Black Gate

Faith damages even its most ardent adherents. In no other work of literature have I learned about this more than The Loney by Andrew Michael Hurley. Critics have hailed it as a masterpiece of Gothic literature. For those who balk at the categorization of modern books as “classics, I guarantee that once you read The Loney, your first thought will be, “Why wasn’t this written earlier?” It would have likely had a similar reception in the 1970s, the decade in which the story begins.

Smith, who never reveals his true name to the reader, comes from a troubled family. His brother Hanny has been mute for most of his life. Despite his shortcomings, Hanny gets through the day with help from his dearest companion, his brother, and the language they share with various inanimate objects.

However well Hanny goes about the business of living, their mother seeks to cure him of his muteness. Every Easter the family, accompanied by their faithful congregation, takes a pilgrimage to the unbearably bleak coast of Lancashire where there exists a holy shrine. When the family decides once again to visit the desolate coastline in order to elicit a cure, they descend into a waking nightmare so haunting, it may stay with you your whole life.

Hurley has a masterful way of introducing his readers to the superstitions that have governed the lives of believers for generations. He instills them into the flesh and bones of the inhabitants of the Loney. Readers with a keen eye for foreshadowing may glean the intentions of the villagers that the family first encounters with the ease of seasoned detectives. But even so, their machinations and the way in which they go about fulfilling their sacred duties has the power to gut you.

So, too, does the story of Father Wilfred, the former head of the family’s congregation. Hurley renders the man’s dissolution of faith after bearing witness to the effects of a traumatic ordeal with breathtaking clarity. It becomes a stark commentary on the silence of the divine.

Silence acts as the novel’s principle theme: the silence of the mysterious house in which the family stays, shrouded in unspeakable horrors distilled in their purest form; the silence of Hanny, forced to participate in the degrading ritual meant to cleanse him of his muteness; the silence of Father Bernard, the new head of the the congregation, on the death of his predecessor and his own past. That he calls Smith ‘Tonto,’ faithful companion of the Lone Ranger, acts as its own form of silence. Though he acts as the devoted companion of his brother, Smith can never rid himself of feeling helplessly alone in his conviction of the Loney’s unholy power.

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Flesh and Artifice
By Jaleigh Johnson
The Ed Greenwood Group (86 pages, $5.99 eBook, January 2017)

Pro tip: magic is dangerous and unpredictable. You might want to be the next Gandalf, but every type of magic in every fictional world out there carries its share of risks, and even an experienced practitioner can stumble and find themselves blown up, trapped in a pocket dimension, or awakened on a wooden table with a raven’s wing for an arm and two other creatures sharing space in your brain. That last one might seem difficult to imagine, but it’s one of the core premises of Flesh and Artifice, a novella by fantasy writer Jaleigh Johnson in the world of Stormtalons, created by Ed Greenwood.

(Full disclosure: I have a Stormtalons short story published by TEGG, too, but one of my cardinal blogging rules is to be 100% honest and as unbiased as possible in my reviews – which I hope has come across in previous posts, and continues here.)

Being part of the shared Stormtalons universe, Flesh and Artifice has to play by certain rules. One of the best things about Johnson’s writing, though, is that she manages to make everything you need to know about this world clear without any “as you know, Bob” moments or info-dumps; instead, specific bits of information are woven into the narrative where required without breaking the flow.

What surprised me about so short a work is Johnson’s ability to keep the narrative moving and make the characters clear and relatable without missing many beats. If anything, I wish Flesh and Artifice had been longer… not because I feel like there are things missing, but because I wanted to see more of what these characters are capable of and where their journeys might take them next.

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In Want (published by Simon Pulse on June 13, 2017), Cindy Pon transports readers to an unsettlingly believable but dystopian futuristic Taipei, where air pollution writhes in the sky and class unrest seethes on the ground. Society is divided into “haves,” the yous (pronounced “yos”), and “have nots,” the meis (pronounced “mays”). Encased in air-conditioned suits that protect the yous from smog, the wealthy lead long lives. Unable to afford these suits, the meis cough and wheeze until they die at the age of 40.

Enter our narrator, bad boy Jason Zhou. An orphaned mei who flips knives in one hand as a nervous habit, he’s already used up half his expected lifespan. Trouble begins for him and his friends when their mother figure, Dr. Nataraj, reports two attempts on her life in the past week. An environmental activist who advocates for legislation to combat global warming, she suspects that big corporations are behind these attacks. After all, these polluters bribe politicians to ignore her pleas all the time.

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