Six oddball but resilient children encounter the way of a immense and fearsome paranormal malevolence that has infiltrated our world from the outer limits of oblivion. They must spend their lifetimes fighting it, facing terror upon terror in the ordeal.
This outlines the narrative, roughly, of Stephen King’s seminal work It (his best; undeniable). It similarly frames of Stephen King’s offspring Joe Hill’s new massive horror novel, in which a close-knit group summon the ancient, deeply sinister serpent the Dragon King from the Long Dark to assist them in vanquishing some baddies. Unsurprisingly, their supernatural ritual backfires.
The author started his career going to great lengths to remain separate from his famous father, publishing under the pen name he continues to employ and eschewing in-person meetings with his agent (he exhibits a uncanny likeness to his parent). But in this latest novel, he embraces it. Certain passages that deliberately echo some of his father’s iconic (that classic opening line); a scene that brings to mind a King plot point (a game of puzzles). In this whopper of a novel, Hill is delighting in his family connection, and we delight along with him.
Returning to the group: the majority are pupils at the made-up this academic setting in this northeastern locale. We have Arthur, bookish and gifted, deciphering Old English riddles in his free moments; Colin, rich, clever, and inclined to bulldoze those who oppose him; Donna and Donovan; the stunning Allie herself. Then we have Gwen, who doesn’t study with them, but becomes a key part of their group as they dabble, partly convinced, partly skeptical, in supernatural practices.
The protagonist finds himself, due to circumstances beyond his control, forced into stealing prized manuscripts from his cherished academic collection by a set of regional villains. This devastates his scholarly soul, especially when he’s made to take the institution’s prized and disturbing publication: the diary of adept Enoch Crane (condemned “for trafficking with the devyll in 1703”; the book’s jacket is made from his skin). These young investigators read the journal, discover they could summon what the author references as a armored demon” to assist Arthur with his coercion issue – and spend the rest of the novel facing the fallout. King Sorrow will undoubtedly remove those annoying regional antagonists, but they’ll have to choose a different victim every twelve months or succumb to the dragon’s wrath. As Arthur later puts it: “You sow dragon’s teeth, all you get is more dragons.”
Spanning forty years, the author shifts with natural fluency between genres: as the allies attempt to deal with the predicament they find themselves in by, through diverse methods, selecting clearly malevolent individuals to offer up, or hunting down ways to slay the beast themselves, we go from page-turner to grim fantasy, clandestine torment to romance to fright. My favorite genre switch was to a quest story, within the subterranean depths below Cornwall, a segment sprinkled with JRR Tolkien that was wonderfully frightening.
The novel features trolls – those living under bridges and online ones, properly scary and expertly realized. The story includes mystic weapons and deceptions, heart-stopping scenes of courage and scenes of dreadful evil, both earthly and supernatural. It stands as a masterpiece: a chilling book that is primarily a paean to the human inventiveness, and to affection and camaraderie. “We required a narrative to trust and {now we’ve got one|presently we possess it|currently we hold it,” says this character as the companions assemble around a surface, preparing to summon their dragon to life with the force of their minds.
In the author’s own words in his epigraph: “This is dragon territory”. Ensure you experience it.
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