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Biblioholic Review: The Ritual

11 Jan

theritualWe launched into Adam Nevill’s The Ritual with reckless abandon. And sadly we were kind of let down.

Set in the near primordial Scandinavian wilderness, The Ritual follows a group of friends on a hiking holiday. Like Deliverance fused with dark pagan rites, The Ritual plunges the men into physical and mental peril fairly quickly by splashing the reader with the right amount of mood and gore.

Yet for some reason, the methodical, almost tedious wandering around the woods bogged down the book. Instead of building tension with each tread forward into the pine labyrinth we found The Ritual circling back over the same ground. Perhaps this was the intent, leaving the reader bewildered and lost in the woods as the soon-to-be victims. The characters were a mix of cliche unlikable and reluctant heroic. And the struggle against each other, as well as a possible demon in the woods worked…but…

We wanted a bit more kinetics with the story, for when the plot did change and the characters did fall away we found ourselves worn out by the slow build-up and not eager to see what happened next. And since we were left to wander with our imagination through some of the woodland ploddings, we found the plot twist at the end was pretty obvious and diminished in gravitas.

At 415 pages in paperback, The Ritual would have been a taut, cracker jack scary story of  backwoods pagan horrors by lopping off 100 pages. Instead, we felt like a cool short novel was stretched into something that diminished its impact. Horror should be like drinking liquor, served neat and not watered down. That only softens the punch.

Overall, The Ritual has flashes of creep and weirdness that please the reader, but the devices and stretching knocked it down a few pegs.

The Ritual by Adam Nevill was purchased for review by the Boston Book Bums.

Biblioholic Review: Jason Dark- Ghost Hunter: Demon’s Night

18 Oct

As readers on the edge of the digital age, we’ve felt that it may be time for the writers of novellas, short stories or dime novels to find new commercial success in bits and bytes. We’ve been introduced to one such writer, Guido Henkel author of the Jason Dark novella series.

The Dark series, about a paranormal investigator in Victorian England, runs ten installments and we’re just catching up on these snippets of action adventure. We have leaped into this monster chasing, demon battling story with Volume One, Demon’s Night.

Henkel take particular glee in setting up a scene, building the mood, ambience and richness of backgrounds. His London is one of punches of detail and runaway action.

The phantasmic cloud creeping through the alleys and docks of London in Demon’s Night evoke those primitive but supremely scary horror movies of the silent-era. The glowing, seeping evil haunts the story, setting a richness in tone beyond its minimal size. Disembodied eyes, unblinking, peering out from the mist is the kind of imagery that makes gothic pulp work. And Henkel does it well in Demon’s Night.

Deaths, mysterious and desiccating, reach out of the night and launch our hero into the fray. Henkel doesn’t mess around with too much extraneous. It’s about getting to the meat of the story, eat it fast or it’ll spoil.

Dark is a sort of quirky investigator, in the shape of Holmes or more appropriately Thomas Carnacki, seeking out occult danger wherever it rears its head. He studies the papers, watching for those odd keywords that suggest something other than common murder or property crime. Henkel’s Dark is brave, no-nonsense, dark and mysterious.

Henkel has a clean, quick writing style, uncomplicated and unpretentious. And Demon’s Night, like the serials of old, sets a break-neck pace from beginning to end.

As we race toward Halloween, we think that taking a chance on Jason Dark for some bites of horror adventure will pay off.

Jason Dark- Ghost Hunter: Demon’s Night was received free for review by Boston Book Bums

Backlist Review: At the Mountains of Madness

19 Apr

Recently we embarked on a H.P. Lovecraft re-reading spree, picking up a copy of Lovecraft Tales from The Library of America, edited by Peter Straub.

Instead of nibbling away at stories missed or re-read classics we went right for the novella nugget, At the Mountains of Madness. First serialized in 1936 in Amazing Stories, At the Mountains of Madness follows Miskatonic University professor William Dyer and his fellow Antarctic explorers.

The discovery of strange creatures and impossibly ancient structures beneath the southern ice cap begin the unraveling in ATMOM. Lovecraft’s skill and omnipresent sense of doom coaxes forward this first person tale of exploration and madness perfectly. Dyer is compelled by academic curiosity and honed scientific method, fed by Anglo-Saxon superiority, to search a labyrinth that questions reality and the history of Earth.

With each new passage, you feel ecstatic heights of discovery  only to be plunged into the physical and psychological descents of  ‘unspeakable horror.’

Lovecraft’s exploration writing brims with technological marvel, using radio reports to expound their exploratory virtues, hefty German built cargo planes flaunt our mastery of the air and amazing deep drilling equipment plunge a stake into the heart of Gaia.

Yet this exploration, this meager foisting of man’s intellect, pushes Dyer and the reader towards mysteries buried in the earth. That exploration reveals ancient horrors, that can be seen, smelled and heard, but prove to be impossible to quantify. Impossible to psychologically escape. It’s an interesting idea, using science to peel back the layers of callous divinity only to be replaced with a terror that science sees, but cannot rationalize.

What makes ATMOM so magnificent is that is successfully creates a bridge between occult and science fiction. It tears away the doom of gods unknown, replacing it with an ominous alien race with little regard for humanity. Yet, Lovecraft uses themes of overbearing divine wrath, coupled with horror mood, to create a truly unique work of fiction.

For many years The Call of Cthulhu has been a  Lovecratian favorite. But now, as few years older and more worldly, At the Mountains of Madness easily stands up as a Lovecraft great.

Stay tuned in the coming weeks at more reviews from the collected works of Lovecraft.

H.P. Lovecraft Tales, edited by Peter Straub, was purchased by Boston Book Bums

Biblioholic Review: Bitter Seeds

23 Jul

Bitter Seeds by Ian Tregillis rewrites the supernatural history of Europe in the years between the Spanish Civil War and the outbreak of World War II . Its trajectory follows the early years of the real war, but then as you read on, things start going a bit pear shaped, history is not moving in the line you’d expect. It’s because magic and the scientific occult are colliding.

And while this may be a continent spanning occult canvas, Bitter Seeds is a surprisingly intimate and human story, resulting in one of the best fantasy books of the year.

We spend vast amounts of time with our loathsome villains, the pyrokinetic-ESP-dematerializing soldiers of the Gotterelektrongruppe, Germany’s occult super weapons. Created in an occult incubator by a mad scientist truly worthy of the title. It is unusual to inhabit the world of the enemy as much as Tregillis does in Seeds, but we will address that later.

Giving the story a heart, in the midst of supernatural chaos and bloodletting, is Raybould Marsh:  Royal Navy spy, one part Cdr. Bond and another part overnight Carnaki.  He is action man. His life rises, falls and falls some more. You think you know what’s going to happen with the character, expecting some supernatural or Faustian bargain to give him his dream back. And yet it doesn’t materialize. Tregillis skips the obvious to go right for the gut. To dip the pen in bile and scribble down words that are dark and evil.

As we noted above, Bitter Seeds does spend a lot of time with Nazis and it might make some uncomfortable. While the Reich has replaced Romans as the perpetual bad-guys, we do think it worth noting how careful writers need to be when approaching cookie cutter villains like the Nazis. Tregillis does not diminish them, conjuring the optimistically ubiquitous ‘Good Nazi’ or write them off as caricatures. In fact the Nazis in Bitter Seeds seethe with evil, their utter inhumanity in the real world is doubled in the fantasy of Bitter Seeds.

Interestingly, in the name of King and Country, the British eventually unravel their own righteous moral blanket in order to save their nation, their supernatural realm. And as we rush to climax we understand how grotesque even our heroes have become to win at all costs. To win by staking the future of Albion’s sons and daughters.

Tregillis conjures strange phantasms, the Eidolons, beings whose intellectual curiosity for mankind is only aroused by a drop of human blood. These creatures are spoken to, or more like seek audience from, British warlocks that clandestinely serve the Crown. The Eidolon feel like classic fantasy constructs because they apparently are rooted in the dark works of Edgard Allen Poe and his poem Dreamland.

Poe’s poem reads like a drum beat for Bitter Seeds, “By a route obscure and lonely, Haunted by ill angels only, Where an Eidolon, named NIGHT, On a black throne reigns upright, I have wandered home but newly From this ultimate dim Thule.”

And yes, Tregillis incorporates the ever popular Thule Society into his world as well.

The language of these inter-dimensional Eidolon is Enochian, a truly British supernatural language press ganged into service for Bitter Seeds. Enochian you see was used by physican-mystic Dr. John Dee in the late 16th century as essentially a language used to commute with heaven’s angels.

Also, what makes Bitter Seeds good alternate history is the hammering use of weather as the great determiner of war. Outside of the combatants and their tables of organization and equipment, weather is sometimes the single largest force on a battlefield. Why this worked well is because in a way Tregillis picked up the reverse of the real world weather watchers of World War II.

It’s often said the greatest unsung heroes of WWII were meteorologists, especially those forecasters who’s opinions moved or halted the D-Day invasion, like the real-life forecaster Group Capt. James Stagg. So instead of watching the weather Tregillis’ most important players made the weather and helped reshape the face of World War II.

This book pulls no punches and loves its action by the fistful. Unlike many books of late, where style and flash overwhelm substantive characterization, Bitter Seeds delves in solid back stories and heart wrenching plot devices to get you invested. You groan when appropriate, gasp at others and stare wide eyed at the conclusion.

Bitter Seeds as a first book is unusually solid, if at times overly eager in exposition. If you liked movies such as Raiders of the Lost Ark or the installments of the Mignolaverse and the work of Harry Turtledove, then Bitter Seeds will surely please.

Bitter Seeds by Ian Tregillis was purchased for review by the Boston Book Bums.

B3: The Week That Was

27 Jun

We came out with a tentacle whipping crack this week with a review of China Mieville’s Kraken and ended with questions whether vampires and werewolves are still “monsters.”

Monday: China Mieville’s Kraken is an occult shell game, bursting with trippy slang, pop-culture riffs & tentacle like plot that twists to climax.

Tuesday: What the bloody umlat!? We wondered why Scandinavian crime fiction has suddenly become so popular? Considering how gentile they seem to us in the States, when did places like Sweden and Norway become hot beds of murderous writings?

Wednesday: Both Ways Is The Only Way I Want It by Maile Meloy is a collection of short stories are concise and deep, not something you often find together. Eleven stories in 232 pages that universally explore loneliness in all sorts of characters.

Thursday: It crossed our minds recently that vampires and monsters when we were growing up were monsters, something to be feared and hunted. Now, the fanged ones are hunky loners with blood lusts but hearts of gold. Are they still monsters to you?

Friday: We tackled the review of Metrophilias, a short story collection that tracked and delved into the nature of lust and desire in 36 stories spread through 36 cities.

Saturday: Sometimes you think you have an iron clad memory when it comes to books read as a kid. Well recently we were reminded of two foundation books that changed one readers life.

When Did Vampires & Werewolves Stop Being Monsters?

24 Jun

For the better part of twenty years vampires have been the seductive malcontents of the literary world. Starting with Ann Rice through the current Stephanie Meyer Twilight mania, the vampire emerged from the scrap heap of camp a vigorous and apparently immortally popular character.

Yes the raw lustiness associated with vampires throughout their literary history is undisputed, starting with the Gothic German poem Der Vampire of 1748, but the past decade vampires have been cooped by increasing numbers of authors: once raw and vicious creatures have been diluted and their fangs ground down slightly.

But we ask, at the end of the day, vampires are still monsters, right? And a recent addition to the primal pantheon , werewolves, have become hunky loners, due in large part to the popularity of  Twilight. But they too are monsters, right?

Oh, but some cry, ‘But at their heart they are men. Misunderstood, cursed men.’  It seems to us that they may be ‘men,’ they are still creatures that feast on human flesh and blood. Hard for some readers to get past, no matter how brooding or hunky they are portrayed.

The first vampire fiction is believed to be Der Vampire, an 18th century short poem featuring a male vampire visiting a devoutly Catholic woman every night, kissing her and drinking her blood. Later that same century Goethe’s The Bride of Corinth followed an undead woman as she rises from the grave each night.

From my grave to wander I am forc’d,
Still to seek The Good’s long-sever’d link,
Still to love the bridegroom I have lost,
And the life-blood of his heart to drink;
When his race is run,
I must hasten on,
And the young must ‘neath my vengeance sink.

Vampires have been dour and remorseless in their quest to slake their taste for human blood. Through time it’s natural to expect a character become less gore obsessed and more introspective, hoping for a redemption from their cursed life.

Werewolves have only more recently been depilatoried of their monstrosity. In literature, werewolves have been mainstays of animalistic evil since 61 CE the Satyricon, which includes a passage about a Roman soldier turned wolf by night. While later werewolves of fiction modified the basic cursed fiend, the origins were purely malevolent and flesh eating.

Irrefutably, werewolves and vampires have been sensual creatures since they began appearing in fiction. It seems to be those more sexual overtones (or undertones) that draw particularly women to the genre of vampire fiction, running the gamut from straight love stories to more complex supernatural trysts.

In writing about the werewolf and vampire genre, we wonder where gender plays a role if at all. Are men conditioned in society to look at the monster first and being second? Viewing those beasts as baneful threats to loved ones and to be stopped at all costs? Or, more deeply, are they threats to masculinity?

What do you think, are vampires and werewolves still just monsters? Or are their current incarnations acceptable variations on men first, monsters second?

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