Six unlikely but doughty kids encounter the trail of a colossal and terrible paranormal darkness that has entered our existence from the outer limits of shadow. They have no choice but to devote their lives confronting it, facing horror after horror in the process.
This describes the premise, in essence, of the master of horror’s novel It (arguably his finest; no debate). It similarly frames of King’s son Joe Hill’s new chilling tome, in which a band of six invoke the primordial, infinitely malicious serpent the Sorrowful Monarch from the Long Dark to assist them in vanquishing some antagonists. Unsurprisingly, their otherworldly invocation backfires.
The author began his writing journey going to great lengths to remain separate from his well-known dad, publishing under the pen name he still uses today and eschewing in-person meetings with his agent (he exhibits a striking resemblance to his parent). But in this latest novel, he embraces it. Several quotes that deliberately echo some of King’s most famous (the famous Dark Tower introduction); a incident that recalls a King plot point (a game of puzzles). In this epic story, the author rejoices in his lineage, and we delight along with him.
Back to those friends: most are pupils at the made-up this academic setting in this northeastern locale. First is Arthur, studious and gifted, deciphering ancient puzzles in his free moments; the character Colin, wealthy, sharp, and known for crushing obstacles in his path; Donna and Donovan; the attractive Allie herself. And there’s Gwen, who remains outside their academic circle, but emerges as crucial of their group as they toy, partly convinced, half not, in arcane arts.
Arthur is, for reasons we don’t need to go into, compelled to pilfer prized manuscripts from his beloved college library by a set of regional villains. This tears at his bookish heart, particularly as he’s made to take the collection’s foremost and disturbing publication: the diary of practitioner Enoch Crane (executed “for trafficking with the devyll in 1703”; the binding is fashioned from his hide). The intrepid group read the journal, realize they are able to call forth what the occultist details as a cunning serpent to help Arthur out with his extortion dilemma – and occupy the subsequent narrative enduring the repercussions. The dragon will undoubtedly remove those annoying regional antagonists, but they are required to pick a different victim annually or become his victim themselves. As our protagonist states: “You invoke terrible forces, all you get is additional horrors.”
Covering a generation, the author shifts with natural fluency through various literary forms: as the allies endeavor to address the circumstances they find themselves in by, variously, choosing undeniably wicked targets to immolate, or searching for methods to kill the dragon themselves, we go from thriller to shadowy tale, covert operations to romance to terror. A standout transition was to a quest story, far beneath the surface beneath this UK region, a segment tinged by JRR Tolkien that was magnificently horrifying.
We encounter trolls – the classic variety and digital trolls, properly scary and perfectly brought to life. We see enchanted blades and deceptions, breath-taking moments of courage and instances of appalling malevolence, both mortal and supernatural. It’s a tour de force: a horror novel that is chiefly a tribute to the human inventiveness, and to affection and camaraderie. “We required a narrative to trust and {now we’ve got one|presently we possess it|currently we hold it,” says this character as the friends sit around the table, getting ready to invoke their dragon into existence with the power of their thoughts.
According to Joe Hill in his introductory quote: “This is dragon territory”. Do not overlook this.
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