2022 has truly been the definition of a roller coaster year. It began with the ending of a relationship and the beginning of a move to my own place. Halfway through the year I caught the dreaded Plague after avoiding it for so long. Then at the end I got sick with something the tests assure me wasn’t the Plague but it certainly knocked me out like it, making me miss a large part of the holidays with my friends and family. Add to that my general constant struggle with anxiety and… well, it’s been a lot. I don’t need to tell you it’s been a lot. You know it’s been a lot.

How I managed to read close to a hundred books along the way is honestly a mystery to me. I try to not put much stock in challenges or numbers. I use my Goodreads Challenge not as a challenge but, because I am a ridiculous person, as a memento mori instead, plugging into it whatever age I’m going to be that year. It’s not that hard to meet — I’m not that old yet. But I would be lying if I didn’t like looking at those large numbers. That I didn’t like feeling like I Read A Lot Of Books.

But the thing that I learned this reading year is that I really don’t. Yes, I read a lot of books, but I don’t feel like I have much to show for it. I didn’t read many books that blew me away, for one. Most that I read were just okay. Which is perfectly fine — not every book I pick up has to blow me away. I just wish to pick better choices.

It’s the pursuit of comfort, I suppose. I don’t blame myself for going for the familiar and the comfortable, especially not during fickle, precarious times. But a thought I kept coming back to as I reflected on my reading throughout the year was how I read a lot less when I was younger, but how so many of those books form an integral part of my soul now. And how that had less to do with the quality of the books themselves than it did with the quality of the time I spent with them. I didn’t finish a book and immediately jumped on to the next, on that neverending search for serotonin. I finished them, and dwelled on them. Sometimes I even read them again, which I scarcely do these days. I gave them time to become a part of me. This wasn’t a conscious choice on my part. I just didn’t have the resources that I do today, which I guess made me more deliberate with my reading. And much more adventurous, too, as I often went with books that seemed interesting and new and challenging.

Which is all to say that, as far as reading resolutions go for the coming year, this would be the main one: To find some of that magic younger me possessed. To be more deliberate and particular with my reading. To choose quality over quantity, always. 

I believe this in turn would result in better, more thoughtful reviews, too. My poor blog seems to be in a constant state of neglect — not to mention my bookstagram. I always make it a resolution to be better at both, but in particular my website, and that will remain the same for this next year.


I don’t want to give the impression that everything I read this year was a big pile of meh. I still had a lot of fun. Still managed to read some fine books that I hope will form part of my soul in their own way. Some that I have already revisited and plan to do so again. I always make it a point to say that books are my shining beacons of light in this tempestuous world. These were some of my lighthouses in 2022: Continue reading “YEAR IN REVIEW ○ 2022”


krampus-by-bromJesse feels like a loser. His soon-to-be ex-wife, Linda, told him as much before she left, taking their daughter Abigail with her. He needed to get his act together, she begged him. To take his music seriously. To build a better life with his family. But Jesse’s insecurities always manage to get the best of him, and so he fails to progress. Now Linda and Abigail are living with a corrupt cop who has always had it in for Jesse due to some of his somewhat illicit side-hustles. And he’s alone, living in a bleak trailer with a mood to match. To make matters worse, it’s Christmas Eve, and Jesse has nothing to show for it — no gifts to present to his adoring daughter. Jesse feels like a loser, all right. On top of it all, he must also be losing his mind, because he swears he has just seen Santa Claus drop out of the sky and run into his trailer park, and a pack of monsters following behind him.

Krampus feels like a loser. He has been imprisoned under the earth for the better part of a millennia by now, placed there by a traitorous Santa Claus, betrayer and usurper. His false holiday has overtaken the tried-and-true traditions of Yuletide, making the world forget about its old gods and spirits and, indeed, the Yule Lord himself. Full of vengeful rage, he sends his faithful Belsnickels after the jolly old fraud, intent on unleashing the spirit of Yule back into the world, where it rightfully belongs.

Fate will make Jesse and Krampus cross paths, forming the unlikeliest of duos, finding that they need one another to fulfill each of their ambitions.


I didn’t think much of Brom’s Krampus: The Yule Lord, unfortunately. It’s a shame, since Slewfoot was one of my favorite reads this past Hallowe’en season, and in many ways this is very much the proto-version of that book, with all its focus on Pagan traditions and customs, and its fervent criticism of Christianity. In Slewfoot, this angle was compelling because its main character was a woman fighting against Puritan superstition and oppression with the help of the title character, an old forest god that, to the colonists, represents the evils of the natural world. Here, Krampus — basically a more fanatical, whimsical version of Slewfoot — uses his disdain for monotheistic narrow-mindedness to… mostly help a small-time crook get back with his wife and daughter?

Which is basically my main gripe with this book. Jesse’s story, while interesting in a crime drama sort of way, bears no real relevance to Krampus’s plot against Christmas, other than in the most peripheral of ways. And the problem is that, despite this novel’s title, Jesse is very much the main character: he’s the one who gets a proper arc; the one whose journey forms the emotional center of the book. The way the story is constructed, though, ends up as acting like a detriment to both plots: whenever a particular thread is picked up it feels like an interruption of the other, rather than a complementary narrative. It makes the novel seem as if two vastly different books have been forcefully fused together, forming a very oddly-shaped beast. It doesn’t help that the characters themselves comment on this same thing, either, with Jesse forever complaining about Krampus’s obsession being an obstacle for his own objective. Again, it’s a very peculiar choice.

I didn’t hate the book, though. Even if it’s not what you expect going in, you still end up invested in Jesse’s story. And on the more fantastical side of the tale, I found Brom’s Norse take on the whole Christmas mythos fascinating. It’s a little overwrought, but it also makes complete sense to make trickster figures like Santa Claus and Krampus related to the god of mischief himself. Krampus was an interesting character — a monster with a romantic bent. I enjoyed reading his melodramatic rants and outbursts. Really, it’s just a shame that he ends up becoming a supporting character in his own book.

Once again, Brom’s art is stellar, and once again I wish there was much more of it here.

SECURITY by Gina Wohlsdorf

security by gina wohlsdorfThe Manderley Resort is a modern marvel. Designed and built as an exclusive getaway for the glitterati, it boasts only state of the art technology, with a security system to rival those of most governments, the better to ensure the peace and privacy of its pecunious patrons.

The day before the hotel opens for a press preview,  a small group of employees work through the night to make sure things will go smoothly. It’s a stressful enough time for Tessa, the hotel manager, without having her distant foster brother come barging into the resort and her life, dragging along with him their complicated, cluttered history. The rest of the group bring their own convoluted baggage to stir into the pot of the hotel, the pressure of which is sure to come to a head sometime during the night.

Witness to all of this is a seemingly all-knowing, all-seeing presence, tucked away in a secret room on the topmost floor, monitoring all these people that he can watch through Manderley’s myriad of security cameras hidden everywhere throughout the resort. Cameras through which he can watch these domestic dramas play out. Cameras through which he can see the killer in the Michael Myers mask holding the knife that he uses, effortlessly and methodically, to cut through the tension of everybody in the hotel.


Gina Wohlsdorf’s Security is a lot of fun. Pulpy, and very tongue-in-cheek (the killer is literally dressed up as Michael Myers). The plot is inventive and intense. Its narrator — who, with their exceedingly detailed asides that increasingly veer into the abstract and existential, reads like a Stoic spec ops Patrick Bateman — is one of the most interesting I’ve ever read, and really is the star of the book. The reveal behind their identity stands as one of the most genuinely surprising and entertaining twists I’ve come across in recent memory.  I had a blast reading this book.⠀

 But, a couple of weeks after finishing it, it’s the format that has stuck in my mind more than anything else. ⠀

 I first tried reading the ebook version  a couple of years ago, but quickly found the robotic narration tedious. I came across a couple of reviewers that felt similarly, but also how they fared so much better when they picked up an actual, physical copy. So, still interested in the premise, which is great (modern hotel with extremely high tech security becomes a deathtrap), I purchased the paperback version. And I was glad to find that it was, indeed, a much better experience. The particular writing style still took a few chapters to get used to, but, thanks to the design of the book, eventually became immersive rather than tiresome. 

The main stylistic conceit of this slick thriller is that its chapters are meant to represent the many (so many) security cameras hidden throughout the hotel — the story’s sole setting. At times, when things are happening all at once, the paragraphs will rearrange themselves into a grid, as if you’re viewing a multi-monitor setup in a control room. More than an aesthetic, gimmicky choice, it’s actually justified in the story when you slowly learn more about who the narrator is and what they do.

The ebook, though, seemingly eschews all of that, leaving these sections as regularly formatted paragraphs. And while the text itself remains the same, there’s a dynamic that’s lost in the digital translation. There’s something stimulating about your eye moving freely across the grid, knowing you can read the sequences out of order and still be just as informed as if you read them sequentially, if not more so. It’s an element that adds to the tension and thrill of the overall story, and without it feels less immediate and more, as previously mentioned, robotic and mechanical, almost as if you’re reading a Wikipedia entry rather than a proper book.

 As someone who reads mostly digitally these days this was a good reminder of how format is much more than convenience, and can be used to add depth and verve to a story. 


Clever devices aside, a story is nothing without good writing, and Wohlsdorf does a spectacular job here, elevating what would be a convoluted, run-of-the-mill suspense story with flair and panache.

MASTER OF MURDER by Christopher Pike

master of murder by christopher pikeTeenager Marvin Summer writes bestsellers. His latest series of thrillers, The Mystery of Silver Lake, has taken the country by storm, and the public waits for the final book with fevered anticipation. Marvin is feeling the pressure, although nobody around him would be able to tell: he writes the books under a pseudonym — Mack Slate — so no one, save his younger sister, knows he’s actually rich and famous. Much to his chagrin, at times. If his schoolmates knew, he could surely get with any of the girls he frequently lusts over, and the arrogant jocks and overbearing teachers that look down on him would turn to idolization instead. But that’s a fantasy Marvin must entertain at least until he turns eighteen, lest his abusive, alcoholic father find out about his fortune and exploit it. So Mack Slate remains a secret.

Until one day Marvin finds a letter in his postbox proclaiming to know his secret, words that start a chain reaction that will turn his already complicated life upside down as the intrigue and murder that fill his fictional stories suddenly bleed out into the real world. 


Master of Murder by Christopher Pike was trash of the highest caliber — and I mean that as a total compliment. An outrageous, but ultimately fun ride. This read like Fear Street by way of Twin Peaks, where the central question was not “who killed Laura Palmer?” but “who hurt Marvin Summer?” instead. (The fact that the book felt Extremely Nineties only added to my enjoyment.)

This was my first Pike book! I tend to read mysteries and thrillers around this time, and seeing as how The Midnight Club adaptation on Netflix was one of my favorite things I saw this past Hallowe’en, I thought one of his books would be the perfect transition between spooky season and murder mystery month. The man wrote a mean and compulsively readable book, although at times it very much read like a first draft affair, partly due to all the unusual names that seemed more like placeholders than anything (Quade, Triad, Sesa, Pella — you know, traditional Pacific Northwest names), but also due to the prose itself, which was sometimes very clunky and decidedly juvenile. (Although maybe that last bit was meant to be intentional, seeing as how this was a story about a teenage author hopped-up on raging hormones.) Also it’s good that not much is known about Pike himself, as he rarely does any press, because Marvin Summer reads like a self-insert if there ever was one — and it’s not a flattering portrayal at all.

Still, I had fun with it. I just hope The Midnight Club gets another season, because Mike Flanagan and company could spin wonders out of this angsty adolescent murder mystery.  


shirley and jamila's big fall by gillian goerzAfter their summer adventure, friends Shirley Bones (kid detective extraordinaire) and Jamila Waheed (new spunky kid on the block) prepare themselves for the school daze ahead. It turns out to be a busy term, and between all the extracurriculars, the friends find themselves with limited time to hang out together. Jamila in particular struggles to find new friends, being the new kid, until she meets Seena while trying out for the local basketball team. Like her, Seena is of Pakistani descent, and the pair form an instant connection over their shared cultural quirks. Jamila worries that her budding friendship with Seena will affect her relationship with Shirley, since the two couldn’t be any more different. Add to that the fact that Seena seems to be hiding a checkered past….

Seasoned sleuth Shirley Bones has no time for interpersonal drama, though — not when there’s a case to crack. A loathsome sixth-grader by the name of Chuck is known throughout the school as a notorious blackmailer. Possessing a veritable hoard of incriminating pictures, videos, and text messages, he lords over his  classmates, extorting favors in exchange for his presumed silence, lest he ruin their elementary school careers. Bones and Waheed soon make it their mission to take down the crooked character’s coercive enterprise.


I had an absolute blast reading Shirley and Jamila Save Their Summer, the first book of this seasonal series, last year. It helped that I picked it up knowing next to nothing about it, other than it involved kid detectives. So I was pleasantly surprised when I realized, halfway through the book, that the series was a Sherlock Holmes reimagining! It’s not overt from the outset (in fact, I don’t think even the blurb mentions it) so I had a lot of fun going back through the story and picking up all the references and homages, most of which seemed obvious in retrospect (the assonance of their names, for one). In a world saturated with interpretations of this world and its characters, this one in particular felt like such a fresh and clever take. I finished it eager to get back into this story.

I’m happy to report that I also had a blast reading the sequel, Shirley and Jamila’s Big Fall, and in fact would say that I liked it a bit more than the first book, if mostly because of the gorgeous autumn setting, which I am always a sucker for. This one is based on “The Adventure of Charles Augustus Milverton,” a story famous for featuring a villain that was even more revolting than Sherlock’s traditional nemesis, Moriarty. (Fans of BBC’s Sherlock will no doubt remember Lars Mikkelsen’s brilliantly repulsive portrayal of the character in the show’s third season.) Chuck is a great and outrageous juvenile analogue of the character, who, instead of doing the things he does for power and influence, here he’s just an overly privileged, pretentious child who has never been denied a thing in his life. It was a lot of fun to watch his machinations being undone by Bones and company. 

Goerz’s character work is wonderful. The supporting cast in the first book was a highlight, and although I’m sad to see they don’t play a role in this story, the newcomers are also immediately endearing. Seena is the obvious standout, but her family is also a delightful addition. That familial aspect is another thing I admire about these books. Middle grade stories tend to do away with grown-ups in some form or another, but in Shirley and Jamila’s lives, they are not obstacles to overcome, but integral. It’s a nice and lovely change of pace. 

The artwork remains exceptional. Goerz draws people in a simplistic style that’s very reminiscent of Raina Telgemeier’s work, but her characters are a lot more expressive. They are never static — their faces and postures change constantly throughout the pages and panels, lending the story a dynamic feel. But Goerz in particular excels at scenery: her backgrounds are beautiful and incredibly elaborate, positively bursting with fun little details. They are also super cozy, which is only appropriate, given the autumnal setting (the aesthetics of Seena’s family apartment are goals, as the kids would say). I usually fly through graphic novels, but I consciously slowed down while reading this one, the better to appreciate the art.

All in all, another highly enjoyable adventure featuring two intrepid sleuths that are quickly becoming favorites. And I can’t wait to see what surprises Winter has in store for them.


a night in the lonesome october by roger zelaznySomewhere deep beyond the woods you know there stands a house that should not be there. Reality shifts and shimmers around it, surrounding the peculiar structure in a vortex of interdimensional voids and cosmic fissures and other things. The shutters clang against their windows. The house is entirely dark, save for a single flickering light in the topmost room. Inside the house that should not be there, someone is reading.

The man closes the book with, he believes, a flourish. Outside, the winds appear to have subsided. The house has, at the very least, stopped shaking. The man sighs and gets up from the bed. He puts the book he has just finished on a side table already full of books and loose papers and empty mugs. He looks at the rest of the chaotic clutter that makes up his room with a slight look of shame. He catches his reflection in the mirror above the dresser. His hair has grown longer and wilder in the month that he has been here, not to mention his beard. He resolves to tidy up his appearance before leaving later on in the night. But, before he gets to that, he spots a book on one of the shelves that line the walls of the room — a book he has been meaning to read for the longest while. He grabs it, thinking that it would be nice to pick up something with no relation to arcane rites or rituals. Sitting on the edge of the bed, he cracks the book open and begins to read.

Calcifer, his wing all but healed, flies back into the house just as the man makes his way down the stairs. He has cleaned up somewhat, the crow notes, although to him he still looks like something you’d find out in the woods. Something dead and ravaged. He doesn’t voice this thought, however.

“I was just making the rounds outside,” he says instead, alighting on a pile of books on top of a table in the entryway. “All clear now. No weird things shambling about or cracks in reality or nothing.”

“You sound disappointed about that,” the man says, taking his jacket from the coat tree near the front door. 

“No, it’s just,” Calcifer struggles to find the words. “That’s it? It’s over? We… we won?”

“Again,” says the man. “You sound disappointed.” 

“No,” the crow says, glaring. “No, it’s just that it feels slightly anticlimactic.”

“Yeah, I get what you mean,” says the man. “A few of the books I read this season were like that. Ah, well. They can’t all be hits.”

“That’s not what I mean at all and you damn well know it.”


“No, not— Nevermind.”

Osseous walks into the foyer then, a small stack of books in their skeletal hands. 

“Thank you, Oz,” the man says, receiving the pile. He begins the complicated puzzle that is shoving a bunch of books into an already overstuffed bag. “Our feathered friend here was just complaining about how abrupt the conclusion to this whole thing was.”

“The Hallowed Ritual can feel like that, at times,” says the skeletal librarian. “It is a good thing. It means the other players played their parts well and without much trouble.”

Calcifer caws. “It’s not that I’m complaining or anything,” he says. “It’s just that, you know, it’s the Maleficent Monarchs we were talking about. Just thought it would, I dunno, involve more. Some epic battle or whatever.”

“I think he’s been reading too many of these books, Oz,” the man says with a grin.

The crow stares daggers at the man.

“Look,” the man says, while working on his storage conundrum. “You have to realize that despite the fact that Those That Dwell in the Dark are nigh omnipotent otherworldly beings, they also just happen to be a colossal bunch of losers.” 

Osseous nods their skull in agreement. “The Ritual has been going on for a long time. The other side has yet to win.” 

“That’s comforting, I suppose.” 

“Yes, well, maybe you’ll get your fight to the death next time, Calcifer.”

The crow starts to preen his feathers, ignoring the man.

The man shoulders his bulky rucksack. “Friends, the lonesome October has finally come to a close. Now we get to relax and enjoy the fact that the world has not yet come to an end thanks in part to our humble efforts.”

The man opens the front door. Outside the house that should not be there, moonlight shines on the fall foliage of the surrounding forest, making it gleam in the night. “It’s been surreal, guys,” he says with a frivolous bow. “Until next time.” 

The door closes and he is gone.

“Huh,” Calcifer says. “So that’s that, then.” 

A knock on one of the sidelights flanking the door. “Oh and happy Hallowe’en and all that!” The man’s declaration sounds muffled through the glass. He gives a thumbs up and disappears once more, into the night.

The librarian and the crow stand quietly for a moment.

“Hey, speaking of which, Oz. We get any trick-or-treaters out here?”

“Sadly, no.”

“I guessed. Shame.”


“At least things should be quiet for a while,” Calcifer says, after a beat.

“Yes,” Osseous says.  “Well, the ghosts do tend to get restless come Yuletide.”

“I’m sorry, what?”

“The ghosts.”

Calcifer sighs as a myriad of questions quickly come to mind. He knows better now, though. Knows that any answer he seeks he can find without much difficulty, here in this house full of secrets and stories. At the moment, however, there is only one question he wants answered.

“We got anything to eat?” the crow asks. 

The librarian nods. 

Inside the house that should not be there, somewhere beyond the woods you know, the two friends make their way towards the kitchens.


A Night in the Lonesome October was a re-read for me, although it had been so long that I had forgotten most of the particulars. It certainly made an impression, though, since the little framing story that I had been writing throughout the season turned out to be my own humble riff on this wonderfully playful and spooky story about a group of occultists trying to impede — or invoke — the End of Days through the closing — or opening — of a gateway for the Great Old Ones. (“Humble,” he says, shamelessly.)

The influence shouldn’t have come as a surprise, though, since Zelazny was a writer after my own heart. The book is full of clever, whimsical wordplay (there’s a romantic subplot that exists solely as a means to a pun) and droll dialogue riddled with amusing arcane-babble (techno-babble’s mystical equivalent).

Lonesome October is also very much a love letter to classic horror, not only of the filmic and literary persuasion, but the historical as well (our narrator is, after all, Jack the Ripper’s canine companion). References and easter eggs abound, focusing mainly on the monster movies of Universal Studios and the lurid yarns of the Victorian era. Some Lovecraftian lore is thrown in for good measure. (And also Sherlock Holmes, because of course he would stick his pipe in at some point.) 

Each chapter corresponds to one night in October, and I had a tremendous amount of fun picking up this book every evening throughout the month. It turned out to be a grounding ritual as well — a reminder  that, despite my tendency to stress out over wanting to watch all of the things and read all of the books and write all of the stories, this ludicrous holiday should be, above all, an enjoyable time. This book made my October even more fun than it already was (and, indeed, much less lonesome). 

And it has been a good one. I watched some decent movies. Read some fine books, of course. Even wrote a mad bit of a short story!  So I think we can jot this month down as a success. Surely we’ve managed to keep the darkness at bay for a little while longer. 

Happy Hallowe’en, you lovely weirdos!

SLEWFOOT by Brom — 🎃

slewfoot by bromr̵̢̲̟̦͔͂͠í̷͖́͊f̵̧̧̮͖͖̩̠̎̉͜͜t̶̜̊͛̃͝s̵̖̥̖͆́̒̀́̎͊̈͘͝ ̸̩̞̣̣̺͚̇̔͊͛̈́̃̌ͅi̸̡̢̨̛̺͍̬̰̹͈̮͌̑̑́̊̚n̸̰̥̞̍̈́̒ ̸̧̛̟̝̟͖̺̓ͅt̷̹̬͈̉͊̄ḩ̴̦͈͚̞͎̃͗̏̔́̕̕͠ę̶̀͆̐͐̈́̿̀ ̴̢̡̡̲̟̘̏̐̚f̴̨͈̳̼̣͉̱̫̬̏́̑̊̈́̚͜͝a̷̙͖͒̊̿͗̇b̴̧̙̥͍̪̦̟̟͖̈͝ͅr̸̨̭̹̦͔̙̪̬̦̐̅̿̾̅͌͑̉i̵͎͉̪̲̭̣͈͍̼͚̔̄̀̌̔͗̾c̵͕̦̼͎͗͑̅͒ ̴̫̟̼̗͓͗̂̈́̂̕͝o̵̝͖͗͐̓̾̽̀f̸̊͆̾̀͊́ͅ ̴̨̡͈͎̙̤̝͈͓̖̃̈̈́̓́̒̆̈̆r̴̡̤̞̻̘̯̈́͆͛̅́̽̋͆͘ę̷̟̥̪͖̞̣̮̒͗͛̆̃̿͐͘̚ă̶̢̢͙̲͉̯̫͈̭̊̾͐̍͒͝ͅl̴̢̠̲͉̤͇͍̫̀̚ị̶̗̻͓̪̮͙͔͒t̴̗̣͛͒̒͌̈́̎͂͑͝͝y̸͎͍̔̋̌̃̊́̓̈̓̈́

ċ̵̨̪͇̝̮͓̞͉͙̒̏͋̀ä̵͔̲̦́̒̿͆̆͂̽̓n̸̢͈̪̬̮̩͕̹̭͍͐͂̋̍̃̍̈́ ̵̢̨̘̺̭̙͙͚̬̤̍͑̓ỷ̷̡̙͓̤̖͖̊͛̅̐͋̂͠o̶͍͚̹̫͙͐̉̈͂u̶̮͙̠͚̯̭̥̘͌͗̔̏͝͝ ̷̢̢̱̖̞͙̿̃́̈́̓̀͆̊͘ͅs̷̢̨̱̯̙͖̳͒ë̷̟̤͕́́́̍͒̇ę̵̡̞̱͓̫͎̬̺̻̔́̓̓̅̓͌͂͝ ̶̹̪͖̼̹́͒̎̈́͒͠ṱ̴̰͙̏͌͂͒͒͗̌͑͝h̸̜̣̏̃̽͊̄̃̌͊̐͠ḛ̸̥̟̥̖̯͚̋m̶̨̧͙͕͂͐

t̸͈̟̪̠̹̏̇̑̉̽̚̚h̶̺̱̖͛͗̿e̷̱͊̐ỵ̸̳̺̺͈̘͍͈͋ ̶͓̬͎͇̙̠̯̙͆ä̶̢̞̟͇̾̕r̶̺̙͔͙͖̀͑͋́͆̚e̷̢̡͎̠̻̞͉̝̋̿̄͛ ̴̨̢̡̦̪͔̗̥̞̀͂͂͋̆͌̃͑͝c̶̡̨̬̝͕̯͖̲̻̚ơ̴̡̡̙͛͆̈́̑̇̉̄m̵̫̺͖̻͓̓i̸̡̜͕̙͖̫̦̗͙̋͂͜ņ̷̡̙̫͑̑́͂̌͗͌͝͝g̷̛̦̹̠̬̦̺̃͂͛̃̒̇ 


Slewfoot is one hell of a slow burn. Author Brom takes his time crafting this Pagan and Puritan mashup, dedicating the larger part of the book to its construction. Both seemingly incompatible worlds come crashing together with the meeting and burgeoning friendship between Samson, an old beast of the forest, and Abitha, a widow — making this story a lot less like the film The VVitch (which I was expecting) and more like a strange combination of Guillermo del Toro’s The Shape of Water and Pan’s Labyrinth (which I was decidedly not expecting). (This also meant that I kept picturing the titular creature as played by Doug Jones, which only helped this tale.) 

Although Brom’s writing is clear and serviceable — and the passion he has for this peculiar story is evident — this first half is somewhat of a slog to get through, the narrative insistent on pushing us through the muck and mire of convoluted lore and mythology before getting us to the action proper. The story doesn’t truly pick up until its third act, which begins with a heartrending and infuriating (and, from what I can gather, fairly accurate) depiction of a witch trial, and ends with a massacre. After spending so much time focusing on the ill treatment of Agitha, its main character, witnessing the struggle and slander being piled on top of her to an almost oppressive, stifling degree, the euphoric release she is ultimately afforded in the final few chapters feels entirely and utterly satisfying, and we can’t help but revel along with her.

A dark, undoubtedly bewitching tale. Slewfoot is full of haunting imagery* and harrowing historical horror. I enjoyed it quite a bit.

* Literally, in this case, as Brom is an accomplished artist and illustrator and as such fills his novel with stunning artwork. I only wish more pieces had been included.

HORSEMAN by Christina Henry — 🎃

horseman by christina henryOutside the house that should not be there, there is pandemonium. A vortex of vexations engulfs it, utterly. In furious desperation, Unspeakable Things try to get in and quickly find that they cannot. The Keeper’s wards hold. The darkness remains, for the moment, without.

Inside the house, in the eye of this peculiar storm, there is relative calm. The librarian, the man, and the crow are in the study. They form a lazy triangle: Osseous on the armchair, holding a cup to their skull; the man on the carpeted floor, resting against a bookcase, paging through a book; Calcifer on the windowsill, looking at the chaos outside.

Keeper. Reader. Seeker. 

Calcifer is thinking of the conversation they had earlier in the night. Between Osseous talking in their esoteric, poetic style and the man just prattling on about how everything is a story and they were all just characters with roles to play, it turned out to be a rather vague and muddy affair.

“Roles in the Ritual are often nebulous, mercurial things,” Osseous had said. “By which I mean they are neither rigid nor rigorous rigid. Take mine, for instance. I am Keeper. As a librarian, I keep books. As householder, I keep this house. As caretaker, I keep my companions safe.” 

“It’s wordplay, more than anything,” the man had  said. “You are Seeker.  It’s what you’ve been doing all along. Exploring the house. Asking questions. You want to know. You seek answers. Specifically, considering our persuasion, you seek out stories.”

A confusing, cryptic clutter. But it was that last thing the man said that made the crow reflect. Because, in a weird way it was true. Calcifer had left his murder behind because, while perfectly nurturing and comfortable, he wanted more out of his life than to sleep and eat and mess around with his many relatives. He wanted to light out into the unknown. He wanted some semblance of adventure. And what were adventures if not stories?

Calcifer fluffs up his feathers, shaking himself out of reverie.  He had been around books and bookish people for too long now. He was also finding out that he did not mind that much. 

“It’s best not to think about these things too deeply,” the man had also said. “Otherwise it will just seem like someone is making it up as they go along.”

So Calcifer doesn’t dwell on it for much longer. He figures, you figure out life as you live it. He figures, you figure out the story as you write it. He figures he is getting rather hungry.

Outside, headless horsemen charge into the night. Hooded executioners garbed in black sit on stumps and sharpen their axes. Fearsome flattened figures ooze out from behind the trees. Cruel clowns swing chainsaws through the mist. They can feel it, the waning of the month, the withering of the Veil. They can feel their dark, cruel masters reaching out from the Vicious Void. The house shall fall, they tell them. The walls will crumble. We will come out of the Dark and it will all be over.

Christina Henry’s Horseman turned out to be the epitome of the three star read for me. I didn’t hate it. It didn’t blow me away. It was fine. 

I do think it’s a little long, and would have benefitted from some more editing. Particularly, there’s a weird repetition thing going on that actually starts with the very first chapter, which is essentially an ode to Brom Bones, the bombastic “baddie” of Washington Irving’s original short story. Brom, the protagonist’s grandfather, is big and strong and imposing, you see. Not only that, but he’s also imposing, big, and strong, as well as, it is known, strong, imposing, and big. The tautological tendency was more conspicuous in the paragraphs that would literally say the same thing as the ones preceding it, only with slightly different wording. It’s an odd quirk that feels less like a motif than it does an oversight, and the fact that it runs throughout the length of the book is baffling.

Aside from that, I enjoyed most of Henry’s writing. The story is very atmospheric, which I am always into. It’s full of deliciously creepy imagery, and it even gets surprisingly gory at times. I also thought the characters were great. Brom Bones is a blast, being such a larger-than-life figure (further augmented by his grandson’s unbridled adoration and idolization). But Ben is the real standout, making for a layered and dynamic protagonist. Curiously, the Horseman gets the short shrift here, relegated mostly to the background. But then again, this is more Ben’s tale than it is the famed goblin’s. 

I do want to focus on one of this story’s most interesting aspects, which is that a fair bit of it revolves around Ben’s identity as a transgender man. Folks from the trans community can, of course, better speak as to how well Henry portrays Ben’s journey, but, narratively speaking at least, it seems slightly superficial here. At the beginning, his identity is mostly incidental: Ben considers himself a boy and that is that — the opinion of others be damned. And I really dug that. People from underrepresented communities can and should appear in more stories that don’t solely revolve around their marginalization. But then the book tries, especially towards the end, to tie Ben’s identity to the story’s larger theme of belonging. It makes narrative sense: What better way to illustrate that theme than by having a character figure out and accept who they truly are? Only that’s not really Ben’s story for much of the novel. He starts knowing fully well who he is and is in fact comfortable in his identity. And although the story at times tries to sell us this notion that Ben is somewhat shunned by the people of Sleepy Hollow, the text only ever shows support and acceptance from most people around him. For the most part, the other characters don’t react to Ben’s identity much at all, other than maybe thinking the child a little odd (tame, considering the time period). The rare moments of true ire and disdain against him are ultimately blamed on the supernatural influence of the antagonist. And in fact the only real pushback Ben gets comes from his grandmother, who wants her grandson to fit into a more traditional, socially acceptable mold — but even then that conflict is resolved not even halfway through the novel. 

Which is fine! Again, stories about marginalized folk don’t have to be only about their strife and struggle. I just thought it was peculiar that Horseman tries, at the literal homestretch, to restructure itself into this story of a trans man’s search for acceptance and identity featuring a protagonist who had already found these things. It would have made for a more dramatic story, to be sure, but that particular journey was seemingly already over and done with before the first chapter even began. It ends up making that particular angle of the story ring a little, well, hollow.

What’s left is still a fun, supernatural romp, though. Spooky and strange enough to make for a decent Hallowe’en read.


a night in terror tower by r.l. stineSomewhere far beyond the woods you know, in a house that should not be there, a crow hops along the hallways. One of his wings rests inside a sling. The bird has been through a lot recently, and very much wants to know more about his present situation. And so he seeks knowledge. And also food. He is still on the mend, after all.

Up above, in the chambers of the house, a man rests on a bed. Books and clothes are strewn about everywhere, along with countless empty cups. Despite his supine position, the man looks tired and slightly anxious. He holds a book in his hands and reads into the night.

Outside, a skeletal figure circles cautiously around the old house. Sometimes a sudden blazing flash of light can be seen. It is often accompanied by sharp screams, although these are quickly cut short.

Let us leave them here to enjoy this moment of respite.

Out of the forest, back in the world you think you know. 

In the city of witches, Count Orlok, who does not usually exist, leads a group of tourists through his gallery of nightmares, regaling them with stories of silver screens and the monsters within. The sightseers are not aware they are taking part in a ritual — are instead delighted by creatures of wax and resin and tales of human folly and triumph. Things from the Void occasionally wander into the Chronicler’s museum, although they leave just as quickly, dazed and confused.

All across the New World people sit before stages and screens. Witnesses to tales of macabre misdeeds, they become Watchers, and play their part.

Dancers everywhere gather in celebration and delight. In a bacchanalian storm of sweat and lights and music, they Dance in defiance of the dark.

Haunters set up their labyrinthine houses of horror and diversion. Things wander in, lured by the sound of laughter and screams, but they don’t come out.

Young Revelers decide on costumes and plan out their routes. They dream of treats and think up tricks. Things steer clear of them, frightened by their boundless energy and minds full of mischief.

Other Readers enact their own rituals. They light up candles and pour drinks and sit on favorite chairs. They read books of mystery and terror in their shelters full of light and warmth. And the darkness cannot get in.

Back in the house that should not be there, somewhere far beyond the woods you know, the Keeper does their rounds, casting wards of protection and banishment. Inside, the Reader browses through endless hallways full of books, looking for his next read. Perched on his shoulder is Seeker, who seems to have a knack for finding things in this strange, unfathomable house.

And thus we keep the darkness at bay.

This Hallowe’en season has felt… off. Mostly because real life has been very much getting in the way. It’s very frustrating, the way it tends to do that. A month of pure escapism is not that much to ask, surely. Alas. 

So, in an effort to keep the black flame of the season going, I turned to a Goosebumps book, which is what I’ve been doing every October for the last handful of years now. It doesn’t feel like Hallowe’en in this house, I tend to think, until I read one of these wonderful, silly books. It usually does the trick.

Which brings me A Night in Terror Tower, a book that’s as fun as goofy as any Goosebumps I’ve read so far. Initially picked up because it seemed like it would have all the gothic vibes (which I was planning on being a theme this season before my mood reading tendencies took over), but I soon found out that it was actually more of a time travel story than it was anything else. I was very skeptical of this timey-wimey element, but it ended up lending itself to some enjoyable Scooby-Doo type hijinks and chase sequences, which I am always up for. (“Run, run, run! That’s all we do anymore!” Eddie playfully lampshades at one point during the TV show adaptation.) Stine’s writing was particularly strong for this one, too. His descriptions of London — both past and, uh, nineties — were full of mood and atmosphere, and left me fairly impressed. 

As I’ve done with the last couple of Goosebumps, I paired this one with the TV show adaptation, which I think I liked a bit more than the book. It’s curious because it’s a very faithful adaptation of the story, with most of the dialogue taken pretty much verbatim from the short novel. But the episode is one of the better produced of the series (it was filmed as a special, accounting for the upgraded production), and also every time the villain turned up the melody from the main theme of The Shining would play. Just a blast all around.

Funnily enough, my brother and I had this episode on VHS when we were kids, although I’m pretty certain we never actually sat down to watch it. Still, even back then, I remember appreciating it for its rad design. Like most Goosebumps products, it just looked cool, and, for superficial old me at least, that’s still a huge part of the appeal of the series. Nineties aesthetics, man. They remain undefeated.


the smashed man of dread end by j.w. ocker

Somewhere far beyond the galaxies you know, there is a crack in the wall of reality. Within, far past the realms of time and space, Things lie in wait. They have been waiting for a long time. 

The crack is expanding. It is not yet large enough for the Things to pass through, but, by focusing their will, they are still able to send through some small portion of their power. A force sent to aid those who would pave the way for their release.

It is happening already. Something like a dark sludge begins to ooze slowly out of the crack. Once out, it will make its way towards our world, where it will finally take shape. The advance guard from the Void.

The Things in the Dark Beyond wait, patiently. They have been waiting for a long time. Somewhere deep inside, they begin to feel a terrible hope.

Calcifer is awoken from his slumber by a tapping noise. From his vantage point high up on top of the bookcases, he notes that he is alone in the study, and wonders vaguely where Osseous could be. He looks around, trying to find the source of the sound. The crow looks towards the window on the far right side of the room, expecting to see a branch from one of the neighboring trees scratching at the glass. Instead, Calcifer sees a face. It is split in a ghastly grin, full of sharp, pointed teeth. Its eyes are huge and set far apart, glowing crimson in the darkness. Around its mouth and eyes are red markings, haphazardly drawn, looking all the world like a macabre impression of a clown.

“Uh,” the crow says.

Tap tap tap.

It taps against the glass with elongated fingers that end in sharp, cracked fingernails. The figure is so large that it has to bend itself to look through the window. It waves at Calcifer when it realizes it’s finally been noticed. Its appalling grin grows wider.

“Y’all,” the crow croaks. “Oz! Guy!” He recalls Osseous’ affirmation of there being some sort of protection around the house, but still — the crow flaps his wings and readies to take flight.

The figure at the window stops waving at him and starts pointing with eagerness. It gestures at some point beyond the opened sliding doors of the study. Towards the stairs, Calcifer guesses. An assumption soon confirmed when the man suddenly comes flying down them.

The man crashes into the bookcases in the study, books cascading from the shelves, falling on top of him and scattering to the floor. Calcifer flies quickly down to his side. The man is bruised, but breathing.

“You’re okay!” the crow says. “What’s happened‽” Looking up, he notices that the figure is no longer at the window.

The man sits up, holding his sides. “They got in,” he says, through groans. “They got in through gaps in the windows.”

Before Calcifer can ask for elaboration, something comes down the stairs. At first, he can’t understand what he sees: a tall, gaunt figure, looking very much like the one outside the window, but this one’s eyes blaze violet. It is also, the crow observes with added confusion, entirely flattened. It makes its way down the stairs in an undulating gait that would be funny if it wasn’t such a surreal sight. It is being followed by two other such creatures.

“They changed shapes to get in,” the man says, chuckling. “Clever little demon things.”

Calcifer turns towards the man, whose eyes look blurry and unfocused. “Okay, so it’s time to get up,” he says. “Time to fight? I dunno.”

The man flashes him a weary smile. “That’s not my persuasion, little bird. I’m no Fighter. I’m a Reader.”

“Okay,” says the crow. “Okay, but unless you mean to throw some books at them, I don’t think reading them a story is the answer.” The figures were walking slowly, as if they were still getting used to their new, awkward forms. Their perpetual grins, however, made them seem like they knew they had all the time in the world. 

“Salwaystheanswer,” the man says.


“Reading at them. It’s what I’m supposed to do. That’s my role. My function.” The man gets up, still looking very much dazed. “Wheresmbook?”


“I had a book. With me. I was Reading. Must have dropped it when I was dropped. Help me find it.”

The man gets up and, preposterously, begins to look around the mess of fallen books around him, as if otherworldly beings weren’t making their way towards them at the moment.

Fine,” Calcifer says, exasperated, and begins to help the ridiculous man, who probably has a concussion and is going to die, look for his book.

Things happen quickly. 

Calcifer spots the man’s book with little difficulty. He has no time to wonder how he knew which one it was, despite having never seen it at all. He flies over, pointing it out for the man. 

At the same time, the flat, stumbling creatures get a sudden burst of energy. They fly down the stairs, flattened limbs flapping wildly, and lurch into the study. 

The man picks up the book just as a ragged hand reaches over to him. A hand which Calcifer begins to tear into with his talons. 

Another hand smacks the crow away, sending him crashing into a bookcase in an explosion of feathers and dust.

Calcifer falls to the ground. As his vision begins to blur, he barely sees Osseous as they come into the room, skeletal limbs raised. As the crumbled bookcases right themselves and rush towards the creatures. As the fallen books fly up into the air, forming a wall that starts to push back. As the man kneels beside the librarian, opens his books, and begins to read. As the flat creatures — the man’s book has the word “smashed” in the title, and Calcifer, light-headed, thinks it perfectly describes these weird things — burst through the wall of books and shelves. 

As amber beams pour out of Osseous’s orbits. As Keeper, limbs raised, rises up into the air, their terrible blazing light shining directly on the invaders, causing them to cower and convulse before finally crumbling into clouds of cinder and ash. 

Calcifer witnesses all of this happen in a bewildered haze, and then he blacks out.

Later, when Calcifer wakes up, he finds the man sitting beside him, looking, annoyingly, none worse for wear.

“Hello, little bird,” he says. 

“You know, I don’t like that nickname, either. Think it’s condescending.” 

The man shrugs.

“What happened?” asks the crow, wincing. One of his wings is bent slightly — not broken, miraculously, but tender. “Are those things gone?” 

“They’ve gone,” replies Osseous. They walk into the study carrying a tray with a bowl of soup, which they put in front of Calcifer. The crow is resting on the librarian’s armchair, against a cushion. He dives into the bowl.

“How, though?” the crow asks between mouthfuls. “What was it that you did?”

“I kept them away,” they say, simply. “It’s part of my duties as Keeper.”

“And I read to them a bit,” the man says with a mischievous grin. “It’s part of my duties as—”

“Shut up,” says the crow, grimacing. He feels the mother of all headaches coming on. “You two are just full of surprises, huh?”

“You’re one to talk,” the man says. “The way you helped save my hide back there. Finding the book that quickly. Keeping them busy by having them smack you instead of me.”

“Oh yes, my absolute damn pleasure,” Calcifer says, not even trying to hide the sarcasm.

“No, really,” says the man. “That was good. You did good. Thank you.”

“Don’t mention it,” says the crow, meaning it. He wants to do nothing but sleep away his aches and pains.

“You were right, though,” the man says, addressing Osseous. “He has the true makings of a Seeker.” The librarian nods at this.

Calcifer feels another set of questions coming on, but he stamps them back down, opting for sleep instead. “So I guess we should get some rest before the next batch of things comes by to visit or whatever,” he says.

“Oh, no, I believe stronger safeguards are in order,” says Osseous. “And, perhaps, some lighter reading fare?” This last directed at the man.

The man shrugs again. “Gotta fight fire with fire, Oz.”

“I’ll get to work,” Osseous says. They pick up the now empty bowl. “You rest, friend Calcifer. Seek out pleasant dreams to replace this brief nightmare.”

“Yeah, yeah, yeah,” Calcifer says, already drifting off. The crow’s head swims with questions and doubts and recollections, but he doesn’t dream at all.

The Smashed Man of Dread End by J.W. Ocker may be middle grade horror fiction, but it is, without a doubt, the most unsettling book I’ve read so far this Hallowe’en season. Brimming with chilling, frightful imagery, this novel is decidedly not afraid to go dark. And with it, Ocker joins the ranks of personal favorite authors like Katherine Arden and Neil Gaiman as an excellent purveyor of children’s horror.

The smashed star of the show itself will go down as one of the creepiest monsters I’ve ever come across, in terms of presence and demeanor. Many of the scenes involving the Smashed Man were simply full of dread and suspense — the tension so palpable you could almost cut it with a knife. One of Ocker’s intentions was to create a monster who would, in his own words, “be welcomed at Bobby Pickett’s ‘Monster Mash.’” I think he succeeded. All the great monsters come with their own set of rules, after all. What they can and cannot do. The Smashed Man is no different, and many of the story’s most interesting sequences had to do with the characters trying to find out what those rules were. 

The characters were notably strong here, too. They felt more real and less stylized than the standard fare in a lot of children’s horror. Presumably because Ocker based the main siblings on two of his own daughters. Protagonist Noe in particular was smart and clever without ever veering into precocious, nettlesome territory. Len acted exactly like a toddler, with all the delight and frustration that entails. But I was even more impressed with the rest of the Dread Enders — Crystal, Radiah, and Ruthy — who were portrayed, not as capricious side-characters, always ready with a quip and a wry remark, but as thoroughly terrified, traumatized children. Which is, of course, exactly what they were. Drollery is often so much easier and safer to write than depth, so I appreciate the restraint Ocker showed with the depiction of these characters.

An excellent story for the spooky season.