LORD HORROR was never reprinted after its initial run (a large portion of which was confiscated by British police), making this one of the rarest and most sought-after horror novels of all time, and the most famous entry in Savoy Books’ multi-media Lord Horror saga.
THE LONG LAST CALL apparently began life as a screenplay to be directed by Skipp himself. He apparently couldn’t find financing for the film, however, so Skipp refashioned the material into a novel. As such it works beautifully.
The opening scenes of LOCKE AND KEY are somewhat chaotic and confusing, but the narrative gradually sharpens itself into a streamlined tale of terror with the forward drive of a good novel.
This sixties-era novel shows its age in its extremely subdued approach; despite the audacity of its premise, THE LITTLE PEOPLE is very much an example of so-called quiet horror.
What this perilously slim 82-page trifle lacks is the poetic charge and dark eroticism of Rollin’s best films.
This is horror fiction as it should be: unashamedly dark, challenging and compelling. I feel it’s the finest novel to date by Sweden’s John Ajvide Lindqvist.
Wright of course specializes in odd novels like THE ISLAND and BLUE CANOE, and LITTLE BOY LOST is a worthy, and very characteristic, addition to his repertoire.
This volume proves that genuinely vital avant-garde fiction is alive and well.
THE LIBRARY, Zivkovic’s seventh book, isn’t nearly as monumental or as mind-boggling as some of his other works–particularly his confounding masterpiece ESCHER’S LOOPS–but it is at least easier to read.
Give this one points for audacity, pivoting as it does on the resurrection of V.I. Lenin at the height of the Cold War. LENIN LIVES! is best viewed as an eccentric time capsule from a decade that wasn’t nearly as idyllic as so many of you like to pretend it was.