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Almost set this to two stars for the rotten, predictable ending but I don't think that's fair because everything about this book is predictable. In fact, the most shocking thing about this book is exactly how predictable it is.
The story is that a patriarch takes his family to meet his old mother and sister in the south for the first time after 20 years of being away. Grandma is an invalid (a valetudinarian, perhaps) who's one angry fit away from a terminal heart attack, and she's always angry, whether she's berating her crippled spinster daughter or her longtime Jim Crow-era black maid.
Grandma's dying and her plot is to trap the son on the old family manse "Sea Oaks," which resides on its own little island in...I've already forgotten...one of the Carolinas, I think. Grandma immediately hates Mrs. Patriarch and Patriarch, Jr., but takes a shine to Miss Patriarch, who is the spitting image of Spinster Aunt, and also a dancer like Spinster Aunt used to be Before The Accident, and then slowly the whole family decides they like the Southern Life except Mrs. Patriarch.
Well, the bodies start dropping and everything, I mean, every. little. thing. plays out exactly as you would expect it to. It was so obvious from the get-go who was going to die and who the murderer was, my mind began to imagine crazy twists (that would've been awful because they were utterly unsupported, but would've at least been more surprising than no twist at all) and also refuting those crazy twists because everything in the prose was designed to play out exactly so.
Still, it must be comfort food for somebody and I feel like you can't really rag on an author who tells you exactly what he's going to do up front and then does it, even if it's in the most prosaic way possible. But wow, for something that was super easy to read, it felt almost like watching a movie I had seen 40 times without particularly liking it any of those times. Not exactly a struggle but sorta like drinking olive oil, I guess? (pace Dan Brown)
I'm going to do some spoilers below:
OK, so old lady is going to die while the family is visiting, obviously, or you don't have a story. And some effort is made to convince the reader that there's something supernatural going on. But the writing is so prosaic that while it competently describes scenes for the most part, it can't sell supernatural at all.
And, oh, the aunt had an "accident" and can't really dance any more? OBVIOUSLY the mother arranged the accident. I assumed from pushing down stairs (I was right) and because the daughter was pregnant (I was right) and OBVIOUSLY the young daughter was going to have to go through the same thing by the end of the book (right again) and OBVIOUSLY the aunt has to be the murderer because who the hell else could it be? (My mind was almost hoping it was the patriarch. It would've been crazy stupid but it would've at least been less than obvious.)
A book that draws on '80s slasher films is not going to offer a lot of surprises. As the Ten Little Indians-style plot played out, I realized that no human on earth, no matter how young or fit or strong, was going to be able to survive the incredibly awkward assaults of the crippled 50-year-old woman*. What's more, I knew that somehow this old woman—and 50 was old in 1988!—was going to have to lug bodies around and prop them up in funky ways, at one point driving a butcher's knife through a perfectly healthy young male HARD ENOUGH TO MAKE THE POINT STICK IN THE BANNISTER BEHIND HIM AND KEEP HIM UPRIGHT.
Mostly the book is not that bad, but good lord, by it's so obvious that the final 100 pages of the book are going to be just the kids versus crazy auntie, you can't believe the author is going to drag it out. When the kids finally realize they haven't seen an actual g-g-g-ghost, you just want to smack them over the head. Fortunately, Crazy Auntie will do that, when she's not rigging up body-pulling ropes in a way that would make Wile E. Coyote proud.
And then, you know there has to be a stinger, a little twist at the end, and the ONLY possible twist is that the daughter, having been traumatized by auntie, ends up being just like her. I had gotten to the last page of the book thinking that maybe we avoided that awful, awful cliché and there it was, like your crazy undead mom slapping you in the face.
Here's the thing, though: Crazy auntie was berated and physically abused for 17 years, pushed down the stairs to induce a miscarriage (talk about clichés), then went crazy, and then was locked in a dark cellar for years, followed by 33 more years of incessant berating.
Niece had 17 years of loving attention, a really bad week, followed by ten years more of loving attention.
IDK, it was a real thing in the '80s, at least: You can say your characters went cuckoo without the slightest backdrop. Anyone can go crazy at any moment. It's awful, though.
*This is known as Pamela Voorhees syndrome. I want to defend the author a little bit by pointing out that the crippled-ness of Crazy Auntie is all in her head, apparently, but that whole thing was poorly played out. Like, the pain seemed to be just something for the author to write about, to fill pages.
And, in short, I have three more Saul books in my shelf that I'm not exactly jumping to read.
The story is that a patriarch takes his family to meet his old mother and sister in the south for the first time after 20 years of being away. Grandma is an invalid (a valetudinarian, perhaps) who's one angry fit away from a terminal heart attack, and she's always angry, whether she's berating her crippled spinster daughter or her longtime Jim Crow-era black maid.
Grandma's dying and her plot is to trap the son on the old family manse "Sea Oaks," which resides on its own little island in...I've already forgotten...one of the Carolinas, I think. Grandma immediately hates Mrs. Patriarch and Patriarch, Jr., but takes a shine to Miss Patriarch, who is the spitting image of Spinster Aunt, and also a dancer like Spinster Aunt used to be Before The Accident, and then slowly the whole family decides they like the Southern Life except Mrs. Patriarch.
Well, the bodies start dropping and everything, I mean, every. little. thing. plays out exactly as you would expect it to. It was so obvious from the get-go who was going to die and who the murderer was, my mind began to imagine crazy twists (that would've been awful because they were utterly unsupported, but would've at least been more surprising than no twist at all) and also refuting those crazy twists because everything in the prose was designed to play out exactly so.
Still, it must be comfort food for somebody and I feel like you can't really rag on an author who tells you exactly what he's going to do up front and then does it, even if it's in the most prosaic way possible. But wow, for something that was super easy to read, it felt almost like watching a movie I had seen 40 times without particularly liking it any of those times. Not exactly a struggle but sorta like drinking olive oil, I guess? (pace Dan Brown)
I'm going to do some spoilers below:
OK, so old lady is going to die while the family is visiting, obviously, or you don't have a story. And some effort is made to convince the reader that there's something supernatural going on. But the writing is so prosaic that while it competently describes scenes for the most part, it can't sell supernatural at all.
And, oh, the aunt had an "accident" and can't really dance any more? OBVIOUSLY the mother arranged the accident. I assumed from pushing down stairs (I was right) and because the daughter was pregnant (I was right) and OBVIOUSLY the young daughter was going to have to go through the same thing by the end of the book (right again) and OBVIOUSLY the aunt has to be the murderer because who the hell else could it be? (My mind was almost hoping it was the patriarch. It would've been crazy stupid but it would've at least been less than obvious.)
A book that draws on '80s slasher films is not going to offer a lot of surprises. As the Ten Little Indians-style plot played out, I realized that no human on earth, no matter how young or fit or strong, was going to be able to survive the incredibly awkward assaults of the crippled 50-year-old woman*. What's more, I knew that somehow this old woman—and 50 was old in 1988!—was going to have to lug bodies around and prop them up in funky ways, at one point driving a butcher's knife through a perfectly healthy young male HARD ENOUGH TO MAKE THE POINT STICK IN THE BANNISTER BEHIND HIM AND KEEP HIM UPRIGHT.
Mostly the book is not that bad, but good lord, by it's so obvious that the final 100 pages of the book are going to be just the kids versus crazy auntie, you can't believe the author is going to drag it out. When the kids finally realize they haven't seen an actual g-g-g-ghost, you just want to smack them over the head. Fortunately, Crazy Auntie will do that, when she's not rigging up body-pulling ropes in a way that would make Wile E. Coyote proud.
And then, you know there has to be a stinger, a little twist at the end, and the ONLY possible twist is that the daughter, having been traumatized by auntie, ends up being just like her. I had gotten to the last page of the book thinking that maybe we avoided that awful, awful cliché and there it was, like your crazy undead mom slapping you in the face.
Here's the thing, though: Crazy auntie was berated and physically abused for 17 years, pushed down the stairs to induce a miscarriage (talk about clichés), then went crazy, and then was locked in a dark cellar for years, followed by 33 more years of incessant berating.
Niece had 17 years of loving attention, a really bad week, followed by ten years more of loving attention.
IDK, it was a real thing in the '80s, at least: You can say your characters went cuckoo without the slightest backdrop. Anyone can go crazy at any moment. It's awful, though.
*This is known as Pamela Voorhees syndrome. I want to defend the author a little bit by pointing out that the crippled-ness of Crazy Auntie is all in her head, apparently, but that whole thing was poorly played out. Like, the pain seemed to be just something for the author to write about, to fill pages.
And, in short, I have three more Saul books in my shelf that I'm not exactly jumping to read.