Fiction Addict

Genre: Classic s Revisited

Publisher:  Quirk Classics

Publication Date:  March 2010

Reviewed by Jennifer Roman

In a take on the classic Pride and Prejudice, Hockensmith takes a leap from the original Bennet saga and turns the privileged family into zombie-killing warriors.  While the proper Mrs. Bennet fusses and frets, Mr. Bennet transforms his five daughters from silly, socialite girls into nunchuk-wielding, sword-bearing, killing machines.

At a local man’s funeral, the girls notice that the “deceased” is actually coming back to life as a zombie.  Their father rushes to the front of the church and cuts off the “dreadful’s” head before he can do more harm, but this change from dead to undead announces the coming of many more undead.  Knowing what the future holds, Oscar Bennet enlists the help of his five daughters: Elizabeth, Jane, Kitty, Mary, and Lydia.  He also summons help from the King’s Army, which arrives just in time to train for the battle of its life.  The ensuing training and killing are actually quite hilarious.  In one scene, the girls awaken in the middle of the night because they hear a noise.  Thinking it is a zombie, they rush down the hall just in time to catch their mother trying to enter their father’s bedchamber for a romantic interlude.  After realizing what they interrupted, they are more mortified than if they HAD seen a zombie.

There are some parallels to the original Pride and Prejudice, but the changes turn the once-classic into a campy romp of fun and hilarity.  While keeping some of the same style of language, Hockensmith manages to update the text and make it a pleasant, quick read.  The reader gets to see the English propriety as somewhat silly and frivolous: Mrs. Bennet and her “high society” friends get into a disagreement over the girls’ training.  There is to be a ball, and it is Elizabeth’s début.  Because of her “scandalous” training, however, the hostess of the ball refuses to invite her.

Pride and Prejudice and Zombies: Dawn of the Dreadfuls is innocuous for just about any reader.  Keeping with English propriety, there is no foul language.  In fact, the girls are not allowed to say the word “zombie” because it is improper.  Instead they call them “the Zed word.”  There are allusions to sex, but only in the vaguest form.  There are descriptions of beheading and the cutting off of limbs, but not in a grisly, raw manner.  Even those with the weakest of stomachs should be able to handle that.

Hockensmith manages to combine the old with the new in PP&Z with wit and humor.  He makes fun of late 1800s English propriety and throws in some political satire as well.  The story is quirky and fun, and most of all, an easy read.  Those looking for some fun and humor should enjoy this off-the-wall tale.

Genre: Horror

Publisher: St. Martin’s Press

Publication date: February 2009

Reviewed by Jeremy Taylor

Without warning, ordinary people suddenly turn into violent lunatics, attacking strangers, friends, and even family members. No one knows the cause, and no one can predict who will be afflicted next. A major city is effectively shut down as people cower behind locked doors, fearful of their spouses and children. Finally the government steps in, rounding up the “Haters” and carting them off somewhere to be dealt with. It seems humanity’s only hope is to eradicate the horrific violence, and the only way to do that is to get rid of the offenders. The only problem is, it’s impossible to determine who will turn next—or when.

Does any of this sound familiar? It should. Zombie stories have made an astonishing comeback in popular culture, and while Hater isn’t exactly a zombie book (the Haters aren’t zombies, they just act like them), it certainly resembles one. Regular people turning on their friends and neighbors? Check. A viral spread of violence through the population? Check. Plenty of blood, guts, and gore? Check, check, check.

These days, a zombie story (or even a zombie-like story) needs to have something that makes it stand out from the crowd. Seth Grahame-Smith’s books have the connection with classic literature and historic figures. Max Brooks has the nonfiction feel. Stephen King’s Cell had the author’s name. So what does Hater have that makes it worth reading?

Actually it has two things. One is the brilliantly realistic picture of everyday life David Moody paints before the violence begins. Readers will readily identify with the snapshots of the hero’s everyman existence: the unreasonable boss, the boring job, the loving but needy family, the stress of providing for three kids, the understated but very real desire to somehow find something better. The contrast between this utterly recognizable tableau and the brief interjections showing the violence beginning to take place around the city is stark and sets up the primary conflict nicely.

The second thing that makes Hater worth reading is an interesting point-of-view shift toward the end of the book. The first-person narrative, formerly describing the efforts of the “Unchanged” to avoid the violent Haters, becomes a description of a new world from the point of view of someone who has become a Hater himself. This provides for an interesting question: who are the real haters—those committing violence for reasons they themselves don’t fully understand, or the Unchanged, doing everything they can to wipe out those they fear and loath?

Fast-paced, interesting, and well-written, Hater is worth a look for zombie fans eager for a new twist on a familiar genre.

Review copy provided by St. Martin’s Press.

Genre: Horror

Publisher: Del Rey

Publication Date: October 2009

Reviewed by Jake Chism

Scott Mast has returned to his New Hampshire home to bury his father. Scott’s family has always been anything but functional, and it’s hard for him to be back. Granted, all that is waiting in Seattle is a going nowhere writing career, but nevertheless home is as un-sweet as he remembers.

Before leaving town, Scott happens upon an old manuscript that his father had started. Scott never knew his father wrote anything, much less an odd ghost story that has a familiar feel to it. Soon Scott is led to an old abandoned house outside of town, where he comes face to face with a terrifying past that reveals secrets about his family and his hometown. Unable to will himself to leave, Scott moves into the old house and sets out to finish the manuscript his father began. The story has become his obsession, and his obsession might just kill him.

Joe Schreiber recently made a huge splash in the Star Wars universe with the first SW horror novel, Death Troopers. With No Doors, No Windows he goes back to his roots with a more traditional horror tale that is absolutely impossible to put down.

Schreiber’s prose leaps off the page as he paints intoxicating word pictures throughout, dropping us right into the story as if it were happening all around us. Horror, drama, suspense, and mystery are effectively melded together to keep the pages flying and the reader guessing. Each character is fleshed out perfectly as secrets are exposed and fears realized. If you love scary, then there is plenty here to satisfy even the most hardcore horror fan. At the same time, amidst all of the darkness and turmoil there is a sliver of light that comes shining through offering hope when all seems lost.

Fair warning here: this is a dark, disturbing read. The story is laced with strong language and sexual content, but Schreiber somehow manages to keep the mature themes relevant to the plot without going overboard. If you like your stories light and fluffy, by no means is the book for you. But if you are on the prowl for a horror story with depth, then No Doors, No Windows is right up your alley.

Review copy provided by Del Rey Books.

Genre: Horror

Publisher: Dutton

Released: October 2009

Reviewed by Jonathan Schindler

Bram Stoker’s Dracula, published in 1897, is a staple in the horror genre. It shows surprising restraint for a horror novel, with the bulk of the action and violence taking place “off-stage” and with letters, telegrams, journal entries, and public documents mitigating the gore and narrating the action. Dracula: The Un-Dead, the authorized sequel by Bram’s great-grandnephew Dacre Stoker and screenwriter Ian Holt, deviates from Bram’s novel, chronicling in gory detail the trail of violence that naturally follows in the wake of a vampire. Unfortunately, it breaks from Bram’s novel in more than just storytelling method and provides a revisionist account that falls far short of what it seeks to revise.

Dracula: The Un-Dead takes place twenty-five years after Bram Stoker’s Dracula ended. When we last saw the “band of heroes,” they watched as Dracula went up in smoke, thus ending their adventure together. When we find them at the start of Dracula: The Un-Dead, they all in some way bear the mark of their encounter with the enemy, and doubt is cast on their status as heroes. Dr. Seward is dismissed as a madman and a morphine addict. Jonathan Harker is an alcoholic. Arthur Holmwood has withdrawn into his persona as Lord Godalming. Dr. Van Helsing is pursued as a possible Jack the Ripper. Mina Harker, affected by Dracula’s bite, hasn’t aged a day since his death.

Things don’t look good in the heroes’ personal lives, but something far worse begins to happen. One by one, they are hunted down in a manner befitting Dracula. Has their old foe returned for revenge? Or is there a new evil bent on their destruction? And this isn’t their only worry. Young Quincey Harker, Jonathan and Mina’s son, has run away from home to pursue his dream as an actor, under the tutelage of the mysterious Romanian actor Basarab, and he finds himself entangled in a production that hits a little close to home—Bram Stoker’s Dracula.

The plot of Dracula: The Un-Dead seems to be interesting and clever enough. It seeks to be historical, drawing in details from Bram Stoker’s life (Bram appears as a character in the book), the Jack the Ripper murders, the sailing of the Titanic, and other timely events. But while its setting may be historical, imported into this gothic environment are all kinds of modern ideas and sensibilities. It’s like the Jonas Brothers showing up in a period piece. Even if they’re wearing period garb, you know they don’t belong.

Most egregious of these snuck-in modern sensibilities is the antagonistic stance the novel takes toward Christianity (and not just the evil character at the center of the book). Each character who claims Christian status, no matter how minor, is deconstructed and cast aside. While such deconstruction may be merited if the stereotype is further explored, Stoker and Holt seem content using stock characters and images. In Bram’s original story, the only symbols able to overcome Dracula were those of Christianity. In Dracula: The Un-Dead, Christian symbols are no longer effective and Jack Seward even dangles the symbols of every religion known to man to try to ward off his foe, which seems to reflect a modern pluralism rather than Bram’s original Gothic setting. The dialogue in many places also seems anachronistic, including bits recorded almost verbatim from soap operas and Star Wars.

In addition to the wrong “feel” of the book, I was also almost offended on behalf of Bram Stoker. That this sequel was given the Stoker family’s imprimatur is baffling, considering how far it goes to reject Bram’s original vision and the unflattering picture it paints of Bram himself. Bram is a cowardly, bitter hack, who copies down what he overhears at a pub. He is sniveling and controlling, and one is almost glad when he is removed from the book. The revisions made for this sequel are justified on the basis of the “inconsistencies” in Bram’s original account. However, the revisions completely set aside the original book, not just those sections deemed inconsistent. It’s as if the sequel guts Bram’s book, taking only what it likes (vampires, gore, and Freudian innuendo) and casts everything else off as worthless. The new picture of Dracula painted by this sequel is nowhere near Bram’s Dracula. Instead of being an evil force that deserves to be hunted and killed, the perpetual damned incapable of good, Dracula is recast as a brooding lover—the Heathcliff/Mr. Darcy/Edward Cullen type—who pines for his lost Mina and is practically sainted by book’s end. (This, however, fails to take into account Jonathan Harker’s terror-stricken journal that begins Dracula, unless this, too, is to be attributed to Bram’s incoherent ravings.) Dracula: The Un-Dead is also far more graphic than the original, both sexually and violently. That Bram achieved an atmosphere of terror with far less of this is to his credit.

Dracula: The Un-Dead is billed as a sequel but is more of an entirely new account. While the premise and the way the accounts are woven together are novel and clever, fans of the original are better served by rereading Bram’s version. It’s shorter, better, and far scarier.

Genre: Horror

Publisher: Three Rivers Press

Publication date: October 2009

Reviewed by Jeremy Taylor

This well-written werewolf novel from horror writer David Wellington delivers a welcome twist on an increasingly familiar genre. In a market seemingly saturated with vampires and lycanthropes, Wellington, rather than sticking with a formulaic approach, presents an engrossing story about the life of a recently “turned” werewolf—from the werewolf’s perspective.

Cheyenne Clark is on her own in the frozen wilderness of the Canadian Northwest Territories when a flash flood sweeps away most of her gear. With no human settlements for dozens of miles in any direction, her situation is desperate, and it becomes more so when she is chased up a tree by a strangely aggressive wolf with icy green eyes. Though she escapes with her life, her leg is badly gouged by the wolf’s claws. In the morning, the wolf is gone.

The rest of the story is an interesting blend of standard werewolf lore and less conventional story elements. Naturally, the wolf that chased and injured Cheyenne was a werewolf, so naturally, she becomes one too. Pretty basic. What’s not so basic is the love/hate relationship Cheyenne develops with her wolf side as well as with the werewolf who turned her. As Cheyenne learns to live with her curse and the unexpected abilities that come with it, she must face the demons of her past as well as the uncertainty of her future.

As a werewolf tale, the book’s intrigue is marred by the fact that it simply isn’t very scary. It focuses on the relationship between the werewolf and herself rather than on the traditional horror-movie conflict between werewolves and people. While this provides some interest and depth, it ultimately limits the book’s appeal. There’s little in the story that compels the reader to find out what happens next.

Surprising (and not unwelcome) for a book in this genre is the scarcity of gratuitous violence and gore. If the author had managed to utilize effective storytelling to add tension to the story without resorting to the blood-and-guts imagery so prevalent in similar books, Frostbite could have been a terrific addition to the ever-growing library of werewolf stories.

Even with its weaknesses, the book is entertaining and downright thought-provoking at times. Lycanthropy aficionados will appreciate the relational elements of the story. But horror fans looking for a leave-the-lights-on-after-dark werewolf thrill-fest may be disappointed.

Genre: Science Fiction, Horror

Publisher: Scribner

Publication Date: November 10th, 2009

Reviewed by Jeremy Taylor

Stephen King, no novice at penning lengthy tomes, turns in another 1,000-plus-page behemoth with Under the Dome, a book he started writing in 1976 but abandoned for more than three decades. More than 30 years later, with one of the most remarkable literary careers in history under his belt, he tackled the project again, this time completing a story that plumbs the depths of human wickedness.

The town of Chester’s Mill, Maine, is a pretty typical-seeming smallish New England community. It has a diner, a used car dealership, a couple of churches, a supermarket, a newspaper, and a religious radio station. Most of its 2,000 or so residents are good, honest people who genuinely care for each other and for their town.

The scene changes abruptly when a mysterious and invisible barrier materializes out of nowhere, completely cutting the town off from the rest of the world. Within minutes, the death toll begins to rise. A plane smashes into the barrier followed by a number of cars. As scientists and government and military officials scramble to find a way to break through the barrier, those inside the dome have to quickly adjust to their new reality. And with Stephen King manning the controls, it’s just a matter of time before that reality turns sinister.

Within days, Chester’s Mill turns into a depressing cauldron of murder, corruption, conspiracy, and increasing fear. The town’s police fall under the control of a vicious town selectman with dictatorial ambitions. Resources are seized. Vocal dissenters are jailed—or worse. Soon the air quality inside the dome begins to change. Illnesses increase. Children begin to have seizures and frightening visions. Fear leads to anger, and people start to do things they wouldn’t have dreamed of just days earlier. As tension mounts, the stage is set for a final cataclysmic showdown between those who will stop at nothing to enforce their agenda for the town and those who believe the town’s increasingly dangerous leaders must be stopped at any cost.

On some levels, Under the Dome is almost allegorical. The town’s blossoming dictatorship is reminiscent of Nazi Germany or Soviet Russia, with a charismatic leader ruling by force, police who operate outside the law, and “police solidarity” armbands for citizens. The worsening environment inside the dome could be a picture of climate change. The fact that the villains are all right-wing fundamentalist Christians (extremely hypocritical Christians at that) is probably a statement of some sort, and there are a few references to Fallujah that some might see as antimilitary. In any case, whether or not the author intended to send a message through the story, the book absolutely illustrates the tendency of power to corrupt and the inherent wickedness of the human heart.

Under the Dome is not an easy book to read, and not only because of its size. Readers familiar with King’s work will be unsurprised to find foul language and sexual content, some of it disturbing (most notably a gang rape scene and hints of necrophilia). There’s plenty of violence, quite a bit of drug use, and lots of examples (very nearly too many, in fact) of people treating each other in all kinds of horrible ways. Though the dome is the reason the townspeople are in their predicament, the real conflict in the book is not people vs. the dome but people vs. each other. This book could just as easily have been titled The Worst-Case Scenario because on page after page, just when it seems the forces of good might be about to catch a break, King pulls the rug out from under them yet again. There’s very little in the way of a redemptive message.

Yet all this is offset by King’s trademark brilliance in character development and plot pacing, and much of the prose is beautifully crafted. King utilizes an antiquated but effective technique in his narration, slipping into present tense and addressing the reader directly at times to draw attention to a particular item of interest in a scene or to explicitly foreshadow some coming tragedy. Careful readers will find a few references to other Stephen King books peppered throughout.

When he wants to, Stephen King is capable of writing stunningly beautiful stories championing the human spirit in the face of extreme adversity (Duma Key is an example). Under the Dome is not such a book. This is a story about human ugliness, and it’s all the more uncomfortable because it rings true. Even so, the brilliance of King’s writing is evident on every one of the 1,074 pages. Fair warning: don’t start this book unless you have some time on your hands. Uncomfortable though the book may be, it’s compelling and suspenseful, and once you start reading, it quickly becomes very difficult to put down.

Genre: Horror

Publisher: Thomas Dunne Books/St. Martin’s Press

Publication Date: September 2009

Reviewed by Jaci Miller

Mix Children of the Corn with The Sixth Sense and Monsters, Inc., and you’ll encounter a brew that remotely resembles John Dies at the End by David Wong (or Jason Pargin, as he goes by in our particular dimension).

David and his phallic-obsessed buddy, John, are bumming their way through life, working meaningless jobs and screwing around. Until they encounter “The Soy Sauce.” The Sauce, a supernatural drug, opens their eyes to other worlds that are infiltrating our own. But the stranger their lives become, the greater the danger David and John face. Soon, they encounter a much larger problem than mere meat monsters and skin-burrowing flies.

Wong blends horror and suspense with comedy—a tricky combination—and pulls it off effortlessly. The book is a long one, with a challenging plot line that requires patience. But the unique characterizations and plot twists reward that patience. Wong uses a fascinating voice: part manic, part stream of consciousness, with a hint of Salinger and a touch of smart-ass. The result? The reader feels like he’s entered a world of madness along with the characters and must fight through this world with them.

While I didn’t always fully understand what was happening or why, Wong kept me engaged; I kept turning pages to find the answers. However, the book deserved a more succinct ending a few pages sooner. Vulgarity and graphic images—which I would have preferred in less abundance—pepper the book, but stylistically, they fit with the slacker characterizations Wong has created, as well as the horror genre.

John Dies at the End is an unusual read that spawned a cult following in its early, online days. More recently, fans can look forward to a film coming in 2010.

Genre: Sci-Fi, Horror

Publisher: Del Rey

Publication Date: October 2009

Reviewed by Jake Chism

The Imperial prison barge Purge is home to the galaxy’s most dangerous criminals and wayward vagabonds. When the ship breaks down their only choice is to board a Star Destroyer in search of help. At first glance it seems the massive ship is completely deserted, but soon the crew from the Purge discovers a nightmare on board that is far more dangerous than the inmates in their charge. Death is coming and it will leave no prisoners.

Joe Schreiber storms onto the Star Wars scene with a welcome breath of fresh air. The idea of a Star Wars horror novel seems incredibly gimmicky upon first consideration, but I was blown away by the story telling prowess of Schreiber. On the sci-fi side of things fans will be more than satisfied with the familiar SW feel, including an awesome cameo that will have die hard fans foaming at the mouth. Not a Star Wars fan? Never fear. This novel can be enjoyed by anyone, even if you’ve never seen the films.

Schreiber is known as a horror writer and he holds nothing back as he effortlessly brings “scary” to the Expanded Universe. The fast paced plot is full of tension, action, suspense, and gory scene after gory scene. With such chapter titles as “Lung Windows” and “Skin Hill”, you know you are in for quite a disturbing, yet thrilling ride.

Horror and gore aside, what really makes this story work are the characters. There was much more “heart” in these characters than I expected and I found myself rooting for them all along the way. Finally…another Star Wars novel that delivers like the Original Trilogy, giving us a reason to love our heroes.

I am now officially a Joe Schreiber fan and I look forward to devouring his previous novels. Schreiber is slated for another Star Wars horror novel next year and I can’t wait to see what he brings to the table again. I sure hope the rest of the EU is paying attention because this is Star Wars storytelling at its highest level.

Genre: Horror

Publisher: William Morrow

Publication date: June 2, 2009

Reviewed by Jeremy Taylor

A plane touches down at JFK International Airport in New York, taxis for a few hundred yards, and then inexplicably comes to a halt and shuts down. All attempts to communicate with the pilots or anyone else on board fail. Finally a security agent enters the plane, only to find it full of corpses. The cause of death is a mystery; no trace of poisonous gas, toxins, or biological agents of any kind can be found on the plane. The only similarity between the victims is the tiny puncture in each of their necks.

The mystery deepens as the investigation continues. Strangely, none of the corpses seem to be decomposing. A mortician working late hears a loud noise from inside the cooler where the bodies have been stored. The next morning all the bodies are gone. The mortician is nowhere to be found.

This is the chilling scenario created by award-winning filmmaker Guillermo del Toro and veteran author Chuck Hogan in their first joint effort, The Strain, the first of a three-book series about a horrible vampire-creating virus unleashed upon New York City. The authors paint a gritty, realistic picture of an outbreak of vampirism, including a fascinating look at the biological changes occurring within those who have been “turned” as well as governmental response and public reaction to the crisis. The cast of characters includes the CDC agent tasked with investigating the mysterious plane deaths, an old Romanian who has been waiting in fear for this moment for decades, and a shadowy billionaire who seems intent on ensuring that the evil unfolding in the darkness of the New York night will prevail.

As vampire stories go, The Strain is excellent. Thrilling, frightening, and well-written with great character depth, a familiar setting, and realistic plot lines, the book succeeds wonderfully in doing exactly what stories like this are meant to do—remind us that no matter how civilized and sophisticated we are, there’s still something deep inside us that’s scared of the dark. A word of caution—these are not the romanticized, young-adult vampires of the Twilight series, and they’re not the smooth-talking vampires of Bram Stoker or Anne Rice. Hogan and del Toro’s creatures are an altogether different breed. The book contains lots of violence, some language, and some genuinely frightening scenes. This book is by no means for everyone. But fans of the horror genre will appreciate the realism and suspense the authors inject into the plot.

If the idea of watching movies like I Am Legend and Dawn of the Dead makes you cringe or turn away in disdain or disgust, you’d better leave this book on the shelf. But readers who enjoy good old-fashioned vampire fiction will love this book.

Genre: Suspense, Horror

Publisher: Realms

Publication Date: March 2009

Tim George’s Review:

Mike Dellosso stretches his writing wings in his sophomore tale of suspense, Scream. Offering the same intensity and smart pacing as his debut novel, The Hunted, Mike offers even better character studies in both his hero, Mark Stone and Stone’s protagonist, aptly named Judge.

Mark Stone is a hero with problems. His marriage is on the rocks and it’s his fault. What went wrong is doled out in little slices along the way but the hope of seeing things made right seems futile almost from the beginning. As though that isn’t enough to distract a man, Stone has even bigger problems. On several occasions he is talking to various people on the phone only to have the conversation interrupted by unworldly, you guessed it, screams. When he finds those he was talking with dead, our hero knows he is being plunged into a world he had believed to be behind him.

In spite of his disillusionment with the church, Mark Stone is left with nowhere to turn for answers for the hellish screams and resulting deaths except ministers. His conversations with these “men of God” reveal how little some who claim to believe in the spiritual actually do. While Stone is tempted to discount one minister’s explanation, the stakes are raised when a conversation with his estranged wife is interrupted by similar nightmarish sounds. This sets the stage for his ultimate confrontation with the reality of evil and grace.

Dellosso does an excellent job of painting the portrait of the man we know as Judge. This is no two-dimensional villain but rather a complicated man that has experienced deep tragedy in his own life. His misdirected thirst for justice has prompted him to open the door of his heart to a darkness that offers only one horrible option to satisfy that thirst. Time is taken to thoroughly develop the nature of Judge before he and Mark Stone are brought together.

In typical Dellosso style, the story begins fast and races toward its dramatic conclusion from one chapter to the next. In spite of its weighty subject matter it does it with style and suspense. It’s one scream of a ride.

Jake Chism’s Review:

Mark Stone never thought one phone call would turn his world upside down. While driving home one night he receives a call from his friend that is interrupted by a series of horrendous and piercing screams. Immediately after the screams his friend dies in a horrible car accident. As Mark searches for answers, he unwittingly finds himself involved in more similar incidents that lead to more horrible deaths. Things become even more personal when his wife is kidnapped by a madman and the same eerie screams are heard over her desperate phone call for help. Now Mark is in a race against time and evil as he desperately tries to find his wife before he loses her once and for all.

Mike Dellosso has once again brought us an engaging thriller full of gut-wrenching suspense and strong spiritual truth. In his impressive debut, The Hunted, Dellosso stormed onto the scene proving he has what it takes to scare the wits out of his audience while at the same time delivering a challenging and relevant message. Scream ups the ante on all levels bringing us even more terror, more suspense, and ultimately more heart.

Mark Stone is a fallible, yet endearing character that you can’t help but pull for from the opening chapter. His resilient search for truth and meaning provides the perfect backdrop for this incredibly creepy premise. Mark’s struggles as a husband are also effectively explored throughout and help to bring more depth to this intense thrill ride.

There is much controversy surrounding the mix of the horror genre with inspirational fiction. I’m thrilled to see that authors like Mike Dellosso are consistently churning out novels that prove how powerful this type of storytelling can be. Indeed, Scream will have you breathlessly flying through the pages and closely examining your heart at the same time. Mike Dellosso is a bright new talent that demands to be noticed.

Genre: Suspense

Publisher: Realms

Publication Date: June 2008

Reviewed by Tim George

The Hunted has everything needed for a good suspense novel. A hero that has to learn how to be heroic, a small town (Dark Valley) with a mix bagged of characters for residents, a demented villain driven by forces beyond his control, unseen monsters that lurk in the darkness, and a twist ending that hits you out of right field just when you thought all the loose ends had been tied up.

When Joe Saunders’ nephew turns up missing Joe is drawn back to a place he would just as soon forget. Called by his sister-in-law, Joe returns to the site of a personal failure that has haunted him for years and the love he walked away from without looking back. To complicate matters, that love is now the Chief of Police. Whether Maggie Gill is friend or foe is a large part of the story. She is fourth generation law enforcement and part of a family that has carried a burden for nearly a hundred years known only as “the Secret.”

Something is prowling the woods and back roads of Dark Valley leaving a path of death in its wake. Something that will force Joe Saunders to use every bit of strength and courage he has and then appeal to God for what he does not have. That too is a challenge since Joe hasn’t exactly been on speaking terms with God for some time.

Mike Dellosso breaks all the rules in current Christian fiction: his stories are classic horror, he ignores the current rule of intricate pre-plotting before writing, and he is unapologetic is his direct presentation of overt spiritual themes. I can only hope others will follow his example.

Genre: Horror

Publisher: Faith Words

Publication Date: September 2008

Most novels are written for the purpose of providing entertainment for the reader. That’s fine, of course, we like to be entertained.  We want to escape into the universe the author has created for us, to remove our cognitive self from its daily toil with life and allow our imagination to be immersed in the story. Some novels also contain solid themes or good morals, but the endgame is still about entertaining.

Every once in a while a novel comes along that has both a riveting story and also a powerful message to share. I am thankful to state ISOLATION is such a novel.

“A family on the edge… A house with too many secrets… A relentless killer…” The Miller family is taking time off after being missionaries to a small village in New Guinea. The village is struggling against an intense demonic presence and incidents that occurred before the Millers left are presented to us as the narrative unfolds.

The Millers move into an enormous, 40,000 square-foot lodge in the beautiful mountains of North Carolina, a dream home provided for missionaries on furlough. Their excitement soon begins to ebb as baleful discoveries are made, and a foreboding, dark presence bears down on them.

The Millers are thrown into a warzone involving the mind and spirit. This spiritual warfare challenges the existence of the core of their faith as they struggle to deal with what is real, what is imagined, and what they should and shouldn’t believe in. It is also a wonderful depiction of human nature, even missionaries struggle with faith.

I respect Thrasher for not attempting to answer our questions about faith. Faith by its very definition means to believe in something we cannot understand. Why isn’t God listening to me? Why isn’t He dealing in my time zone instead of some infinite, ethereal semblance of time? There are no sermons on the existence of God. Nor does Thrasher try to answer the age-old question of why God allows bad things to happen to good people.

The characters are well-developed and I quickly discovered I empathized with each one of them and their specific fears. I liked the way Thrasher bounced in and out of narration and character thought, at times even narrating in third person and interjecting a thought from the character’s perspective in midsentence. The dialog was easy and flowed well. The creepy house is a character in itself, creating a perfect setting for the novel.

Elements of the story may seem familiar to readers of Stephen King’s THE SHINING. Thrasher even jabs at the resemblance by referencing THE SHINING in the story. But ISOLATION is a much deeper and even more frightening story. If you’ve based your whole life on believing in God, then come face to face with demons whose powers claim victory on your lack of faith—that’s scary.

The horror elements in the novel are not solely faith-based fears. There is murder, gore, evidence of ritualistic sacrifice and torture… None of which is excessive, but Thrasher does a commendable job of staying true to the horror genre. The demons are terrifying and the house is disturbing. But the story is good.

Genre: Horror, Suspense

Publisher: Faithwords

Publication Date: May 28th, 2009

Frank Redman’s Review:

Dennis Shore is a successful horror novelist but has suffered one of life’s greatest tragedies in the past year, the death of his wife. “When stricken by a paralyzing case of writer’s block and a looming deadline, Dennis becomes desperate.” He plagiarizes an unstable fan’s manuscript, setting off a chain of events and the pursuit of violent revenge that threatens his sanity and the lives of his daughter and friends.

This was a difficult review for me to write. I’m a fan of the horror genre, but loathe the excessive profanity, sexual content, and gratuitous gore that so many writers in the genre depend on to make an impact with the reader. I had not previously read a Travis Thrasher novel, so I was excited to see what he had to offer.

It would be an injustice to the readers of this review, to myself, and ultimately to the author if I merely stated “This book is great—read it,” and was negligent in revealing some disappointment. The fan in me loved this story. The critic in me found some minor negatives.

I was concerned a few pages in whether I would truly enjoy it. The story took a while to develop and incidents occurred that seemed disjointed from the plot. The dialog felt forced. There are some editing errors, for example, the wrong pronoun used (p.17 “Did you threaten you?” The first “you” should be “she.”). To the author’s defense, it is tricky starting a novel, establishing the plot and characters, and simultaneously hooking the reader. If you stop reading this book because of these flaws, you’ll miss out on what simply can be defined as an extraordinarily good story. I’m incredibly grateful I stuck with it.

Yet there was still one more thing that frustrated me—I couldn’t wait to see what happened next! This… was a good feeling. For thrill-seekers, GHOSTWRITER is very much like the beginning of a monster rollercoaster. After climbing that first big hill (having time to look around, check your watch, shift around in your seat…), the rest flies at you in an eye-watering rush and your focus is dominated by what’s coming in the next stage of the ride. Kudos, Mr. Thrasher.

When you read a scary story and you’re not really sure what’s going on, but just when you think you’ve nailed it, something unexpected happens and your perception is shattered, that is the outline of a great horror story. That’s a great story, period. That is what GHOSTWRITER is.

It’s easy to develop compassion for Dennis Shore and identify with his grief, lack of faith, and his struggles with what’s real and what’s not. While it’s a remarkably frightening story, it is also an emotional love story. The reader feels Shore’s nightmarish fears and also his gut-wrenching sorrow.

Shore bounces in and out of lucidity so the reader cannot always discern what is real and what is the product of his poor mental health. This element can be difficult to pull off while mitigating reader confusion, but Thrasher makes good use of the technique, effectively keeping the reader guessing.

While this may sound like just a scary love story, do not be deceived. It is a full-on horror novel. Unspeakable supernatural evil tries to destroy the very essence of Shore’s life with an unhealthy serving of shocking violence.

GHOSTWRITER is an emotionally intricate masterwork of how evil can destroy us and love can redeem us.  Thrasher has proved to me to be an exceptional storyteller.

Do you believe in ghosts?

Jake Chism’s Review:

Dennis Shore has made quite a name for himself as a bestselling horror novelist. Every year his rabid fans anxiously anticipate the release of his new and terrifying creation. What his fans don’t know is that this year things aren’t what they seem with his new book. Sure it’s scary and addicting, some would even say his best work yet. Although his name may be on the cover, Dennis Shore didn’t write this book. Unfortunately for Dennis, the man who did write it is out to get him. And Dennis Shore will pay.

Like the fictional Dennis Shore, Travis Thrasher himself has begun to make quite a name for himself in the horror genre. Isolation proved that Thrasher has what it takes to scare the wits out of his audience while challenging them at the same time. Ghostwriter takes Thrasher’s writing to a whole new level of terror and heart.

From the opening lines we are effortlessly drawn in with Thrasher’s delectable prose and revealing insight into the mind of a novelist. Dennis Shore is an endearing character that demands our compassion because of the struggles life has thrown him. Yet on the other hand the more we get to know Dennis our compassion only grows as we realize how fallible he is.

The horror elements are very strong throughout as Dennis goes head to head with a madman that will stop at nothing to see him suffer. Ghostwriter truly offers some of Thrasher’s most disturbing scenes to date. Time after time I wanted to look away, but the quality of Thrasher’s writing made it impossible to do so. As the story progresses and truth is brought to life we are treated with a wondrous display of light in the midst of the deepest darkness.

Travis Thrasher only continues to astonish me with not only the quality of his writing, but his ability to tell powerful stories. It’s rare to find an author who can take us to places we don’t want to go in order to bring us to a place we long to be. Ghostwriter is the kind of gem that comes along far too seldom; displaying the kind of writing that deserves to be devoured by the masses.