, but it is more a hybrid: short-stories/essays/confessions about the Vietnam War—the subject that O'Brien reasonably comes back to with every book. Some of these stories/memoirs are very good in their starkness and factualness: the title piece, about what a foot soldier actually has on him (weights included) at any given time, lends a palpability that makes the emotional freight (fear, horror, guilt) correspond superbly. Maybe the most moving piece here is "On The Rainy River," about a draftee's ambivalence about going, and how he decided to go: "I would go to war—I would kill and maybe die—because I was embarrassed not to." But so much else is so structurally coy that real effects are muted and disadvantaged: O'Brien is writing a book more about earnestness than about war, and the peekaboos of this isn't really me but of course it truly is serve no true purpose. They make this an annoyingly arty book, hiding more than not behind Hemingwayesque time-signatures and puerile repetitions about war (and memory and everything else, for that matter) being hell and heaven both. A disappointment.
Pub Date: March 28, 1990
ISBN: 0618706410
Page Count: 256
Publisher: Houghton Mifflin
Review Posted Online: Oct. 2, 2011
Kirkus Reviews Issue: Feb. 15, 1990
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