Six oddball but resilient children fall into the path of a immense and fearsome supernatural malevolence that has invaded our realm from the deepest abyss of shadow. They must wage a lifelong battle battling it, facing terror upon terror in the process.
This describes the premise, broadly speaking, of Stephen King’s novel It (his best; no debate). It parallels of Stephen King’s offspring Joseph Hillstrom King’s recent chilling tome, in which a close-knit group invoke the age-old, utterly malevolent dragon the Dragon King from the Long Dark to help them defeat some baddies. As one might expect, their otherworldly invocation backfires.
The author launched his profession going to great lengths to avoid any connection from his well-known dad, adopting the nom de plume he continues to employ and steering clear of encounters with his agent (he exhibits a striking resemblance to his father). But in this latest novel, he leans into it. Certain passages that intentionally mirror some of his father’s iconic (the famous Dark Tower introduction); a moment that brings to mind a signature King element (a battle of wits). In this epic story, Joe Hill takes pleasure in his lineage, and readers share in the joy.
Focusing on the companions: the majority are pupils at the made-up this academic setting in the New England state. First is Arthur, studious and intelligent, cracking ancient puzzles in his free moments; the character Colin, affluent, sharp, and inclined to bulldoze obstacles in his path; twins Donna and Donovan; the beautiful the lovely Allie. Then we have Gwen, who doesn’t study with them, but becomes a key part of their band as they dabble, somewhat credulous, somewhat doubtful, in the occult.
Arthur is, due to circumstances beyond his control, compelled to pilfer rare books from his cherished academic collection by a set of regional villains. This devastates his scholarly soul, particularly as he’s made to take the library’s most valuable and unsettling work: the logbook of occultist Enoch Crane (condemned “for dealing with infernal entities in 1703”; the cover is made from his skin). The intrepid group examine the log, realize they are able to call forth what the occultist details as a clever snake to assist Arthur with his extortion dilemma – and devote the remaining story reaping the consequences. King Sorrow will certainly eliminate those problematic neighborhood criminals, but they’ll have to choose a fresh offering annually or fall prey to the beast. In the character’s own words: “You plant seeds of destruction, all you get is more dragons.”
Covering a generation, Hill also moves with seamless grace between genres: as the companions attempt to deal with the circumstances they find themselves in by, variously, choosing undeniably wicked targets to sacrifice, or searching for methods to kill the dragon themselves, we move between suspense to grim fantasy, clandestine torment to romance to terror. One particularly memorable shift was to a adventure narrative, within the subterranean depths beneath this UK region, a segment tinged by the fantasy maestro that was wonderfully frightening.
We encounter trolls – those living under bridges and digital trolls, genuinely frightening and perfectly brought to life. We see enchanted blades and deceptions, pulse-pounding sequences of courage and instances of appalling malevolence, both earthly and extraterrestrial. This is a remarkable achievement: a chilling book that is chiefly a tribute to the imagination, and to love and friendship. “We required a narrative to trust and {now we’ve got one|presently we possess it|currently we hold it,” says the wealthy student as the allies gather at the table, getting ready to invoke their serpent into existence with the power of their thoughts.
According to Joe Hill in his opening statement: “This is dragon territory”. Ensure you experience it.
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