Shock Totem #10 (Jan 2016)
- Shock Totem #11—Available Now!
- The State of Shock Totem Publications, or We Are Not ChiZine Publications
- Closing for Submissions
- Shock Totem Returns!
- Apex Publications Acquires Shock Totem Book Line
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 8
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 7
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 6
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 5
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 4
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Tag Archives: Stephen King
The Troop, by Nick Cutter, created quite a buzz upon its release late last spring. I paid it little mind and it wasn’t until the annual Boden family beach vacation that I picked up the hardcover and read the blurbs and breakdown, I decided to wait a bit as I have a fairly unwieldy TBR pile. A month ago we got the trade paperback in at the grocery store where I work. This impressed me and I looked at it with every pass I made by the tiny shitty book section. Eventually, I grabbed a copy.
There is a blurb on the back that essentially calls it a mix of Lord of the Flies and 28 Days Later. I love both of those works so I was all whoo-hoo! and anxiously dug in over the weekend. It is a nice, quick, pulpy read. Reminded me a lot of earlier King and some of those ooey-gooey 80s works from the pulp paperback rack at Hills. I loved it.
The story begins with Scoutmaster Tim taking his troop of five boys on their yearly campout on a remote island off the coast of Canada. During the first night, a stranger stumbles into their midst. A man disturbingly gaunt and pale yet voraciously hungry. He sets things on a rapid and downward spiral that will leave you dizzy. Without a chance to catch your breath, the pacing hastens, the sick man gets sicker, and Tim tries to help but endangers himself and the boys in the process.
The viral threat the man has ushered into camp soon becomes a catalyst for some real struggle as the boys find themselves sans supervision and left on their own to survive—the elements, the monstrously unsettling contagion, and themselves. We see their true colors shine through, and they aren’t all bright and pretty.
I’d really love to give more details, but I don’t want to spoil anything. I will say that I enjoyed The Troop a great deal. I found it invigoratingly fun and entertaining. Is it perfect? Not at all. The structure with the interview excerpts and science-y stuff messed with the flow for me (the science itself is a bit wonky), and the military conspiracy angle is as hokey as can be, but it’s just a book, so I rolled with it. Where it really shines is in its gross-out moments where the contagion shows itself and when we see the boys begin to show themselves. It is brutal in places and tragically sad in others.
The Troop is available from Simon & Schuster Books , which means damn near everywhere.
I had the pleasure of hearing Mary SanGiovanni read from Chaos at the Scares That Care! convention a few months ago. After the reading (and much discussion about haunted mental asylums, creepy places, and eyebrow bugs), I got a copy.
The tone, style, and vibe of the book took me back to 80’s pulp horror, though the setting is contemporary.
Chaos tells the story of Bridgewood Estates, built upon the grounds that were once home to Bridgewood Asylum before it was torn down. The asylum once being the setting for a grotesque and horrific explosion of violence. Now, only the old office ward remains. Unluckily for the tenants, something evil still stains the grounds, and has for decades.
Upon moving in, Myrinda and her boyfriend are greeted warmly by the neighbors. The old lady across the hall nervously extols the virtues of the place, but then the things that haunt the building loosen her nerve and she tries to warn Myrinda about what she’s moved into.
And soon the other residents begin to have their own sinister encounters: the writer who begins seeing the woman shambling in the yard, without feet or hands; the ex-cop who begins a blood-drenched courtship with the mysterious woman in 2-C, a courtship of sticky notes and gifts of flesh; the man who is ordered to murder his wife by the man on the TV. All of these characters and events weave a tale of paranoia and terror.
Bridgewood is the site of a hole between dimensions and the neighbors that are coming through are far from friendly. They’re insane and malicious. It will take all the courage the young couple can muster to try to resolve things before it’s too late for them and the other dwellers of Bridgewood Estates.
Having read a few of SanGiovanni’s earlier works and enjoyed them, I found Chaos to be a bit different. Whether or not it was intentional this seemed to have a nostalgic sense about it. As I stated at the opening, it reminded me of the “evil in a small town” kind of novels I devoured as a teen (and sometimes as an adult): Salem’s Lot, The Wicked, The Ceremonies…that sort of thing.
The writing is strong and vivid, with well-drawn characters and events. It was a great B-movie of a novel, fun and frightening. Probably excellent with popcorn.
Chaos is available directly through www.marysangiovanni.com.
Stephen King is definitely the Alfred Hitchcock of the literary world. It’s likely he could take an inner city phone book and turn it into a riveting novel. Mr. Mercedes isn’t a phone book, but it sure as hell ranks up there with some of Hitchcock’s greatest hits. In fact, one might say that Mr. Mercedes is King’s Psycho.
King rocks the suspense/thriller genres here. Taking a step away from the deeply supernatural fare he’s known for, he proves that he is, without doubt, one of the world’s top writers. That he continues to come up with fresh material and interesting stories is further testament to his prowess. But he doesn’t leave the horror out, either. In fact, there’s one scene that will be impossible to get out of my head, probably for the rest of my life.
Mr. Mercedes tells the story of retired cop, Bill Hodges, who has taken to heavy drinking and flirting with suicide night after night since he left the force. Before he left, there was one particular unsolved case that haunted him, and continues to do so months and years later. An unknown subject stole a Mercedes and rammed it into a crowd of hundreds of local unemployed people, killing eight and injuring many others. The perpetrator was never caught, and that is what bothers Hodges the most. When the killer reaches out and taunts Hodges in the hopes of pushing the overweight cop past the mental tipping point, it instead revives Hodges’ passion, and renews his intent to take Mr. Mercedes down, even if it’s the last thing he ever does.
Hodges sets out to bring a killer to justice, and in the process manages to fall in love and care about not only himself, but others as well. Especially his estranged daughter, whose absence from his life is one of his greatest failures. Now though, he seeks redemption, and believes he can only find it by catching the murderer. Along the way, Hodges gathers an odd, ragtag team of crime solvers: a school-aged neighbor kid who happens to be somewhat of a genius, and a bipolar woman who turns out to be an incredible asset, despite her mental challenges. This latter character might remind you of Chloe from 24. In another comparison, this team is very much like characters from The Drawing of the Three, volume two in King’s epic Dark Tower series. In young Jerome we find shades of Odetta, and in bipolar Holly we find pieces of Eddie Dean, the young heroin addict.
The antagonist, on the other hand, is one of the creepier King has ever put on paper. One might compare him to Pennywise the Clown, only without the makeup and killer smile. However, Pennywise’s evil intent is alive and thriving here. There’s even a vague reference in this book, as well as nods to several other King books.
Without giving anything away, it’s worth your while to take your time with this book, in spite of the overwhelming urge you’ll likely experience to zip through to the stunning conclusion as quickly as possible. King handles tension and horror as masterfully as ever and his character development is in tremendous form. We find ourselves rooting for the underdog protagonists, despite the many mistake both sides make that puts everyone’s lives in peril.
Mr. Mercedes is available in hardcover through Scribner and is the first in a trilogy centered on the murders that take place in this first episode. Finders Keepers, the second volume, is slated to be released in early 2015.
For every big name horror author that you hear about—Dean Koontz, Stephen King, Clive Barker or Brian Keene—there is an extremely unsettling number of lesser known writers who deserve to be every bit as famous or well known for their work. And I get that. Music works the same way. We all know about Johnny Cash, but how many have ever heard the great Jerry Jeff Walker? I love it when I am not only impressed by someone I’ve never read before, but impressed to the point where I must track down and read all I can from them. Lee Thomas impressed me like that.
I had the pleasure of reading Ash Street nearly two years ago, for review. I liked it. For some reason I forgot about Lee Thomas, until we connected online and discovered a mutual affinity for heavy metal. I got some more of his work and devoured them all—greedily. So the verdict would now be that he is amazing. You ought to be reading him. All of his work.
With his debut novel, Stained, Lee introduces us to what will become his recognizable style: strong, character driven with realistic attitudes towards the fucked up things that are going on. Said fucked up things in this novel include an almost viral evil that possesses its victims and then tweaks and perverts their deepest longings. Upon completion, I could barely believe this was a debut novel it was so strongly written. No wonder it won a Stoker! The original printing from Wildside Press is quite rare but worth tracking down.
The Dust of Wonderland takes on a Southern Gothic sort of premise and punches it in its ghostly face.
A man is called to New Orleans under tragic circumstances—his son lays in coma near death and the events that surround it all seem to tie to the frayed psyche of Ken Nicholson, a man who has built his unstable life on a shaking pile of secrets and stones. Things take strange turns and all fingers point to a man long dead. This book ups things a notch. The pacing is superb and the realistic characters and reactions are wonderful. Had Lee been putting these novels out in the early 80’s instead of this millennium, he’d be a paperback bestseller and mentioned in the same frantic fanboy breaths as Straub and King.
After that, I read his superb novel The German. I thought the others were good…this was fantastic! Gripping from page one and it does not let up until the last sentence. Reading like a shadowy memoir of sorts, it tells the sad tale of a small Texas town plagued by strange murders and the mysterious German who seems to be the one they want to be responsible. Straddling the barbed wire fence between To Kill a Mockingbird and The Stranger, The German is a gritty affair but reads smooth and generates a well of emotion and outrage. Simply put, it is one of the finest novels I have read.
His chapbook The Black Sun Set, from Burning Effigy Press, is a nifty cocktail; one part noir and two parts metaphysical horror. A chilling post card of sorts.
His collection Like Light for Flies shows us what Thomas is capable of in a shorter word count. The stories are eclectic and smart, some copping an early Barker vibe and a few holding a severely classic voice. You’ll read about a man and his dog and how they try to save the world from monsters from another dimension. There is twisted noir with supernatural shades. Plenty of shocks and cringe-inducing images, all handled with deft precision.
And there you have it, a sort of Lee Thomas burrito. A brief encapsulation of what I have read, save for Butcher’s Road, which I have not yet finished but will review upon completion.
Be on the lookout for my interview with Lee very soon!
John Kenneth Muir’s breakdown of the horror fiction genre in his book Horror Films FAQ proves to be a delightful addition to anyone who loves a good, scary movie. Referenced in the book are typical horror staples such as The Exorcist and Psycho, but Muir is not content to only point to the canon of Hollywood classics. Instead, Muir expands his scope to include films that, while under the radar of mainstream Hollywood, helped to establish periods in the genre and pushed films to new and groundbreaking cinematography.
In addition to breakdowns of the movies that helped to shape the growing culture of horror, Muir explores monsters that have made it into the common realm of consciousness, such as the vampire, werewolf, mummy, and reanimated man (re: Frankenstein’s monster), and why the genre has persisted. The work is a dense text, rife with information on the different types of films, how the films evolved, and how the genre as a whole has expanded. Muir puts his considerable movie knowledge to use in the construction of this book, referencing films as early as expressionist “shudder films” through to the sub-genre of “torture porn” which have become prevalent.
The book is set up as a series of expanded lists ranging from directors, characters, and types of horror movies, and prepares the reader for what to find in the rest of the material. Muir pulls together his knowledge of the genre with an expert eye for what constitutes “good” horror movies, constructing a broad and in-depth reference text. Muir makes good use of the sections to explain how the genre has transformed due to a number of factors, not the least of them Americans and their ever-shifting fear mentality. One of the best things about this book is the early breakdown of films by decades, to showcase the way in which media and fear have changed over time to create the scare-and-shock culture of the horror movie today.
The amount of information in Horror Film FAQ can’t be overstated. Muir has compiled dozens of pieces showcasing the best of each sub-genre, and has broken the book down to reflect such. Each section serves as an explanative dictating the way in which the film impacted the horror community, the director’s evolution, and the shifting consciousness that propels the genre forward. The wealth of information and Muir’s keen insight provide both an explanation of the films as well as a great dissection of what actually makes the movie scary. It doesn’t at all hurt that Muir has an entire section devoted specifically to Stephen King films, either.
Muir’s book is dense and vivid, but one thing seasoned horror fans may notice is the very lacking section on both zombies and television. Aside from White Zombie, I Walked With A Zombie, and The Serpent and the Rainbow, the collective of zombie films referenced is fairly limited in scope, with heavy reliance on the Romero film culture of zombies, including Romero’s last (and arguably worst piece) Survival of the Dead. The section on horror television is also sparse, addressing new favorites such as The Walking Dead and old classics like Twin Peaks. But, there are no references to groundbreaking horror series such as Tales from the Crypt, Dark Shadows, or The Outer Limits, though there is a beautiful treatment of The Twilight Zone included.
Beyond the first glance, this book serves as a great beginners text for not only knowing which movies to see, but also for people seeking to have a deeper understanding of the genre. It provides a core understanding for the evolution of the horror movie, and its gradual turn from films bent on simply spooking an audience, to films that are as effective as they are emotive, introspective, and, in some cases (especially in the new day and age of “torture porn,”) disturbing. John Kenneth Muir puts to use an expert wealth of knowledge and keen introspection to render a reference book that would be a welcome addition to any collection.
When I was 12, I experienced a horrid accident in which I lost the ankle bone and part of my foot in my left leg. Being summer in Michigan meant that it was nearly always 100% humidity, and hotter than Satan’s buttcrack. And me with a monstrously heavy, hot and unwieldy plaster cast from my toes to mid-thigh. It was a pain, to be certain. So I kept myself distracted through reading.
I’d already read through my mother’s entire collection of Sidney Sheldon novels, and went in search of something to take my mind off the infernal itching beneath my cast as my leg healed from surgery.
Tucked way to the back of the bookcase in the living room was a novel that intrigued me greatly. I’d previously read Thomas Tryon’s Harvest Home, which was gross and creepy, and utterly delicious. This book had a very similar cover. I had never heard of the author, some guy named Stephen King, but I snuck the book back to my bedroom and set out to read.
The Shining scared the living crap out of me. I found myself, for the first time in my young life, unable to put the book down. Every waking moment was spent with my nose burrowed in the margin, the stench of mother’s chain smoking redolent in the pages and the ink. I didn’t care. Little Danny Torrance was the most compelling character I’d ever encountered, and his story caused me to sleep with lights on for months afterward.
King made the executive decision to follow up Danny’s story with Doctor Sleep.
We meet up with a slightly older Danny in the aftermath of events at the Overlook Hotel, which, if you’ll remember, died a fiery death when the faulty boiler exploded, taking Danny’s father, Jack, with it. But not the horrifying *things* that dwelled there. Oh, no sir. They followed Danny and Wendy to their new home somewhere in sunny, warm Florida. In this way, we know that “redrum” can’t be far behind.
Jump to a future in which Danny is a burned out alcoholic drug addict, drifting from town to town, trying in each location to begin again. His attempts to outrun his personal and all-too-real demons ineffective.
It’s not long before his imaginary childhood friend, Tony, begins appearing at odd times, and Danny, now just Dan, dreads what it might mean.
It’s risky for any author to create a sequel to a much beloved novel, especially thirty-some years later. If the original is meant to be a standalone, the decision to create a follow-up can be seen as “selling out,” trying too hard to cash in on former glory. I would use as an example Black House King’s follow-up to collaborative novel The Talisman which he co-wrote with ghostmeister Peter Straub. Black House sadly fell short of capturing the originality and flavor of The Talisman. That’s the same risk King takes with Doctor Sleep.
Thankfully, it pays off. Big.
King jumps forward quickly in time from Danny as a child, to Dan as a highly dysfunctional adult. But the reader is allowed to see that trajectory which also allows us to take the ride along with him, and invest emotionally in the character’s seemingly endless plight.
King is a master of character development, and is at the top of his game in Doctor Sleep. Rather than allowing his protagonist to wallow in his self-pity for the entirety of the book, he brings in another character, a young girl named Abra, who has a Shining stronger than Danny ever did. And she is being pursued by a cult named The True Knot.
Allowing Dan to focus on something and someone outside of himself, it brings him to sobriety, because, like Chef Dick Halloran coming to his rescue decades before, only he knows what she’s going through, and has to save Abra.
King also writes children in peril better than anyone. Think of Jake in the Dark Tower series, or Travelin’ Jack in The Talisman. And of course, Dan was that character in The Shining. To be able to follow Dan into adulthood, where at last—at least we hope as we fervently flip through the pages—he’ll gain closure over his horrifying past, allows the reader to likewise experience closure. First, though, we, along with Dan, will have to deal with the dead woman from the Overlook’s Room 217 and several other nasties that are likewise pursuing Dan, intent on finishing long ago business.
Doctor Sleep is another shining star (pun intended) in King’s catalogue, and well worth reading.
The kid behind the counter is fiddling with the espresso machine when he rattles off a string of numbers and letters. NOS4A2. He’s staring at the book I’ve set on the counter, a rusted vanity plate stamped on the cover.
“Nosferatu,” I say, digging the cash from my wallet. “It’s German for vampire.”
Joe Hill, son of prolific horror writer Stephen King, has proven to be a powerful new voice when it comes to modern fantasy and horror. His first book, the brilliant short story collection 20th Century Ghosts, snagged the Bram Stoker Award, International Horror Guild Award, and British Fantasy Award for Best Fiction Collection. Heart-Shaped Box and Horns were soon to follow; the former claiming another Stoker Award for Best First Novel. Locke & Key, a comic series written by Hill and illustrated by Gabriel Rodriguez, has also claimed its share of awards.
Now Hill is back with his fourth book, NOS4A2, and he does not disappoint.
In his 1938 Rolls-Royce Wraith, with the vanity plate NOS4A2, Charles Talent Manx cruises highways most people never know exist, but he doesn’t go alone. Nothing gives Manx greater pleasure than whisking innocent children off to a place called Christmasland, a wondrous playground where every day is Christmas and unhappiness is against the law; a place no child would ever want to leave, though the drive is far more taxing than his young passengers can know. Manx has never lost a child he has set his sights on. Then he meets Victoria McQueen.
Vic McQueen knows something about hidden roadways herself. She has a talent for finding missing things. By riding her bicycle over a magical covered bridge, she is transported to wherever it is she needs to be. It is only a matter of time before she crosses paths with Charlie Manx and the Wraith, though she proves somewhat more resourceful than the children Manx is accustomed to dealing with.
Years later, Manx is back with a vengeance, and Vic McQueen finds herself in need of the talent she has tried so hard to erase from her memory, this time to recover her son. Thus the battle between good and evil begins.
Hill’s prose sings, and the plot moves along at a blazing pace. This is a page-turner at heart. Everything boils down to the fact that Joe Hill is an excellent storyteller. He knows how to hook his reader from the first page and relentlessly builds tension throughout his tale. I feel it is a discredit to Hill’s talent to make the comparison, but NOS4A2 is reminiscent of King at his best. Constant Readers will feel right at home between the covers.
If you consider yourself a geek, NOS4A2 will welcome you with open arms. References involving Batman, Star Wars, Firefly, Jaws and plenty more are sprinkled throughout in heartfelt and touching ways that will leave you feeling nostalgic. He also gives nods to authors past and present including Ray Bradbury, Anton Chekhov, Ernest Hemingway, Stephen King, and others for readers to sniff out. Fans of Hill’s earlier works will find references on that front as well.
Where the novel really shines is in its characters. Charlie Manx makes for a truly terrifying villain. The Wraith accents him perfectly, acting as a living, thinking accomplice. Doors open on their own; locks bang into place, trapping unsuspecting victims; the radio constantly blares Christmas music regardless of the season. In many ways, the Wraith functions in much the same way as the 1958 Plymouth Fury did in Christine, and picturing the Rolls-Royce barreling out of a snowstorm that shouldn’t exist is downright menacing.
Vic McQueen offers a great counterbalance, winning the reader’s sympathy and respect. She comes off as a strong, independent heroine who is also flawed in all of the right ways. Her motivations, as with those of Charlie Manx, are complex and well thought out, pulling the reader close to consider each twist and turn alongside her.
Some of the greatest characters in the book are actually the secondary ones. It is not often that I find myself attached to characters to the degree I was to those in NOS4A2. From a librarian with a fish tank lined with scrabble tiles instead of rocks to a mechanic who uses a monster truck tire as a playpen for his child, there are so many small quirks in this book that one can’t help but smile at them as they go by. I found myself wishing I were friends with half the people I met while curled in my reading chair, and I am in awe of Hill’s ability to continuously populate his work with such interesting people.
At 692 pages, NOS4A2 is Hill’s longest work to date, but it holds up throughout its entirety, and readers can rest assured that they will be rewarded with a satisfying ending to wrap it all up. If you are a horror fan looking for a little Christmas-laced fear to chill your summer months, NOS4A2 is a must read. And if during the course of your reading you find yourself cruising down an unfamiliar snow-covered highway in the back of a classic car filled with Christmas music, just remember that you are on your way to someplace magical, a place you will never want to leave.