I discovered Adam Nevill this year, a horror writer not afraid of using more than a few words from the dictionary. I’ve read two of his books: The Ritual (back in March), and Banquet of the Damned (in June). The Ritual is a book of two halves. I so wanted to give it 5 stars, but I preferred the first half of the book to the second, and, although I’m unsure what might have been a better conclusion, the end felt a little abrupt. What I love about this book is the atmosphere the author creates capturing my interest in a way many books of this type have failed and making him an author I want to read regularly. I imagine some readers may like to know the characters a tad more—that occurred to me on some level—but in a horror story it’s not always necessary to know these men are little more than regular guys doing their best to get by in their average lives and who don’t deserve the situation thrust upon them. A wonderfully atmospheric lost in the woods horror story.
For Banquet of the Damned, I easily understand why this book receives mixed reviews, and it’s purely owing to stylistic preference. I sank into a rich vocabulary and longer sentences so often lacking in modern fiction. I don’t want to use the term literary as it carries an unfortunate modern-day connotation of dusty libraries and mildewed books written by notaries of a by-gone age (a sad view of the classics that were part of my childhood reading and nowadays occasionally termed ‘too difficult’). This definitely isn’t that, but one can say this book is a more stylish horror. Another way to describe it: I can imagine a few editors returning the manuscript circling the occasional sentence as purple prose. Thank goodness the publisher ignored them if they did. The carefully chosen style to weaves a delightfully successful spell on any reader able to appreciate the opulent seductive description spiced with the ‘creep’ factor; the sense that something is coming and might be present on the next turn of a page. This seems to be where Adam Nevill excels.
The Night Clock, Paul Meloy. First, I have to say I like this book. I need to say so because it may not be obvious. Paul Meloy’s imagination packs a punch. Unfortunately, the story is vastly superior to its execution. On a purely grammatical basis there are so many instances of ‘it, was, and were’ sentences to bog the story and make it drag. I took way too long to finish this. The book suffers too much tell instead of show (too many instances of the type such as ‘he was standing’ required the simple improvement of ‘stood’), and I’m unsure if the writer has any real understanding of tenses or tried to be artistic in the use. Again, I can see a few people complaining over the ‘purple prose’, though that doesn’t always bother me if used well. There’s a greater book here and fantastic ideas that sadly do not gel in this length of a novel. I wanted to know more of the characters and to care for them. The various threads read more as perplexing even unnecessary tangents though mostly draw together, but left me feeling the narrative strove to be clever instead of engaging. Instead, the promised level of threat never manifests and I didn’t much care whether anyone survived by the conclusion. Which is a pity, as this visionary setting promised much and had me enthralled. I love the overlapping story threads and blending of genres.
The Bazaar of Bad Dreams, by Stephen King, proves what I’ve always said, that King is labelled wrongly as a horror writer. He’s a storyteller. I can see where this collection may be labelled as self-indulgent but then, as a storyteller, he no doubt wants to share these tales and has earned some forbearance. Not that there’s no other reason to read this collection. I liked it. I didn’t adore it, but a number of stories I liked more than others, a few I loved, and there were none I hated so I’ve given the book 4 stars where I might prefer to give it 3.5. Short story collections are books I dip in and out of and often take me weeks, even months, to complete, while I soar through novels; but I found King’s writing so familiar and familiarly ‘comfortable’, I finished the book off without setting it aside. A portion of these stories are a tad silly, others fun, some questioning…I won’t say any are scary but then I’m seldom scared by King’s work, by anyone’s, so I’m not singling him out in that regard. As a ‘constant reader’ adding this to my bookshelves was a no-brainer and while it’s not the best of his work, I wasn’t disappointed.
I contracted the re-release of A Not So Hollow Heart with JMS Books, this version edited and lengthened. The only real complaint I had from critics was that they wished it were longer…so now it is where I felt it needed it, though I’m uncertain it’s a length to satisfy readers. Yes, there’s always more to fledge out, to explore characters deeper, but there’s a point where all the information needed to ‘tell the tale’ is on the page. I’ve tried to deepen characterisation.
I’ve also been contacted to work on another project…I can only say ‘sci-fi’ related, but there’s no way I can know if anything will come of that at this point. Had a bad feel moment when doing research for a disaster, natural or otherwise, where people died. Had a ‘not enough casualties for my purposes’ moment. I’m not a terrible person, just a writer, honest.
Speaking of writing…when a reviewer drops in words like ‘rips you up’ and ‘grab a box of tissues’ I know I’ve done something right. A jaw drop moment for Flowers for the Gardener. I put much thought into this book and the reviewer is spot on that I wanted to show life is short and what comes from poor communication and assumptions, which is what many arguments (particularly those between family and friends) are. The reader is crying and I’m left smiling. Such is the life of a writer.