When Don meets up with her, they both get to experience some of Don’s grandmother’s experience firsthand. But then the chase is on, far to the north aboard a Russian ice cutter. The story has elements of horror, especially when Don gets to visit a graveyard and elements of mystery in the search for the artifacts as well as good Nazi historic facts. It makes the mystery a quick read.
Though this is not a book for the faint-of-heart, Bad Moon Rising is extremely well-written, compelling and fast-paced. The quality of the writing, and deep, intense characters and their complications will stay with the reader, long after the book is finished.
Rosendorf has again crafted a properly delivered spine tingling work filled with twists and turns, characters who appear as they are not, and others who perform as expected. Locales are well detailed, action is intense, red herrings are tossed in to create some unexpected situations and turn arounds.
Kids with matches enjoyed the phenomenon until the authorities stepped in. When we consider what is thrown into landfill sites, legally, illegally and damned strange it is surprising that new forms of life haven’t grown from the neo-primeval soup. That is what happens in The Garbage Man. Not just a horror story but a warning.
The Rasner Effect is a multifaceted psychological thriller peopled with convincing characters, packed with gritty, pithy discourse all set against a backdrop of trickery, maneuvering and danger.
The exploration of themes like how we deal with midlife, love, and hate in the 21st Century – in the wake of the sixties — makes this a book that resonates long after the fun stops. Hughes’ descriptive powers are exceptional, from the Dickensian characters carrying the full range of quirks – both charming and obnoxious, to the rich natural world of its Long Island setting.
Luke Ferless is a compelling narrator to begin with. He attempts a kind of honesty, addressing the reader as if we were his analyst, trying to uncover his reasons and motivations as he addresses his actions in the present in terms of his past. Luke’s rich vocabulary and detailed self-analysis, add to his charm, but despite it all, there seems to be an underlying self-doubt and unconscious misogyny that undermines his justification.
Certainly it is clear that, for Samuels, horror fiction is cerebral as well as visceral, and provides an opportunity for metaphysical speculation. And often it is not suspense, the vexed question of “what happens next?”, but rather seeing what use the author makes of his ideas that enthrals the reader. An example par excellence of this is “Mannequins in Aspects of Terror”, which takes as its subject a visit to an artist’s installation.