It can be read as the literary equivalent of the Christian scare films of Ron Ormond and others, what with its consistently sleazy and exploitive set-pieces matched by equally consistent Christian sermonizing to remind us that we shouldn’t be enjoying the lovingly described mayhem.
The legendary French classic THE NUN (or LA RELIGIEUSE) may well be the first true example of “nunsploitation.”
As a summation of all things Nemonymous I’m unsure how this volume rates (not having read the first seven installments), but as an example of the ineffable strangeness that defines these books it’s first rate.
The wit, verve and imagination that characterize Goldman’s best work are very much evident in this suspenseful and macabre novel that predates everything from DEXTER to NATURAL BORN KILLERS in its furiously inventive account of the fortunes of a mass murderer. I say it’s one of William Goldman’s finest books.
NINTH & HELL STREET isn’t the goriest novel I’ve ever read, but it outdoes most splatterpunk fiction in sheer nastiness
Rereading the book, I found that its initial hold remains largely intact; NIGHT SHOW is nothing if not a page-turner, with a consistently inventive narrative and some mighty potent nastiness.
I can’t imagine how anyone could not get a kick out of this novel’s premise of giant flesh-eating crabs rampaging through a British seaside community.
NIGHT OF TEARS is actually a tepid and uneventful potboiler that attempts to blend three distinct subgenres–gothic romance, alien invasion and crime thriller–into a not-very-satisfying whole.
I’ve always found Zelazny overrated, after all, and nor am I too fond of the type of whimsical silliness that suffuses A NIGHT IN THE LONESOME OCTOBER.