A group of six unlikely but resilient children fall into the trail of a colossal and dreadful paranormal darkness that has invaded our realm from the farthest reaches of oblivion. They are compelled to wage a lifelong battle confronting it, facing one nightmare after another in the struggle.
This is the plot, broadly speaking, of the master of horror’s seminal work It (his best; no arguments). It is also the plot of King’s son Joseph Hillstrom King’s latest massive horror novel, in which a close-knit group invoke the ancient, infinitely malicious dragon King Sorrow from the Long Dark to aid them in overcoming some baddies. Needless to say, their arcane ceremony goes awry.
Joseph Hillström King started his career striving diligently to remain separate from his well-known dad, publishing under the pen name he continues to employ and avoiding meeting his agent (he exhibits a striking resemblance to his dad). But in this latest novel, he leans into it. Several quotes that consciously reflect some of the senior author’s well-known (“The man in black fled across the desert …”); a incident that recalls a recurring theme in King’s works (a battle of wits). In this epic story, Hill is delighting in his family connection, and the audience revels alongside.
Returning to the group: most are scholars at the imagined this academic setting in Maine. First is Arthur, studious and intelligent, solving ancient puzzles in his free moments; Colin, rich, astute, and prone to trampling obstacles in his path; the twin siblings; the stunning Allie. Then we have Gwen, who isn’t their classmate, but emerges as crucial of their group as they dabble, half believing, half not, in supernatural practices.
Our hero becomes, as a result of external pressures, obliged to take rare books from his cherished academic collection by a bunch of local criminals. This wounds his academic spirit, particularly as he’s compelled to seize the library’s most valuable and chilling work: the journal of occultist Enoch Crane (executed “for dealing with infernal entities in 1703”; the cover is made from his skin). The intrepid group read the journal, discover they could summon what the author references as a armored demon” to assist Arthur with his coercion issue – and spend the rest of the novel reaping the consequences. The dragon will undoubtedly remove those problematic neighborhood criminals, but they’ll have to choose a fresh offering every twelve months or succumb to the dragon’s wrath. In the character’s own words: “You plant seeds of destruction, all you get is further monstrosities.”
Moving through four decades, the author shifts with effortless ease across narrative styles: as the companions endeavor to address the situation they find themselves in by, variously, choosing undeniably wicked targets to offer up, or seeking means to slay the beast themselves, we move between thriller to grim fantasy, clandestine torment to romance to fright. A standout transition was to a heroic journey, far beneath the surface below Cornwall, a section infused with the fantasy maestro that was magnificently horrifying.
The novel features trolls – the classic variety and digital trolls, truly terrifying and expertly realized. There are magical swords and betrayals, heart-stopping scenes of valor and scenes of dreadful evil, both earthly and supernatural. It’s a tour de force: a chilling book that is above all a tribute to the imagination, and to devotion and companionship. “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 friends assemble around a surface, preparing to summon their dragon to life with the force of their minds.
According to Joe Hill in his introductory quote: “Hic sunt dracones”. Don’t miss them.