Book Review: Those Across the River

I recently read what I’d characterize as an old-school horror novel for Tor.Com. It’s called Those Across the River, it’s a first novel by Christopher Buehlman, and the review itself is here.

Beuhlman is also known as Christophe the Insultor, Verbal Mercenary, and if you’re not at work–this really isn’t appropriate for the office–check out his stand-up comedy.

Reading this book made me think I might revisit some of the big Eighties horror novels: something by Stephen King, Floating Dragon by Peter Straub, maybe a Koontz, a Barker, Song of Kali or possibly Carrion Comfort.

And then I thought: were there no great blockbuster horror novels of the Eighties written by women?

I bet you all know the answer. Anyone feel like saving me from my ignorance?
stubby the rocket

Exquisite Words, Labor Day Edition

From Christopher Beuhlman’s Those Across the River:

I went for a walk. The tree shadows stretched long and fingerlike on the dirt road that led into Whitbrow as the last light of the day spilled from the west. The few houses that lined the road were really little better than shacks, but even they looked worthy of portraiture with that amber glow washing over their pine-board and tin. Sometimes a dog would bark. Sometimes a face would appear and then recede behind the mosquito screen of a window. Once, a bony hand struck a match whose jab of flame then twinned itself on the wick of an oil lamp.

This chapter opening starts with a rather brittle phrase and then relaxes, a bit, but the lack of human contact for this character makes the atmosphere tense even though his activity, walking in the evening, might normally be thought of as relaxing.

Exquisite Words

I’ve missed out on a week of Exquisite Wordage, and blogging generally, for a few reasons: my site picked up a little malware, for one thing and had to be vigorously scrubbed. Mostly, though, I’ve been focusing on my current batch of writing students and my own work in progress.

I hope to ease into being chatty again in September. In the meantime, here’s a bit from Richard Rayner’s A Bright and Guilty Place: Murder, Corruption, and L.A.’s Scandalous Coming of Age:

Throughout this astonishing period, L.A. was the fastest-growing city in the world. In America only San Francisco had ever grown so fast, during the years of the Gold Rush following 1849. But by the 1920s, San Francisco’s boom was long done. New York, Boston and even Chicago had never known an explosion like the one that was happening in L.A. Every working day throughout the 1920s, builders started more than fifty new homes. Each week a new hotel went up. The year 1923 alone saw the construction of 800 office buildings, 400 industrial buildings, 150 schools, 130 warehousees, 700 apartment buildings, and more than 25,000 single dwellings. Property prices doubled, tripled, quadrupled, eventually rising sixfold through the decade. The city began to spread, amoeba-like, in search f its suburbs, although in those days L.A. still meant downtown, thriving with business and residences.

You can almost see this happening in a black and white time-release photo kind of way, can’t you?

Or this, where I quote Rayner quoting Chandler:

In this defeated atmosphere, the expressionless blue of the sky and the unchanging rhythm of perfect days taht followed each other one after the other added to the melancholy. “Outside the bright gardens had a haunted look, as though wild eyes were watching me from behind the bushes, as though the sunshine itself had a mysterious something in the light,” wrote Raymond Chandler.

Books: Little Face, by Sophie Hannah

I recently finished Sophie Hannah’s suspense novel Little Face. One of my students recommended it; she knows I’m wild for Tana French, and the two of them did an interview together online recently.

Little Face was, ultimately, just okay. Maybe my expectations of the prose were unreasonably high because of the “You like French, you’ll like her,” format of the recommendation that led me to her. And there’s nothing wrong with her prose–it’s very competent–but it was other things that put me off. The central mystery spilled out in a way that I couldn’t buy–the set-up was great, but the outcome didn’t convince me. And the bulk of the novel grapples with these two extremely strained heterosexual relationships that are, at their core, really ugly. Unkindness and systematic humiliation of the weak character by the strong abounds, and I find it hard to take vicarious enjoyment in that particular form of human misery.

There’s a fair amount of darkness and violence in my writing, of course, so it’s always interesting to see what puts me off. It turns out that extended mean scenes are on that list. Even in cases where the victims eventually turn it around, the sense of justice served isn’t satisfying enough to wash the taste of nastiness away.