Shock Totem #10 (Jan 2016)
- 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
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 3
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 2
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 1
- Splatterpunk #7
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Tag Archives: The Missing
As some of you may recall, I doled out a high-praising review of Sarah Langan’s Bram Stoker Award-winning second novel, The Missing. I knew it was a semi-sequel to her debut, The Keeper, but that had no bearing on my enjoyment of the novel.
Having recently found a copy of the debut, I excitedly went to work devouring it over a weekend. Upon its completion, I was shamed at waiting so long.
The Keeper tells the tragic tale of Bedford, Maine, a small town built on the back of a paper mill. The Mill, now closed, employed most of the townsfolk and paid for its existence. But as the story unfolds and its deeply textured characters are introduced, we find that this small town is quite unlike others. It is haunted. Haunted in a very unique way.
A thickly veined historical horror that begins when the town does and continues throbbing and festering until it culminates in the events chronicled in The Missing. I will not give away any details, other than to say this book is packed full of so many deeply disturbing visuals and delightfully surreal flourishes, that to call it a haunted-town story, or a nod to “Ancient Evil in a small town” books, would be a white lie, true at its basest level but highly inaccurate at the same time.
Recently, I was lucky enough to have the chance to ask Sarah a few questions and she was kind enough to answer them.
JB: First, Sarah, allow me to thank you for taking the time to grant this little interview. I will get the giddy fan boy stuff out of the way and say I love your work. LOVE, in all capitals. I read the first two out of order and it had no impact on my enjoyment of each; both are highly effective and greatly visual novels. I also read and enjoyed Audrey’s Door. That was actually the first book I bought of yours, solely on the fact that John Skipp told me to. Then, when I was interviewing Jack Ketchum, he dropped your name, and I decided I was missing out on someone special.
I was right.
Could you give us a short encapsulation of your work, what you have out there in addition to these three wonderful novels? What is on the horizon? Do you think you’ll revisit Bedford again?
I briefly met Sarah Langan at a convention this summer, and by “briefly met” I mean, I think I said “Hello” as I walked by. I’m a bit shy at times. I picked up this book after hearing wonderful praise for her most recent novel by revered authors like John Skipp and Jack Ketchum. I’m glad I did.
The Missing is a sequel to her debut novel, The Keeper, but is a fantastic standalone read. It concerns the haunting of a small town, in both the literal and figurative sense. A school field trip to a disaster site serves as the catalyst of darkly disturbing events. A troubled young boy strays from the group, only to awaken something malevolent and hungry that will not stop until it has consumed all. What the boy and the other affected do over the course of this book played back in my head for days upon completion. The infected and their “de-evolution” to an almost animal state, as well as the feedings, made me almost giddily jittery. This novel gave me a feeling I have not felt in a long long time while reading. It was a nostalgic vibe along the lines of what my teenage self would feel when a new Stephen King book dropped.
Langan’s prose is lean and smooth and carries an old-school tone, both intelligent and easy to read. Not to say it is simple, but that it is a classically constructed novel. The characters are brilliantly painted and the setting and events are well rendered. Above all of these other positive attributes, and most importantly, it is a scary book.
It has been widely documented that I have been a fan-boy of the mighty John Skipp since I was a teenager and I was loaned that paperback copy of The Light At The End. I have since read almost everything available from this twisted genius. Reading a John Skipp book, solo or collaboration, is usually like having a conversation with a hyperactive savant, a “Rain Man” raised on monster movies and Rock & Roll. The latest collaboration, Spore, once again with evil cohort Cody Goodfellow, is well up that twisted razor-edged bar.
Spore tells the surrealy bizarre tale of a nice young couple, Rory and Trixie, hip deep in love and trying to forget their troubled pasts. A wild turn of events finds them up to their necks in an adrenaline drenched horror show. A sentient fungal entity has rooted itself beneath the city of Los Angeles. It works itself into the drug supply, mixing its spores in with the cocaine that is oh-so-readily available. The spores infest the brain and eventually drive the infected to acts of barbarism and savagery.
While some of the characters seem to be more caricatures, it plays out smoothly and is an over-the-top festival of fun. Jaw-dropping images are a main staple of this tale, some of which will no doubt haunt you for a long time to come. It’s a Hollywood zombie apocalypse as only these cats could write. It’s the slam-dancing progeny of The Stuff and Scarface. But more important than all of that, it made me fucking smile.
The Loving Dead was another recommended read. Skipp touts this novel quite a bit, and I usually listen to whatever he tells me (I know, I know!). Amelia Beamer gives us a zombie novel that is not about zombies much at all. It is a stark portrait of the real monsters. It’s about us. People, with their dishonest nature and skeevy motives, even in the face of a major crisis and looming danger, we can’t get our heads out of our asses, our minds out of each others pants and just get down and be “real” with each other.
Kate and Michael are housemates. They also have a thing for each other, one of those mutual-but-held-down-so-tight-that-no-move-has-ever-been-made sort of things. The story begins with Kate saving her belly-dance instructor from a feral derelict. She takes her home where there is a party in full swing. Things happen, people get naked…and a zombie virus rears its ugly head. Zombie virus…as in STD. The only apparent warning symptom being horny moaning followed by a breathy “something’s happening,” after which it’s all milky eyes, cannibalism…and fucking. Lots and lots of fucking.
The shuffling nympho-dead are more of a set piece than anything in this novel. The skeleton of this book is about people and how they interact, how we interact. We are selfish and distrusting as well as untrustworthy. The characters are honest and scarred…and scared. Sympathetic and not entirely likeable. This is what made this such a compelling work.
If the fate of the free world hung from your shoulders would you shrug or bear it as long as you could, and would you still find time for a quickie in the restroom?